GRAPHIC DESIGNER — VIDEO EDITOR

MAKE/MOVEMEAN IT.

Static never has the last word. I build visual systems, then give them timing, cuts and a pulse.

CAIRO / EVERYWHERESCROLL TO BREAK THE GRID ↓
A tactile creative playground made from paper, foam, film, grids and editing controls
PLAYGROUND No. 01DESIGN THAT REFUSES TO SIT STILL.
FIGURES / 00—04THE USEFUL KIND
00SOURCE VISUALS

Every supplied design. Indexed, kept and pulled into the world.

00CREATIVE FIELDS

One system stretching from identity to the final edit.

00FRAMES / SECOND

Rhythm lives in the distance between two cuts.

00LIVING SYSTEM

Flexible enough to stay recognisable while it misbehaves.

THE CREATIVE

PLAYGROUND

The master creative playground visual
X 1440Y 0920
01 / 04

BUILD THE RULE.

A grid gives the idea somewhere solid to misbehave.

02 / 04

BEND THE RULE.

Color controls the first glance. Timing earns the second.

03 / 04

MAKE IT MOVE.

Twelve offset layers turn one poster into a small experience.

04 / 04

CUT THE FAT.

Every frame either sharpens the rhythm or leaves the timeline.

THE

WORK

01 / 04BRAND PLAYGROUND
12 MOTION LAYERS

Posters, ribbons and film loops move in offset rhythms.

PLAYING AT NATURAL SPEED

IN MOTION

16 SEC / LOOP
PHOTOSHOP BUILD / 01—06TIMED / AUTO REPLAY

NOT MAGIC.
LAYERS.

One poster grows through 18 adjustments and four color passes. Each stage holds long enough to read and auto-replays—never tied to scroll progress.

A Photoshop-style workspace showing the first rough poster sketchThe poster sketch blocked into simple colored shapesA subject photograph and bold typography added to the posterThe poster refined with layered ribbons, texture and art directionThe poster in its detailed color and edge retouch stageThe completed and fully retouched PLAY EDIT poster
01 / 06SKETCH
02 ROUGH LAYERS

The grid starts in pencil. Every future collision already has an address.

  1. 01SKETCH
  2. 02BLOCK
  3. 03COMPOSITE
  4. 04ART DIRECT
  5. 05RETOUCH
  6. 06FINAL
SELECTED WORK / 01—06ONE WORLD. SIX WAYS IN.

GOOD IDEAS
NEED GOOD TIMING.

Branding sets the rules. Motion tests them. Editing keeps only the frames that earn their place.

A tactile cobalt, lilac, mint and orange brand identity system01BRANDING

Identity, with elbows.

The grid stays fixed. The pieces do not. One rounded module turns into packaging, tags and a campaign stamp.

06 VISUAL SYSTEMS
A vivid blue multi-format mobile repair campaign02CAMPAIGN DESIGN

Repair gets a pulse.

Electric blue owns the category. Orange interruption points make the fix feel fast before anyone reads a line.

12 MOTION LAYERS
A playful editorial spread about artificial intelligence and learning03EDITORIAL

A spread that thinks.

A twelve-column system holds diagrams, notes and big ideas. The yellow beat tells the eye where to land next.

08 GRID STATES
A warm food social media system built from pasta ribbons and crops04SOCIAL MEDIA

Stop the thumb.

The fork is the hero. Tomato red creates appetite; cobalt rails keep nine unruly crops recognisably related.

09 CROP RULES
An automotive motion design storyboard with paths and keyframes05MOTION GRAPHICS

Frames find momentum.

Three static car frames become one move when the mask lands four frames late and the path cuts the corner.

18 FRAME OFFSET
A physical video editing timeline made from acrylic and film06VIDEO EDITING

Cut on intent.

The cut lands two frames before the beat. That tiny decision makes the next shot feel faster than it is.

24 FPS
THE FULL NOISY ARCHIVE

131 VISUALS. NO FILLER.

Food. Cars. Tech. Repair. AI. Identity. Travel. Beauty. Homes. Retail. Every supplied image stays in the mix.

PROCESS / VISUAL SYSTEMPLAY HAS STRUCTURE

CHAOS, WITH A BASELINE.

The work feels loose because the system underneath it is doing the heavy lifting.

Macro detail of tactile typography and color hierarchy
TYPE / ATTENTIONBlack holds the field. Orange makes the decision.
Macro detail of a motion path and colorful keyframes
PATH / KEYFRAMESThe curve is soft. The timing points are not.
Macro filmstrip and edit waveform detail
CUT / RHYTHMThree shots. One splice. Zero wasted frames.
01 / 04

Find the odd bit.

The strongest idea is usually the detail everyone else tried to tidy away.

02 / 04

Give it rules.

A flexible system survives a square post, a 9:16 reel and packaging without losing its accent.

03 / 04

Add timing.

Motion starts with hierarchy: what arrives first, what interrupts, what gets the last frame.

04 / 04

Edit until it clicks.

A cut two frames early can sell more energy than another hour of decoration.

CREAMCOBALTSUNTANGERINEHOT PINKMINTLILAC