Nanny Beware
Nanny Beware is a feature psychological thriller directed by Damian Romay and Bruno Hernandez, a reimagined The Hand That Rocks The Cradle for a modern audience.
I led the creative direction and design of the key art, crafting a green-gray tonal palette with a mid gray contrast to evoke unease and suspense. Subtle textures bleed into the bold title treatment, reinforcing the tension beneath the surface. I utilized the lighting and gaze of the talent to anchor visual weight at the top, guiding the viewer’s eyes down naturally into the title and atmosphere below. The composition is built to balance narrative clarity with psychological tension-designed to captivate in a single glance.
I led the creative direction and design of the key art, crafting a green-gray tonal palette with a mid gray contrast to evoke unease and suspense. Subtle textures bleed into the bold title treatment, reinforcing the tension beneath the surface. I utilized the lighting and gaze of the talent to anchor visual weight at the top, guiding the viewer’s eyes down naturally into the title and atmosphere below. The composition is built to balance narrative clarity with psychological tension-designed to captivate in a single glance.
daddio
Directed by Christy Hall and starring Dakota Johnson, Daddio explores the intimacy of human connection through a single transformative conversation set in New York City.
This one-sheet was developed during post-production as a Telluride pre-submission promotional piece. Working with raw footage, I selected a still that captured the emotional stillness of the film and built the compositon around it. The design leans into quiet restraint - minimal copy, deliberate spacing, and a focus on the tone New York City has to offer.
This one-sheet was developed during post-production as a Telluride pre-submission promotional piece. Working with raw footage, I selected a still that captured the emotional stillness of the film and built the compositon around it. The design leans into quiet restraint - minimal copy, deliberate spacing, and a focus on the tone New York City has to offer.
The Boy in the woods
Directed by Rebecca Snow and adapted from Maxwell Smart’s book, The Boy in the Woods is a Holocaust survival story that follows a child navigating the horrors of war with resilience and strength.
The client requested a triptych style layout that visually represents the emotional arc of the film. I structured the design with narrative and pacing in mind, anchoring each column with a key visual moment. A refined serif typeface paired with a vivid blue gradient was used to ground the copy and guide the viewer’s eye horizontally across each column. The color choice introduces a sense of unexpected hope, echoing the film‘s tone without compromising its emotional weight.
The client requested a triptych style layout that visually represents the emotional arc of the film. I structured the design with narrative and pacing in mind, anchoring each column with a key visual moment. A refined serif typeface paired with a vivid blue gradient was used to ground the copy and guide the viewer’s eye horizontally across each column. The color choice introduces a sense of unexpected hope, echoing the film‘s tone without compromising its emotional weight.
Twisted sister
Directed by Damian Roman and Bruno Hernandez, Twisted Sister is a psychological thriller set within the heightened world of a sorority house unraveling into chaos.
I designed the key art with a dual-scene structure, juxtaposing the lead talent with a subtle motion blur to add unease and ambiguity. The green and black palette layered with smoke and textured overlays reinforce the horror tone without leaning too heavily on cliche. The goal was to balance clarity with chaos, evoking the atmosphere while spotlighting the film’s central setting.
I designed the key art with a dual-scene structure, juxtaposing the lead talent with a subtle motion blur to add unease and ambiguity. The green and black palette layered with smoke and textured overlays reinforce the horror tone without leaning too heavily on cliche. The goal was to balance clarity with chaos, evoking the atmosphere while spotlighting the film’s central setting.
slay ride
Directed by Olivia Dunkley, Slay Ride is a holiday slasher that blends festive cheer with campy gore, somewhere in between Slotherhouse and Easter Bloody Easter.
This pre-production one-sheet was designed to capture that contrast. I embedded the antagonist with the joy of Christmas itself. Ornaments, color, decoration, and visual warmth - While twisting it with bloody textures, layered distress, and a murderous Santa. The concept leans into genre expectations while presenting them with graphic clarity. It was created ahead of principal photography and continued to serve as a promotional anchor throughout production.
This pre-production one-sheet was designed to capture that contrast. I embedded the antagonist with the joy of Christmas itself. Ornaments, color, decoration, and visual warmth - While twisting it with bloody textures, layered distress, and a murderous Santa. The concept leans into genre expectations while presenting them with graphic clarity. It was created ahead of principal photography and continued to serve as a promotional anchor throughout production.
A lover's game
Created as an in-film prop for Playing for Mozart, A Lover’s Game is a fictional romantic thriller - classic, seductive, and unapologetically trashy.
I leaned fully into the trashy tone, designing a cover that blurs lust with tension. A central figure of a beautiful woman dissolving into a cascade of roses using a controlled dispersion, implying both allure and unraveling. Her vivid eye anchors the composition as the surrounding environment breaks into visual chaos. The design intentionally exaggerates tropes to amplify its in-universe role as a provocative sensational paperback.
I leaned fully into the trashy tone, designing a cover that blurs lust with tension. A central figure of a beautiful woman dissolving into a cascade of roses using a controlled dispersion, implying both allure and unraveling. Her vivid eye anchors the composition as the surrounding environment breaks into visual chaos. The design intentionally exaggerates tropes to amplify its in-universe role as a provocative sensational paperback.
darkness in tenement
Directed by Nikki Groton, Darkness in Tenement is a pandemic era thriller that unfolds entirely within the confines of a locked down New York City.
Taking inspiration from the intimacy and dread of The Witch’s marketing, I built the key art around a claustrophobic, close up composition. A black and yellow palette alludes to biohazard themes, while the reflection of a desolate cityscape in the gas mask visor subtly conveys post-pandemic collapse.
Taking inspiration from the intimacy and dread of The Witch’s marketing, I built the key art around a claustrophobic, close up composition. A black and yellow palette alludes to biohazard themes, while the reflection of a desolate cityscape in the gas mask visor subtly conveys post-pandemic collapse.
Fall back down
Directed by S.B. Edward’s, Fall Back Down is a romantic comedy centered on a depressed activist, layered with unexpected mystery and emotional edge.
I approached the key art as a visual journey, emphasizing character dynamics and the tonal contrast between warmth and underlying tension. The composition balances intimacy with unease, darker framing to suggest mystery with relational moments pulling the viewer inward. It’s meant to feel like a strange but comforting embrace with life’s weirdos and misfits.
I approached the key art as a visual journey, emphasizing character dynamics and the tonal contrast between warmth and underlying tension. The composition balances intimacy with unease, darker framing to suggest mystery with relational moments pulling the viewer inward. It’s meant to feel like a strange but comforting embrace with life’s weirdos and misfits.
romance in the outfield
Directed by Randolph Sternberg, Romance in the Outfield blends romantic comedy with sports drama in a lighthearted, competitive love story.
I took a restrained, clean approach for both the key art and DVD packaging, with a focus on clarity, tone, and commercial shelf appeal. Photography was executed with my lead, and carefully selected to spotlight both character relationships and the film’s connection to baseball, aligning emotional stakes with visual energy. The design prioritizes accessibility and balance, bridging genre conventions with straightforward storytelling.
I took a restrained, clean approach for both the key art and DVD packaging, with a focus on clarity, tone, and commercial shelf appeal. Photography was executed with my lead, and carefully selected to spotlight both character relationships and the film’s connection to baseball, aligning emotional stakes with visual energy. The design prioritizes accessibility and balance, bridging genre conventions with straightforward storytelling.
faith. hope. love.
Directed by Michael Flynn, Faith. Hope. Love. is a reflective drama about relationships, identity, and the emotional weight of self-discovery.
The creative direction centered on expressing joy and connection through image—without overstating it. I aimed for a minimalist layout that let genuine emotion lead, pairing warm imagery with clean, modern type to create a sense of optimism grounded in personal growth. The design had to feel human and direct, stylized but unforced.
The creative direction centered on expressing joy and connection through image—without overstating it. I aimed for a minimalist layout that let genuine emotion lead, pairing warm imagery with clean, modern type to create a sense of optimism grounded in personal growth. The design had to feel human and direct, stylized but unforced.
the wager
Directed by Mark Justice and Jim Gloyd, The Wager is a supernatural drama centered on faith, consequence, and the battle for redemption across time.
The design brief called for visualizing inner turmoil, so I anchored the composition around a high-stakes action shot: the protagonist mid-gamble, surrounded by cards, drugs, and tension. The imagery evokes a spiritual and moral descent, visually expressing despair while hinting at the film’s paranormal elements. The goal was to distill the film’s central wager, both literal and metaphysical, into a single, charged moment.
The design brief called for visualizing inner turmoil, so I anchored the composition around a high-stakes action shot: the protagonist mid-gamble, surrounded by cards, drugs, and tension. The imagery evokes a spiritual and moral descent, visually expressing despair while hinting at the film’s paranormal elements. The goal was to distill the film’s central wager, both literal and metaphysical, into a single, charged moment.
rising free
Directed by Christian Johannesson, Rising Free is a period drama exploring forgiveness and redemption in the aftermath of racial injustice.
Though set in the late 19th century, the creative direction called for a modern visual approach. I centered the composition on an introspective back profile of the lead character, gazing toward an open sea—symbolizing emotional distance, healing, and forward momentum. The warm sunrise palette softens the gravity of the story while suggesting possibility and quiet resilience. The design avoids period clichés in favor of a timeless emotional core.
Though set in the late 19th century, the creative direction called for a modern visual approach. I centered the composition on an introspective back profile of the lead character, gazing toward an open sea—symbolizing emotional distance, healing, and forward momentum. The warm sunrise palette softens the gravity of the story while suggesting possibility and quiet resilience. The design avoids period clichés in favor of a timeless emotional core.
