Communication Design
One message, carried across every surface it lands on — a wordmark, a page, a package, a moving feed, a forty-metre wall.
- 25 yrsAgencies, studios, classrooms
- 8Disciplines under one practice
- 12Short films built from original art
- 2008Teaching at college level since
Every piece here says what it is — client work, studio practice, or self-initiated project. Nothing is presented as something it isn’t.
Systems that hold
Identity, typography, editorial and print — the core of the discipline. An identity a whole network can tune from one rule, a typeface disciplined enough to carry display and code, a grid that survives ninety-six pages, and production files that come off the roll the way they left the screen.
A hand in it
Illustration and image-making as cultural argument. Painting, character work and narrative image made to say something — and made by me, on paper and canvas, before any of it reaches a screen. This is the studio practice the rest of the page draws on.
The artwork is the footage
Short-form motion is where an audience actually is, and it is the format most designers never make — because shooting is expensive and produces something that doesn't look like their work. So I stopped treating video as something you shoot and started treating it as something you move. No footage, no stock, no camera anywhere in it.
- R1
The first frame is the poster
In a feed the film competes with a thumb, so frame one has to be a finished picture. The still is designed before it is animated.
- R2
It has to work with the sound off
Most viewers never hear it. Image and typography carry the argument; sound is a reward, never a requirement.
- R3
It has to loop
A film that ends where it began gets watched twice. Cutting the last frame to hand back to the first is a compositional problem.
- Storyboard & animatic
- After Effects compositing
- Cel & shape animation
- Kinetic type
- Frame-by-frame on paper
- Edit, colour, sound
- Cutdowns & delivery
- Generative, hand-finished
Six from the library — hover to preview, click to play. Every film is built from artwork I made by hand.
Outrage — the masked madonna
A statement piece set in motion: the veiled figure, the two pistols, the calm face behind the mask. The painting holds still while the meaning moves.
Video production →Viva Nativa — El Gallo
A promo for Puerto Rico's number-one rock band, built around the rooster: the bird that announces the morning whether or not you asked it to.
Video production →Afrolatin Tarot — the sketch underneath
Run in reverse: the finished plate, then the paint, then the pencil line it came from. The sketch is the proof a human made it.
Video production →The Kiss — paintings on the wall
The whole catalogue, hung. One wall, one light, and the paintings changing inside the frame — so a buyer sees the room before they see the file.
Video production →Women Displaced
A short film on displacement, cut from a body of collage paintings — women at windows, birds leaving, the fire escape as a border.
Video production →Bangkok Market — graphite on paper
A market drawn line by line until the paper is full. No time-lapse tricks beyond speed — the mark is the mark.
Video production →In volume
Communication design off the flat page — a station that reads in section instead of in plan, an installation choreographed in time, a package whose structure precedes its label. Form, light, camera position, and the decision about where a person stands.
Handing it on
College-level teaching since 2008, across undergraduate and associate programmes, in digital media, digital imaging, design foundations and studio art. Communication design is also something I pass on — and the way I teach it comes out of the work above, not alongside it.
- St. Paul's School of NursingDigital Media · Adjunct Professor2026–present
- Briarcliffe CollegeDigital Imaging & Computer Graphics · Professor2008–2010
- Education AffiliatesGraphic Design & Digital Media · Undergraduate
- Inter American UniversityDesign Foundations & Studio Art · Undergraduate
Intercultural competence isn’t a line on my CV — it is the subject of the work
My studio practice is Afro-Caribbean and Afro-Latin: Animalia Caribe, Afrolatinidad Es, the Afrolatin Tarot, Unraveled Identities, Telar. I have taught in Puerto Rico and worked between New York and Barcelona. In practice this shows up as reference sets that are not all from one place, briefs that let the audience’s own culture into the work, and a critique culture where being specific is the courtesy and being vague is the discourtesy.
Need a message carried across every surface?
Full case studies, process footage and course material are available on request.