[NEW BALANCE] SELECTED CAMPAIGN PIECES FROM 2026.
POWERED BY THE GARDEN VERSION 1.4 ⌂
[ELEVATED 3D WORKFLOW] - 2026
This was an ongoing project that I personally developed to embed an elevated 3D workflow into the North American Marketing Team’s creative ecosystem. For the renders, each needed to maintain a one-to-one, representational demonstration of product placement, the interior setting, and the built environment. Much of this project—which spanned my tenure at NB—was site-specific research. Additionally, an added challenge was to make the environments I created fully modular. Due to the nature of the co-op program at Northeastern, I wanted to make a system that would effectively “outlive” my 6-month duration at the company. Therefore, the vast majority of renders I created under this project label can be fully edited outside of 3D software. It was essential to make this accessible, as it isn’t always guaranteed that a design team has 3D expertise. Moreover, each mockup needed to change based on the current campaign. Quick modularity was essential. This could not be a siloed modality. Therefore, all creative material, lighting situations, and even weather can be changed without the need for a 3D expert—just Photoshop.
All renders went through several rounds of revision and criticism before they were circulated. Critiques were mostly held within the NAVM design team; however, I made a big effort to ask the 3D visualization team for advice on systems, mockup workflows, and correct practices for Photorealism. I found my conversations with Kayla Woehr (Manager, 3D Visualization [Apparel]), Edward Ferrari (Manager, 3D Visualization [Footwear]), and Onur Gun (Director, Computational Design) particularly helpful to this end.
CAMPAIGNS INCLUDED GREY DAYS, ELLIPSE +
Context 2
An idea was initially proposed to the wonderful Azadeh Sherafinia who I cannot thank enough. The creative workflow was developed in collaboration with her and Amber Bazdar, director of NAVM, alongside the US creative operations team.
SOFTWARE 3
Blender, PHOTOSHOP, Illustrator
ROLE 4
3D ArtisT, 3D dESIGNEr
⢯ *25 - 1/10 - PDF ^
[kITH LA] - 2026
design 1
INSPIRED by Death Stranding, Ghost in the Shell, and The Matrix, "bone" is a set of visuals to accompany an eyewear design I made last year. All visuals and associated designs were created within 2 days of late notice of the brief. The human cybernetics visuals take great inspiration from Lisa Meinesz's work, as well as this piece from are.na. THE EYEWEAR ITSELF TAKES VISUAL INSPIRATION FROM SAM BRIDGE'S GLASSES IN DT AND ARE DESIGNED TO BE 3D PRINTED.
THE OBJ (YOU CAN PRINT YOURSELF!)
Context 2
BONE WAS SUBMITTED TO THE VISAGES EYEWEAR BRIEF PROPOSED IN COMBINATION WITH ODITI. I PLACED 9TH OUT OF THE TOP 200 OFFICIAL SUBMISSIONS TO THE BRIEF.
PITCH PDF (PROCESS)
3D FILE
SOFTWARE 3
bLENDER, PHOTOSHOP, MIXAMO (RIG)
ROLE 4
3D-aRTIST, Graphic Designer
⢯ *24 - 1/10 - pdf ^
[THE WORLD CUP] - 2024
design 1
INSPIRED BY PINK SWEAT$’S DESIGN LANGUAGE, THIS “ALL I CAN OFFER” SINGLE COVER FEATURES HIS NAMESAKE PROMINENTLY. MY VISUAL JUSTIFATION DURING MY PRESENTAITION STATES THAT “This cover art is inspired by the airy, ethereal feeling I get from Pink Sweat$'s discography. Metaphorically, "love" is represented as the background environment, while our material possessions—here, on-brand items—float detached, lacking any foundation. The surrounding "world" symbolizes both the ubiquitous nature of love and how it contrasts with commodification, despite the emphasis on material aspects.” THIS PIECE WAS ENTIRELY RENDERED IN BLENDER.
Context 2
THIS COVER WAS MADE FOR ODITI’S “DESIGN THE SINGLE ARTWORK FOR ‘ALL I CAN OFFER’ WITH THE MUSICIAN AS THE SOLE JUDGE.
SOFTWARE 3
bLENDER, PHOTOSHOP
ROLE 4
3D-ARTIST, GRAPHIC DESIGNER
⢯ *24 - 1/10 - mp4 ^
[GREY DAYS GRAPHIC] - 2023
design 1
For this design, my main inspiration was largely Apple marketing-wise and Zellerfeld's past collaborations regarding the shoe. A large part of Zellerfeld's overall identity is forward-looking, and I wanted to encapsulate that with a futuristic, yet clean aesthetic. This is also represented by the shoe itself. If I win, 30% of my profit will be donated to a different nonprofit each month the shoe is available. This was my first real intro to 3D design and my first time using the open-source software Blender. All 3D design work is by me, as well as all graphic aspects of the project (logos, captions, etc).
Context 2
This was my entry to the recent prospect100 and Zellerfeld global design brief. Zellerfeld is a company that 3D prints fully recyclable footwear without the use of factory manufacturing. Recent Zellerfeld collaborations include the likes of Heron Preston, Moncler, and RAINS, among others. The company has been featured in Forbes, Time's Best Inventions List, and various other publications over the past couple of years or so.
SOFTWARE 3
bLENDER, PHOTOSHOP, Illustrator, miro
ROLE 4
3D-ARTIST, GRAPHIC DESIGNER
⢯ *23 - 1/10 - mp4 ^
[UNITY (AMFAR)*WIN]
design 1
Via this piece, I not only wanted to embody Pride through illustrating sexual fluidity, but also wanted to demonstrate a message of unity; a defined sense of camaraderie between different sexual orientations via the support-like structure in the middle. I found that this idea of unification further encapsulated what amfAR has done regarding advocacy work in the past/present. Photos are courtesy of Harry Beard, one of the co-founders of prospect100/Oditi. This piece was also largely inspired by the cover art for Tame Impala's Currents, designed by Robert Beatty.
Context 2
I was ranked 1st place out of the top 100 design submissions with all proceeds of my work donated towards AIDS research (amfAR’s foundation). The judges for this competition included Jeff Koons, Kate Moss, and Kendall Jenner, among others. My piece, “UNITY,” was also showcased outside the FLANNELS department store in London, thanks in no small part to Harry Beard, one of the co-founders of Prospect100. More information about the competition can be found here.
pRESS:
SOFTWARE 3
bLENDER, pHOTOSHOP, pREMIERE.
ROLE 4
ARTIST
⢯ *23 - 1/10 - pdf ^
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