Annual reports, brand campaigns, pavilions and digital design — for pharmaceutical companies, global banks, foundations and the United Nations. I have art-directed work for Bristol Myers Squibb for more than fifteen years — brands, campaigns, digital and the annual report — and I continue to lead the evolution of creative design at Bayer AG, pioneering new ways of integrating AI with human creativity to deliver innovative, high-impact visual solutions.
Nothing under that. Try a client — Bayer, Otsuka, CGAP — or a discipline like pavilion, infographic or annual report.
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Clients
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Logos & marks
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I started at Apple, explaining technology to people across a counter. It turned out to be the right training for everything after: my job has always been to take something complicated — a clinical trial result, a development-economics finding, a regulatory code — and give it a form people actually trust.
I joined Bristol Myers Squibb in 2003 as a senior art director and stayed twelve years, leading creative across pharmaceutical brands inside one of the most regulated environments design gets to work in. I have continued with them as a creative consultant ever since — annual reports and executive communications, a global corporate advertising campaign, and a seat at the table on the enterprise brand initiative with Siegel+Gale. Today I am a creative manager at Bayer, working alongside medical writers and editors on communications for clinicians and patients.
In parallel I spent nine years as executive creative director at Anne Folan & Associates, serving global institutions and foundations. The high point was a climate conference pavilion built with the UNFCCC, Meta and the Open Earth Foundation — environmental graphics, multimedia, video and interactive work at architectural scale. Since 2012 I have also been art director for the Financial Alliance for Women, whose summits and research have taught me most of what I know about designing for an international audience.
I am as comfortable on a press check as I am in a stakeholder review, and I appreciate a real budget constraint—it is often where craft shows. Increasingly, I am incorporating generative AI into my workflow as a tool for exploration: accelerating concept development, opening up new visual directions, and supporting retouching and production. But I see AI as a creative instrument, not a substitute for design thinking. The ideas, visual judgment, composition, typography, brand discipline and final decisions remain human-led. I use AI to expand what I can explore, not to determine what the work should be. For me, the goal is not AI-generated design, but better human design made possible by thoughtfully integrating emerging technology into the creative process.
Aside
Personal work, and the habit behind the photo art direction in everything above.
Index
A flat map of the whole archive. Projects that do more than one job are listed under each category they belong to.
Industry Focus
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I lead creative at Bayer and consult independently. Always glad to talk about brand systems, annual reports, campaigns, and the occasional impossible deadline.