Just some of the brands and clients that I've had the pleasure of working with since 2005.

This word cloud highlights what I can provide for you, with the more prominent items highlighting my specializations. This list includes skills, services, technologies, platforms, software, languages, disciplines and deliverables. Do not mistake me for a jack of all trades; I just spend an unsually copious amout of time both learning and mastering as much as I can.

Resumé

2020

Who I am, what I've done, and what I can do for you. 
You can view it online or print a PDF.

Verizon

Feb 2014 - May 2019

I worked as a full-time Senior User Experience Designer at Verizon on the OnCue and Fios TV products. I have been involved with several teams including Product, Security, Content Operations, and Curation & Customization. I focused on experiences with the set-top box platforms (upcoming and legacy) and their families of mobile companion apps for phones and tablets. Note: I took a hiatus between 2015 and 2016 to focus on the major launch Encide v2, my startup business (a project that was years in the making). After my launch, I rejoined the same team at Verizon as help was needed for upcoming consumer trials.

In May of 2018, I moved over to a Senior Product Designer role at Verizon Media (called Oath at the time) to work on a mix of Product and Visual design projects out of the Platforms Technology team in Sunnyvale.

Private portfolio projects from these roles are available upon request.

Verizon Media (formerly Oath)

May 2018 - May 2019

I worked as Senior Product Designer at Verizon Media (formerly Oath), a Media-focused division of Verizon that owns Yahoo, AOL, tumblr, TechCrunch, HuffPost, MapQuest and more. I worked on the central Technology Platforms team that drives all products as well as internal and B2B tools.

I produced delightful, customer-facing products from within the Identity Platforms, refreshed internal tools and systems, led a storytelling and documentation refresh alongside senior leadership within Technology Platforms, and I shipped multiple high-impact projects with c-level visibility.

Private portfolio projects from this role are available upon request.

Verizon Media TV Auth

Verizon Media brands are coming to smart TV platforms throughout 2019. I led product design for the sign-in frameworks used for our properties across multiple platforms.

Request access to my private portfolio to see the full case study.

Verizon Media Stories

I led a revitalization of storytelling across Verizon Media from within the Technology Platforms organization. I built a DIY-kit of resources to enable the creation of decks, documents, and internal materials for high-impact meetings, and large scale events (both internally and externally).

I personally drove 20+ projects with the highest levels of visibility, and enabled at least 83 other projects (and growing) that successfully served their missions. My deliverables were seen by, used by, and created in direct collaboration with Sr VPs and many C-level execs.

Request access to my private portfolio to see the full case study.

Fios

May 2015 ~ Mar 2018

I was a Senior UX Designer building and shipping delightful experiences on our set-top box platform and mobile companion apps.

Private portfolio projects from this role are available upon request.

Verizon Fios Asset Design System (Channel Logos)

The Fios TV service has lived through many platforms and evolutions. Our set-top box (STB) and companion mobile apps have moved towards immersive interfaces where video content is always playing behind a see-through interface. The artwork being displayed in the UI, like movie posters, showcards, and logos, can make or break the experience. The Verizon Fios platform had a long history of relying on low quality artwork and assets that have been sourced from meta-data firms.

While these production services are better than nothing, they are expensive and leave a lot to be desired. I took ownership of the problem and introduced A-level assets for the first time to our products used by millions of customers on TVs, phones, and tablets.

I formed an asset design system from scratch that brought over 1,000 channel logos from D-grade quality to A-grade within months. This collection was adopted by our existing and upcoming set-top box platforms and their families of companion mobile and tablet apps that are collectively used by millions of Fios TV customers across the U.S.

Request access to my private portfolio to see the full case study.

Theory11 Zodiac

Zodiac is a seemingly impossible magic trick sold on the market that secretly uses technology to allow the performer to predict one randomly selected word out of millions from a stack of books with an even more impossible twist at the end. This effect has been performed for millions of spectators from online video, television specials, and in multiple recurring live-stage shows in New York and Los Angeles.

Request access to my private portfolio to see the full case study.

Industrial Designs

Since the late 2000s (aughts), I have had a fascination with conceptual and industrial designs. I often day dreamed about unique shapes and forms that have never existed before, and tried to visualize these ideas. This side passion of mine keeps me interested in cool gadgets and hardware, and it inspires my UX/UI/Product work.

Above is my interface step (#1) for the Encide Interfaces 2016 edition.

The “Encide Interfaces” project is an initiative which I attempt to organize on a yearly basis. The goal is to design artful, fantasy interfaces often described as conceptual in nature. These are not true user interfaces; they only mimic tangible gadgets, HUDs, or any form of a digital product. I want to imagine reaching out to these devices, picking them up, and exploring all of the visible affordances (buttons, knobs, screens, grips, etc). They all hint towards interactivity in some way while pushing the boundaries of what designed objects could look like. I designed, developed, and maintain the responsive slideshow, user experience, and templates for this project. I also seek out the skilled designers and artists who contribute their efforts towards this subculture venture while outlining the creative direction and boundaries.

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Encide Interface

This is my interface step (#2) for the Encide Interfaces 2014 edition.
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Encide Interface

This is my interface step (#50) for the Encide Interfaces 2012 edition. This one started as a casual sketch at a coffee shop near UC Berkeley. I loved all of the layered shapes so I decided to digitize it.

Interesting notes: The stars seen through the window are from the first time I ever used Photoshop back in 2005. My first time using Photoshop, I followed Greg Martin's star field tutorial. I save all of my source files, so I decided to try something interesting with an early artifact. I found it rather poetic to recycle my first pixels into a new creation.
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Calescent

This was a fun, on-brand concept interface I created one day during my job at Archetype. It used the Archetype logo, colors, and background textures by Guido Rosso with my own flares. I see it as a plugged in, lukewarm, lava nightlight. This was something I made as a way to say thanks to the company for letting me join their amazing team.

Encide Interface

This is my interface step (#1) for the Encide Interfaces 2010 edition. The source is for sale on Encide.

This concept interface also goes by the name “Eros,” which is the tentative title of an unreleased album by one of my lifelong favorite bands; Deftones. The shapes are heavily inspired by some of the stopwatches and handheld devices that I grouped into a moodboard of physical, digital, and industrial products. I crafted this mysterious device with satisfying curves that all coalesce perfectly. I invested lots of time into the orb's mesmerizing lighting.
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Eros was mostly worked through July and August of 2010 until I published what I had. Then, I continued to tweak and improve every aspect of it until I published it the Encide Interfaces 2010 edition that December. I continue to add touches of detail over the years to this personal favorite of mine.

Eumonic

This conceptual interface was a study in realism.

I also created a detailed walkthrough as a longform, written tutorial on the Envato network (“PSDTuts+” at the time). This was broken up into two parts which are available for viewing here: Part 1 | Part 2

ORBGasm

The sexiest orb on the internet, pun intended. After studying the works of some of my favorite GUI designers, I put everything I knew about composition and presentation into action for this one. Then I gave it a funny punny name.

enimacPlayer

I made this one night in college. I was experimenting with lots of different techniques, just keeping up with my skills with smooth gradients, glossy metals, and subtle glows.

Encide Interface

This was my interface step (#1) from the Encide Interfaces 2009 edition.

This was the first step to the first edition of the “interface battlebay” project. This design went by two names at the beginning; “desolate” and “cold silence”. I ended up not using either of those titles. This step was worked on casually between September and December of 2009 while I was organizing and maintaining the event and starting my first semester of college at UC Davis. It also barely survived a dreadful hard drive failure. This design concept was during some of my roughest months coming into adulthood. It was a productive distraction when I was severely stressing.

The “Encide Interfaces” project is an initiative which I attempt to organize on a yearly basis. The goal is to design artful, fantasy interfaces often described as conceptual in nature. These are not true user interfaces; they only mimic tangible gadgets, HUDs, or any form of a digital product. I want to imagine reaching out to these devices, picking them up, and exploring all of the visible affordances (buttons, knobs, screens, grips, etc). They all hint towards interactivity in some way while pushing the boundaries of what designed objects could look like. I designed, developed, and maintain the horizontal slideshow, user experience, and templates for this project. I also seek out the skilled designers and artists who contribute their efforts towards this subculture venture while outlining the creative direction and boundaries.
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Encide

2008 - Now

Encide is a design community that I own and co-founded with friends in 2008. We started as a forum, then grew into a blog-shop-social brand, and are currently an active Slack team. We help each other in our careers, network, and provide feedback on our work and strategies.

Timeline (source)

1. 2008/04/02: (v0.1) The Encide website went live for the first time.
2. 2008/04/14: (v1.0) Our forums, powered by SMF, went live. We consider this our birth date.
3. 2016/05/26: (v2.0 Beta) Encide.net (using SMF) is migrated and launched over at Encide.com (using WordPress) as a quiet, beta release. This was a massive undertaking that took a year to plan and execute on.

Encide Brand

I created and maintain these brand guidelines for my company, Encide LLC. It is a living document that tells our story and details every aspect of our brand from the copy language, to the logo lockups, and everything else in-between. It is 50 pages long with raw, ongoing explorations after the appendix. The first preview of the brand guidelines were posted privately to the Encide forums on January 27th, 2014. I first published the living document publicly on September 25th, 2016 (which was actually the August 23rd, 2016 version).
View OnlineDownload (PDF) [82MB]

Encide was created by a small group of friends and I back in 2008. We all knew each other from other communities that came and went, and I wanted to maintain and mature the network we had all invested in. We quickly started considering name ideas and decided on “encide” after a few days worth of exploration. It is an invented name, reminiscent of the prepositional word inside. We often take advantage of that wordplay in our brand's touchpoints though our logo lockups, visuals, and copy.

When we first launched a basic version of the website in early 2008, we used some temporary logos and icons. A year later, Jeff Nielsen, who also came up with the encide name, casually created an ec monogram that we adopted and used for several years. Eventually, as I grew as a designer, I wanted to create a more comprehensive brand identity system. In mid 2012, I began to casually draft logo ideas after my day job. A few thousands of hours later, I completely rebuilt the Encide brand, website, and social media experiences from the ground up in the largest project of my life. I document and show the story in complete detail though this monumental brand guideline document. It has 50 pages of richly detailed information, visuals, and even behind-the-scenes bonuses. I also included raw vector concepts from the earliest explorations up until now since I never really turned off the creative process, even though the current logo is shockingly closer to my strict definition of perfection than I ever expected to reach.

Encide Website

2008 - 2019

Encide is a design community and social network with a blog, a shop, and an invite-only forum. I designed the Encide brand and website entirely from scratch. The site is powered by WordPress core with BuddyPress for the social network, WooCommerce for the shop, and bbPress for the forum. I also migrated the database of existing users and forum contents from an SMF forum I setup in April of 2008 (that was the first version of Encide). This has been a monumental, multi-year effort that utilized every skill in my arsenal and hundreds of new ones that I acquired through the hustle. Each section lives under a single CMS (WordPress), and each page is responsive to support any device (there are hundreds of thousands of pages across Encide). The design features one of the most advanced and scalable navigational systems that I am currently aware of. Every interface element has smooth easing and animations, and the design was crafted alongside the brand's guidelines, so the colors and visuals are consistent and aesthetic for all pages and touchpoints. A signature styling behind this redesign was the balance of minimalism with intelligent usage of shadows, gradients, and textures.

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Above you can see the side and top navigation interfaces for the encide website. The side navigation is optimized for smaller screens like tablets and mobile devices while the top navigation is for laptops and desktop displays. The navigational architectures are consistent across both views and are built to scale for multiple levels of sub-menus and inputs fields. I custom coded this fully animated experience from scratch using HTML, CSS, and JavaScript.

Above is the information architecture for the website. Below is an overview of how the responsive interface supports all viewports and device sizes.

Below is a real screenshot of our community. This is a “Latest Topics” view at the /forum/ directory instead of the traditional “Categories” view.

Encide Website (v1)

In early 2008, a few members from existing design communities (like Mished, OxiFORUM, and DeviantArt) pulled together to find a more stable home. We agree upon the name Encide, and I took the lead for bringing the website live (more info @ encide.com/history). In early April, I put up a temporary splash page with a shout box, and then on April 14th, the forums (powered by SMF) went live. At first, we used a free template for the website, but in May I started a complete redesign. On July 29th, 2008, the Encide themed template was launched. This template was maintained and revised several times between 2008 and 2016 when v2 (on WordPress) was launched. Significant changes: 2010 | 2011 | 2014.

By the end of the SMF and Encide.net's life in 2016, we had over 200,000 posts in over 10,000 topics by over 400 users.

Personal Brand

The year I started designing, I formed a simple logo for myself that I used for nearly a decade. After a while, I started to dream of a new logo that would be a bit closer to timeless. After defining strict requirements for myself, I arrived at a minimal, visually symmetrical monogram of my initials paired with a clean wordmark for my first and last names. It was also an opportunity to design brand and style guides from scratch to understand the entire end-to-end process of building a visual identity.
View OnlineDownload (PDF) [36MB]

Brand Reel

I created this brand reel for my 2015 personal rebrand. I published this video exactly 10 years to the day after I created my first logo.

Business Cards

These minimal business card mockups were crafted during my personal rebranding efforts. I made the source file available for free in a blog post on Encide.

I have created multiple orientations and variations of the mockup set.

Personal Website Versions

2005 - Now

I started designing in August of 2004 when I was 16 years old. Before that, I spent roughly three years filming, editing and producing videos. I developed a habit of consistently archiving and documenting everything that I created during those years which is something I continued to do when shifting into design. As a result, I have archived every version of this website since I first began using the timsilva.com domain in May of 2005. This current website is v12, so as of ~2016, I have averaged about one major redesign per year while always making sure to design and develop the latest version in such a way that it can be easily archived. This experience has taught me how to write more future-proofed code.

Thus far, I have enjoyed the nostalgia of reviewing which trends I embraced or fought against; decisions that all creators of content must make. It is also a great way to understand what has changed or stayed the same about the practice of web design since I got into the game. Splash pages, hit counters, award badges, flash, pixel fonts, site maps, links to validation services for (Strict) (X)HTML/CSS (to prove you are legit!), visible site versioning, lengthy footer legalese, loading sequences, carousels, accordions, and links to defunct networks, profiles, or accounts (AIM, MySpace, DeviantArt, etc…) are rarely seen today. Comparatively, many of the same basic ingredients and building blocks have essentially stayed consistent with some subtle trend waves and updated technologies. These durable elements include: logos, headers, navigations, bodies, social media links, footers, and standard copyright legalese (which often are used to create a sense of gravitas and professionalism, even though they aren't legally required to inherit critical protections).

Note: If you find it at all interesting to explore through my old/early works, I have also uploaded a large percentage of it on my archived DeviantArt accounts (krazytim [2006-2009], and timsilva [2009–]). As of 2016, designers don't use DeviantArt as much (we use Dribbble, Behance, Cargo Collective, Instagram, Twitter, etc), so I most likely won't post work there in the future. Luckily, DeviantArt is kind enough to archive these posts for free, for now. Following Wix's acquisition in February of 2017, it seems safe moving forward.

You can see larger previews of each version (along with detailed notes), or view them live through my pretend “webography” time machine over at: timsilva.com/versions
View Versions

Verizon Fios Pin Codes

As Senior UX Designer, I owned Program Information on the set-top box platform and our mobile apps. An important feature that was grouped under my Program Info responsibilities was the VOD (video on demand) purchase flow. Our platform offered a range of content packages as well as premium programs that could be paid for. Since set-top boxes are often shared by families or roommates, we needed a way to provide a secure payment method that only an account owner could permit. This became known as the Pin Code system.

I introduced a novel solution to the problem of how to make purchases on shared devices in a fast, secure, and invisible way using our existing remotes and design thinking.

At the time, we had several thousand beta users living with our OTT/IPTV platform in their homes. These trial consumers already had our set-top box and a remote control. I saw an opportunity to design a low-friction purchase flow using only the existing hardware.

Request access to my private portfolio to see the full case study.

Verizon Fios Interaction Model

I shared responsibility over the core interaction model for our set-top box (STB) product as well as our mobile companion apps with a Creative Director and Head of Product. This included defining the top-level navigations, remote control interactions, back-stacking guidelines, information architecture, and driving alignment in mobile apps.

I documented the evolving order and permutations of our top-level navigations, produced pixel-perfect mockups for senior leadership and engineers, ran multiple alignment sessions with cross-functional teams, and crafted hi-fidelity interactive prototypes to bring together our thinking in a form that did heavy lifting for our engineers and would be demoed to key stakeholders.

My rapid prototypes became highly in-demand by leadership as they were cheap to produce, they felt real, and engineers would have clear specs concerning animation and easing since they were already refined in code.

Request access to my private portfolio to see the full case study.

Verizon Fios & Intel OnCue Apps

Phones & Tablets, iOS & Android

I was a visual and UX designer on Intel's OnCue mobile apps as well as the rebranded Verizon Fios IPTV mobile companion apps. I also led early stage concepts built on Verizon's unique NFL content contracts that evolved into the go90 project. I worked on the visual design and top-level navigation both iOS and Android Phone + Tablet applications. My work focused on set-top box (STB) alignment, particularly with information architecture and top-level navigations.

Request access to my private portfolio to see the full case study.

Program Info (Verizon Fios & Intel's OnCue)

Program Information was a critical view in the OnCue (by Intel) and Verizon Fios offerings. Every piece of content on our platform had a Program Info screen, including films, series, episodes, one-off specials, sporting events, paid programming, and more.

Content was found in every corner of the experience on our set-top box platform and mobile apps. It’s on the landing screens, in the curated catalogues, in search results, etc. When programs were visible or in-focus, users could either begin playback, or get more info.

I built guidelines which scaled to support hundreds of thousands of programs on our set-top box platform.

Each unique program type had different menus, meta-data, and artwork to display. Sometimes this data was high-quality and complete, while other times it was poor-quality, incomplete, or even missing. I had to intimately known the data we had to work with, audit it frequently to spot edge-cases, and define the grids and layouts for each view-type.

Request access to my private portfolio to see the full case study.

OnCue

May 2012 ~ May 2015

OnCue (wiki) was a set-top box (STB) platform for Intel's over-the-top (OTT) media product and service initiative that was sold to Verizon in 2014.

Private portfolio projects from this role are available upon request.

Intel

May 2012 - Feb 2014

I worked at Intel as a full-time Senior Interactive Designer and a core member of the internal Apps Team. Our group was comprised of the former owners and employees of Archetype which Intel had acquired; I reported to Creative Director, Guido Rosso. We were brought in to design and engineer a set-top box (STB) platform called OnCue (wiki) for Intel's over-the-top (OTT) media product and service. The platform was designed to support television, series, films, games, apps, social, and more.

Our team led discovery, design, and development for the 10-foot user experience, the product websites, and the family of mobile and tablet applications (iOS and Android). I created hundreds of user flows, information architectures, interaction models, wireframes, mood boards, design compositions, content artwork, channel logos, visual assets, prototypes, and documentations across all of the product offerings.

We reported to Erik Huggers, VP at Intel. Much of the OnCue team was made up of ex-Apple and ex-Microsoft employees. The product, called OnCue, did not reach the market under Intel's ownership. The teams, products, and services of OnCue were sold to Verizon in early 2014 where we continued the mission.

Private portfolio projects from this role are available upon request.

Archetype

Apr 2011 - May 2012

I worked at Archetype as a full-time Interactive Designer working under Chief Creative Officer and Founder, Guido Rosso. My responsibilities were to contribute and help present UX/UI deliverables to product/project managers and stakeholders on the client-side. I would collaborate with our team of producers and developers to construct information architectures, user flows, mood boards, wireframes, design compositions, interactive prototypes, guidelines, and assets for both internal and external products. Less than a year after joining full-time, Archetype was acquired by Intel.

Strategically, the founders decided to focus on Microsoft platforms. My contributions leaned heavily towards applications built for Xbox (360), Microsoft Windows (8), Windows Phone (7), and websites targetted for Internet Explorer (IE9). Given the buzz around the iOS and Android markets at the time, we were able to work with leading brands in niche markets through word-of-mouth from Microsoft evangelists and adjacent networks.

Private portfolio projects from this role are available upon request.

Aureon

This one is all about the eye candy. I wanted to create a waterdrop that visually warped/distorted the UI. You can see this at the top-right of the “Sure” button. That idea was the spark, I wanted to see what it would look like. After making that little visual, I finished the piece off with a dialogue box and a fun South Park reference.

Bravo Xbox

I was leading the UX/UI design for Bravo's Xbox 360 application at Archetype. We kicked off the project by running due diligence on existing Bravo applications across various platforms. I succinctly proposed an information architecture that was both consistent with existing applications and appropriate within the Xbox XDK/Lakeview ecosystem. From there, I produced low-fidelity wireframes to map out the entire user experience and surpass technical reviews. I then composed an 80 page functional specification (with wireframes and designs), a style guide (for icons and assets), a 10 page redline specification (measurements, spacing, font sizes, colors, etc), and provided key assets for development. The largest challenge of designing for the Xbox platform was ensuring that the designs would scale to support the natural user interface (NUI) requirements for Kinect's hand gestures, voice commands, and standard DPAD controls. These required unique visual states and animations for each screen within the flow. This included everything from the landing pivot to deep-level modal overlays. I also produced a large user flow and application map with back-stack guidelines.

Manga Xbox

I led the visual and interaction design for the Starz Manga Xbox 360 application at Archetype. I added a visual layer of style onto existing wireframes and produced assets to be used in prototypes and production. It was developed by Starz Manga and launched on the Xbox platform.

This app was build using the brand-new, Xbox Lakeview Interface Guidelines. As an emerging platform, we had the opportunity to partner directly with Microsoft as the ecosystem was still being defined. I worked with our Creative Director and UX Designer to bring push the visuals on our application as far as we could to offer a unique experience for Manga fans. Our UX Designer had built out some of the information architecture and wireframes, and I was tasked with delivering a high-end visual composition for all views across the application. We had frequent reviews with our clients, our lead engineer, and partners as Microsoft to ensure we were not pushing beyond the platform and brand guidelines. As a general rule at Archetype, we started with moonshots and scaled back if necessary.

I worked on this application, while juggling 3~4 other projects, over a 3 month period. The application was launched on the Xbox platform within a few months after I delivered the designs. Development was half in-house, and half on the client-side. Our agency was acquired shortly after completing this project, so I was no longer able to continue work on it. Next, I wanted to redesign the icons set, provide better metadata layouts, and tighten the landing screen's content algorithms. The live delivery of the application turned out solid, and it was in use for at least 2 years until the Xbox One interface guidelines were released, and existing apps had to completely redesigned for the update.

Aeonik

This is a beautiful web interface with depthy buttons, smooth gradients and crisp content. I wanted to mesh the clean style with the tech/interface style. This was really just an experiment gone (hopefully) right. :)

San Francisco Interiors

This web design was for San Francisco Interiors, Inc. They install commercial acoustical ceilings for large companies in the Bay Area including Apple, Chase, Charles Schwab, Moscone Center, Marriott, Bloomingdales, Chevron, Kaiser, Genentech, Pixar, Nokia, Trulia, Salesforce, Twitter, Apple, and many more.

sleekBlack v4

sleekBlack v4 is the latest in a series of fantasy interfaces. The goal was always to chase perfection, which in my opinion, can never be reached. I am forever infatuated with these types of interfaces.

sleekBlack v3

This is the third edition in the sleekBlack series. sleekBlack v3 was focused on rounder shapes and darker atmospheres. sleekBlack v2 wasn't nearly as polished as I'd like, so instead of creating a separate thumbnail, I have included it below.

sleekBlack v2

The second edition of the sleekBlack series was inspired by my friend Jimmy Björkman who went by “Cosmo-Designs” at the time.

sleekBlack

I created sleekBlack (v1) after being inspired by the works of Raymond Sepulveda (aka “Xanthic”) who had a design portfolio, blog, and community with a similar style. His interfaces were sleek and futuristic, and I wanted to learn how he made them by recreating this one on my own, one detail at a time. This was v1, and I kept the series alive.

enimak

I briefly explored using an experimental brand name called “enimac” and later “enimak” for my design services business. It was a short-lived experiment before I decided to simply continue using my real name.

Test and Tag

This was a client project (while I was using the pseudonym enimac/enimak) for an Australian-based company that targets and repairs faulty electrical equipment.

Luscious

I had been producing lots of blue designs around this time, so I wanted to try something green for a change. I also started working on this after being inspired by the Avatar film.

BuyMyBeat

This client project was for a website that sold beats which were submitted by various producers. I did a full design package including the logotype, the layout, and custom page designs for the entire site that was live for many years.

Organicography

Organic + Photography. This is an idea for a photography gallery website. This was before the wild successes of social networks like Instagram, Flickr, 500px, etc. All of the featured photos are my own.

Surface

This was “car manipulation” interface based on a render of the Lotus Evora that I mashed-up into a web design.

YourBiz

This is just a conceptual web design I crafted when in the mood to make something orange. This earned a prestigious Daily Deviation feature on DeviantArt and had over 40k views.

KrazyPlayer

This is a 100% real and functional Winamp Modern Skin that I shipped before iTunes and Spotify took over. It was downloaded by over 200,000 people.

I worked with a development group called the Skin Consortium who offered to collaborate with designers to develop and engineer their visions into working Winamp Skins.
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Tropical Beach Resort

This was a web design I created after being inspired from a trip to Hawaii.