Developed a high-volume digital advertising campaign for Owlet during its early growth stage, creating 40–50 unique banner ads across multiple sizes, layouts, and messaging strategies. Built a flexible creative system that allowed the brand to test different visual approaches and value propositions while maintaining a consistent brand identity across a broad range of digital placements.
For a local mid-sized publisher, I created a cinematic book trailer for Silk and Sensibility, a historical romance set in 16th-century Ming Dynasty China. Working across 30- and 60-second versions in both horizontal and vertical formats, I led the project from initial concept and art direction through design, animation, compositing, and final editing.
How do you capture the emotional tension, elegance, and romantic intrigue of a novel set in 16th-century Ming Dynasty China in less than a minute?
For Silk and Sensibility, I was asked to create a promotional book trailer that would introduce potential readers to the world of the novel while establishing its atmosphere, setting, and emotional tension. The piece needed to feel romantic and cinematic while remaining grounded in the visual language of Ming Dynasty China.
The trailer also needed to work across multiple formats, including traditional horizontal video and vertical social media placements.
I began by identifying the emotional qualities at the heart of the story: romance, restraint, longing, elegance, and tension.
Rather than attempting to visually recreate the entire story, I approached the trailer as a short cinematic mood piece. The goal was to create the feeling of the novel and invite the viewer into its world.
The visual direction drew from the architecture, clothing, landscapes, decorative arts, and cultural atmosphere of Ming Dynasty China, while focusing on intimate details that could communicate the story quickly.
AI tools were used selectively during the early research and conceptualization phase to explore historical visual references and possible approaches to imagery, composition, and atmosphere. The final visual direction, design, animation, compositing, and editing were developed and executed for the finished piece.
One of the central challenges was creating a visual world that felt connected to 16th-century China without turning the trailer into a collection of generic historical imagery.
I focused on visual details that could establish the setting while supporting the romantic story:
The visual language was designed to feel elegant and immersive while leaving room for the viewer’s imagination.
Once the visual direction was established, I began constructing the trailer around a series of emotional beats rather than simply matching images to narration.
The opening establishes the main characters, world, and historical setting.
From there, the pacing becomes increasingly intimate, introducing the romantic tension at the heart of the story. Visual transitions connect individual moments while allowing the narrative to build toward its emotional climax.
Typography was treated as part of the storytelling rather than simply an informational layer. Titles, excerpts, and promotional copy were timed carefully with the imagery and music so the trailer could maintain a cinematic rhythm.
Storyboard Animatic
Layered Scene
Animated Bird Sequence
The imagery was brought to life through compositing, camera movement, transitions, typography, and subtle environmental animation.
Rather than relying on constant movement, I used motion strategically. Slow camera pushes, layered depth, controlled transitions, and atmospheric details helped create the sensation of moving through a historical world.
The goal was to make the imagery feel alive while maintaining the elegance and restraint appropriate to the subject.
Music played an important role in establishing the emotional tone. The trailer uses Mo Li Hua to create a musical connection to Chinese culture while providing an emotional structure for the edit.
The project was developed for both horizontal and vertical viewing.
Rather than simply cropping a finished horizontal composition, I considered aspect ratio and focal points throughout the design process. Important visual elements, typography, and transitions were constructed so they could remain effective across different screen sizes.
This allowed the final piece to function as both a traditional promotional video and a social-first piece of content.
As you can see, I adjusted the composition between the horizontal and vertical versions. This allowed support to the important elements of the scene.
The final result is a cinematic promotional trailer designed to introduce viewers to the world of Silk and Sensibility before they ever open the book.
Instead of attempting to explain the entire story, the trailer focuses on atmosphere, romance, character, and unanswered questions. The result is intended to work both as a piece of motion design and as a piece of book marketing: visually compelling enough to capture attention while creating curiosity about the story.
30 Second
60 Second
60-second trailer
Full-length cinematic version designed to establish the story, setting, atmosphere, and emotional arc.
30-second trailer
Condensed version focused on the strongest narrative and promotional beats.
Horizontal format
Designed for websites, YouTube, and traditional video placements.
Vertical format
Optimized for social media and mobile viewing.
Silk and Sensibility brought together graphic design, illustration, motion, editing, historical research, and storytelling in a single promotional piece.
The project was an opportunity to build a visual world from the ground up and use motion to transform individual images and design elements into something with pacing, emotion, and narrative.
For a book trailer, the goal isn’t simply to show the book.
It’s to make someone want to step inside it.
This Process took the cover from a simple concept sketch to a finished, print-ready wraparound design. I moved from establishing the main idea and composition, to building value and depth, to setting the final color mood, and then integrated the typography and layout so the illustration and text work together as a cohesive cover.
I started by thumbnailing a few compositions and choosing the strongest read at a small size.
I refined the selected sketch to lock in proportions, perspective, and the main focal point.
I confirmed clear visual hierarchy so the subject and the golden egg read immediately.
I established the light source and blocked in shadow shapes to create form and depth.
I used values to separate foreground, midground, and background so the scene felt dimensional.
I checked contrast around the focal area to guide the viewer’s eye.
I chose a palette that supported the story tone and emphasized the warmth of the golden egg. A complimentary color scheme does most of the heavy lifting the make this really stand out.
I added color passes to unify the piece, balancing saturation so nothing competed with the focal point.
I adjusted temperature and lighting to enhance mood and readability.
I explored type styles that matched the book’s genre and the illustration’s personality.
I tested legibility at thumbnail size and ensured the title held up against the art.
I refined spacing and placement so the type felt intentional and integrated.
I combined the final illustration and the front-cover typography into a clean, high-impact design.
I made small adjustments to contrast, edges, and detail so the image reproduced well in print and on screens.
I extended the artwork across the full wrap and aligned key elements with trim and safe areas.
I positioned the spine title for readability and balanced back-cover space for summary and publisher elements.
I did a final preflight pass for alignment, margins, and consistency so the file was production-ready.
When internationally published author Kathryn Purdie needed a way to generate excitement for The Forest Grimm and Deathly Grimm, she turned to Rybread Studio to create cinematic book trailers that would capture the atmosphere of the stories and encourage readers to dive into the series.
As the sole creative on the project, I handled every aspect of production—from story development and illustration to animation, editing, sound design, and final delivery. The goal wasn’t simply to summarize the books, but to create an emotional experience that reflected the mystery, suspense, and folklore-inspired world of the Grimm series while staying visually consistent with the book cover art so readers would immediately recognize what the books would look like on store shelves.
Unlike a movie trailer, a book trailer has to spark a reader’s imagination without revealing too much of the story. Every visual, transition, sound, and element needed to build intrigue while leaving room for the audience to imagine the world for themselves.
At the same time, the trailers needed to feel polished enough to compete with other promotional content across social media, author websites, and online retailers. Just as importantly, they had to remain consistent with the existing book cover art so the trailers would reinforce the brand and help readers connect the promotional visuals with the physical books they would see in stores and online.
I developed a visual style inspired by the existing art while keeping with the feel of dark fantasy and classic fairy tales, using layered illustrations, atmospheric lighting, cinematic typography, and motion graphics to create tension and curiosity.
To maintain consistency across the campaign, I used the book cover art as a visual foundation throughout the trailers. This helped ensure that the imagery, color palette, and overall tone aligned with the published covers, making it easier for readers to recognize the books and imagine how they would appear on store shelves.
Each trailer was carefully paced to build momentum, allowing dramatic moments to breathe while highlighting key themes from the novels. Music, and subtle visual effects worked together to create an immersive viewing experience that reflected the tone of the books while keeping the cover art at the center of the brand presentation.
Because I created every visual asset specifically for the trailers, the final pieces maintained a cohesive look from beginning to end while reinforcing the author’s existing brand and the recognizable identity established by the book covers.
As the creative lead on the project, I managed the entire production process from concept to final delivery. Working closely with the author, I identified the themes, tone, and emotional beats that would resonate with readers while avoiding major plot spoilers.
I translated those ideas into storyboards , custom illustrations, and some A.I. image generation, carefully composing each scene to capture the mystery and atmosphere of the Grimm universe. Every visual element was designed to complement the existing cover artwork, ensuring the trailers felt like a natural extension of the books’ visual identity rather than a separate marketing piece.
Once the creative direction was established, I brought the artwork to life through animation, cinematic typography, compelling transitions, and visual effects. I also edited the trailers, selected and synchronized music, and refined the pacing to build suspense and maintain viewer engagement from beginning to end.
By overseeing every stage of production, I delivered a cohesive promotional campaign that balanced storytelling, illustration, motion design, and brand consistency while giving the author versatile marketing assets for online and social media promotion.
The completed trailers gave the author polished promotional pieces that could be shared across websites, social media, book launches, and marketing campaigns. More importantly, they transformed static book marketing into an engaging visual experience that invited potential readers into the world before they ever opened the first page, while also reinforcing the familiar look of the book cover art so the series would feel instantly recognizable on store shelves.
The project demonstrates how motion design can extend a brand beyond traditional print materials, helping stories connect with audiences in a memorable and emotionally engaging way while keeping the visual identity consistent across every touchpoint.
Parkway Pedal was a charity cycling event sponsored by Coldwell Banker to bring the community together around fitness, fundraising, and local engagement. I was brought in to develop a complete visual identity that could promote the event across multiple touchpoints and create excitement before race day.
The goal was to build a recognizable, energetic brand that appealed to cyclists, families, and sponsors alike while clearly communicating the event’s purpose and value.
The event needed more than a logo—it needed a full campaign identity that could scale across print, digital, and environmental media.
The core challenges included:
Because this was a charity event, the branding also needed to feel approachable and inclusive rather than overly competitive or “elite cyclist.”proachable and fun for young readers.
As the lead designer, I developed the entire visual identity and supporting campaign materials from concept through final production.
My responsibilities included:
I owned both the creative direction and execution, ensuring every touchpoint felt cohesive and aligned with the event’s goals.
I approached the project by focusing on three brand pillars:
The visuals needed to capture motion, speed, and excitement to reflect the cycling experience.
This event was about bringing people together for a good cause, so the branding needed warmth and accessibility.
Promotional materials had to communicate quickly and effectively, whether seen on a billboard, mailer, or website.
To support these goals, I used bold typography, dynamic composition, and a vibrant color palette that created momentum and visual impact.
The final brand system delivered a strong, recognizable identity that worked across every medium.
The logo combined clean, modern design with visual cues inspired by cycling and movement. Supporting graphics reinforced the feeling of forward motion and helped unify the campaign.
From large-format billboards to direct mail and web assets, every piece worked together to create a seamless brand experience. The consistent identity helped establish trust, improve recognition, and generate enthusiasm around the event.
The result was a polished event brand that elevated Parkway Pedal from a simple community ride into a professional, memorable experience that sponsors and participants could rally behind.
Case Study: Little Saigon
Little Saigon is a Vietnamese restaurant built around fresh ingredients, bold flavors, and a welcoming dining experience. As a brand-new business entering a competitive food market, they needed a cohesive identity that would help them stand out and build trust from day one.
I developed the complete brand system as the sole designer on the project, creating everything needed for launch—including the logo, menus, uniforms, packaging, and business cards.
The biggest challenge was speed without sacrificing quality. The restaurant was moving quickly toward opening day, which meant the brand needed to be designed, refined, and production-ready on a tight timeline.
The identity also needed to be highly versatile. It had to look polished on large-format signage, readable on small business cards, recognizable on takeout packaging, and flexible enough for both print and digital applications.
Most importantly, the branding needed to capture the personality of the restaurant: warm, modern, and rooted in Vietnamese culture without relying on clichés.
As the sole designer, I handled the project from concept to final production.
My responsibilities included:
I focused on building a brand system that balanced simplicity with personality. The visual identity needed to feel clean and contemporary while still reflecting the warmth and energy of the restaurant experience.
The logo was designed with versatility as a top priority. It needed to remain clear and recognizable whether used on storefront signage, embroidered apparel, social media, printed menus, or food packaging.
A consistent typography and color system helped unify every brand touchpoint, creating a professional and memorable experience for customers.
The final brand system gave Little Saigon a strong visual foundation for launch and future growth. Every asset—from menus to packaging—worked together as part of one cohesive identity, helping the restaurant present itself as polished and established from day one.
The flexible brand system also scaled with the business as it expanded. What began as branding for a single restaurant became the visual foundation for a growing company with multiple locations across Utah.
By designing a thoughtful, adaptable system rather than isolated assets, the brand was built to support both immediate launch needs and long-term success.
Bringing a whimsical holiday story to life through character design and illustration.
When an author approached Rybread Studio with a completed manuscript for Potato Family Christmas, the goal was clear: transform a written story into a warm, engaging picture book that children and families would enjoy during the holiday season.
The challenge was to create a cast of memorable characters and illustrations that felt playful, expressive, and emotionally inviting—while staying true to the heart of the story.
The manuscript already had charm and personality, but words alone weren’t enough to carry the full emotional experience of a children’s book. The visuals needed to:
The artwork needed to feel polished enough for publication while remaining approachable and fun for young readers.
Rybread Studio handled the visual development and production of the book, including:
The project began with character exploration of a potato version of Santa Claus. In this example, I developed visual concepts Saint Root, focusing on a jolly silhouette, a kind facial expression, and small design details that helped this character feel distinct and recognizable.
I pitched the first character sketch of a potato version of the classic Santa design. The author then noted that Saint Root, was not Santa and needed to feel distinctly different, and needed arms. I redesigned the beard, costume, colors, and other details to match what the author imagined.
Once the character designs were approved, I moved into full-scene illustration. This page was carefully composed to support the story’s pacing and emotional beats, using color, lighting, and staging to set the tone for the entire book.
The final book combined expressive character illustration with cozy holiday visuals to create a storybook experience that felt charming and memorable.
The potato family became more than simple characters—they became personalities readers could connect with.
By pairing thoughtful visual storytelling with production-ready design, the project successfully moved from manuscript to printed book.
Potato Family Christmas became a fully illustrated, print-ready children’s book that brought the author’s vision to life.
This project highlights how strong illustration and thoughtful design can elevate a written story into an immersive visual experience—turning simple words on a page into something readers can truly feel.
You can find this book for sale online, and the Potato Museum in Idaho.