I design packaging, and I know exactly how the press will handle it.
Over a decade across graphic and print production—specializing in licensed collectibles, premium packaging, and different kind of graphic related design—my work has lived at the intersection of strict licensor approvals and high-volume production floors.
Most of the critical design decisions in this portfolio are, fundamentally, printing decisions. Silver metallic cardstock backed selectively with white ink, allowing process color to catch the substrate below and turn flat yellow into true, luminous gold. Foaming UV built across skin textures so tactile realism is felt rather than drawn. A lenticular barrier rebuilt out of the franchise’s own typography, erasing the mechanical seam between structure and subject.
None of this happens by handing off a file and hoping for the best. It comes from owning the dielines, tuning separations, scrutinizing proofs, and standing by the press as the sheet comes off.
My pipeline bridges 2D and 3D. When licensors supply minimal assets—which is often the rule rather than the exception—I reconstruct the artwork from the physical product itself: photographed, modeled, textured, and rendered into packaging, posters, and pitch decks. The render becomes the primary source asset, not just a rendering of one.
Having led creative teams, I know a design is only as viable as the budget and production schedule it survives. Off the clock, I stay hands-on with photography and 3D printing—constantly testing the physical tolerances and finishes a screen can never reveal.