I led creative strategy, content creation, digital channel development and design for BSTRO’s diverse client portfolio of consumer brands, technology startups, and social causes.

Directed the rebrand and US launch of Aveo Vision, an online subscription contact lens brand.

Accounts included Johnson & Johnson, Listerine, Neutrogena, Band-Aid, Aveeno, Zyrtec, Lactaid, Rogaine, Splenda, Neosporin, Illumio, Royole, and BrightSign.

Clients: Benziger Family Winery, Scherrer Winery, Imagery Estate Winery, PNI Sensor Corporation, Pennington Lawn & Garden, Reunion Blues

I founded Cogito with a former president of Young & Rubicam San Francisco, who retired in 2013. Cogito’s client engagements centered on brand and marketing strategy, positioning, and new product development; deliverables comprised brand advertising, identity, packaging, promotions and digital and print creative.

I worked with Roku from its inception, creating the brand identity the company still uses today. (In fact, when I joined, "Roku" was still a code name — and the products were still in development.) Up until the company’s extended hiatus from selling consumer products before moving into streaming video, I created concepts for and designed all of Roku's brand and advertising creative, from product launch campaigns to collateral, point-of-purchase, and packaging.

In addition to directing all brand marketing creative for Roku, I worked with clients like Accenture, NEC, Atom Entertainment and Microsoft, developing branding and creating identity systems, advertising campaigns, collateral, and packaging.

The retail packaging system I art directed and designed (in collaboration with a leading Silicon Valley industrial design firm) for Rio Digital Music was awarded the IDSA Northwest Design Invitational Award, Gold 2004; and the Chicago Athenaeum Good Design Award 2004.

SonicBlue, home of the Rio, ReplayTV, and GoVideo brands, was suffering a bit of an identity crisis when I joined the company, with no consistent look, tone or message. Working with the director of brand marketing, I led the effort to define and flesh out each of the product brands. Under my direction we refreshed messaging, packaging, and websites; developed advertising campaigns that contributed to record sales; consulted with the product marketing group to develop and name Rio’s 2003 product line; and piloted one of the first cloud-based music subscription services.

The photo shoot I concepted and art directed for Rio’s 2002/2003 advertising campaign was featured in Communication Arts’ 2002 Photography Annual.

Harmonic was a Sequoia Capital–backed, Dentsu-affiliated digital agency pursuing the grail of measurable online marketing; the office was half engineers and programmers, and half ad agency veterans. When I came on board, most of our clients were there only for media; I worked closely with the creative director to ideate and execute a product launch pitch that won NEC’s US business across the board. I directed a cross-functional team to create a total of 5 distinct integrated launch campaigns for NEC that combined brand and direct-response messaging, delivering 10 times the number of qualified leads projected, and boasting an online conversion rate 30% higher than the projected click-through rates.

While at Harmonic, I also worked with ABC Television, Handspring, and Twentieth Century Fox Television; launched Sanibel, a natural hair and skin care brand with national retail distribution; and helped NetBank reduce cost per acquisition by 40% over a single quarter.

I art directed and designed a collateral system and trade show graphics to launch UltimateTV at CES 2001.

I worked with the San Francisco and Silicon Valley Business Launch Centres (a startup incubator program), as well as Accenture’s global Business Consulting practice. (The Zurich partners in particular were steady clients, especially once they discovered I could ‘do’ Swiss type.)

Among other projects, I concepted and designed a series of brand posters and marketing collateral for the Bay Area BLCs that was subsequently adopted by the program’s global leadership and used in Launch Centres around the world.

Informally, I was known as the ‘PowerPoint guy,’ because Andersen’s Business Risk Consulting practice used that application for everything from the sexiest new business pitch to the most mundane audit report. In reality, I was a one-person marketing department for the Western region, collaborating with senior executives worldwide to develop messaging, marketing collateral, new business pitches, and executive reports tailored to Fortune 500 C-level audiences. I can safely say I made PowerPoint do things it was never intended to do.

Originally hired as a freelance, within 2 years I was directing the production of a wide variety of academic and marketing publications; supervising a team of typesetters and production assistants; helping the graphic design office with its overflow; and setting the editorial style for the university’s annual course bulletins.