Halo Dental Technologies is a Canadian startup that designed and developed a connected digital mirror for dentists. Our team built the website and launch video to bring the product to market.

The dental industry is dominated by a handful of multinationals and isn’t especially open to new players. Selling a preorder-only mirror priced more than 350 times higher than a traditional one, for a company no one had heard of, was a major challenge. The work had to establish instant credibility and make a premium, unfamiliar product feel inevitable.

Drawing on the polished, high-fidelity language of the world’s leading technology brands, we built a visual universe that captures attention while making the product’s benefits immediately clear. Every detail signals precision and trust, positioning Halo not as a newcomer but as a serious contender in a closed market.

I led the 3D and motion work behind Halo’s launch, producing the assets that carried the product across the campaign and website.

The core of my contribution was a set of high-fidelity 3D renderings of the digital mirror, built to the standard expected of a precision technical object. I worked jointly with the product design team throughout, matching every detail of the geometry, material and finish so the renderings held up as a faithful representation of the real product rather than an approximation. That accuracy was essential for a premium device that users couldn’t yet hold in their hands.

From there, I extended the 3D work across the full rollout. I produced product and packaging visualizations, designed posters that showcased the renderings and created the launch video featured in this submission. For the website, I handled the UI motion system across the entire experience, along with the 3D rendering animations that run throughout the site, giving the product a consistent, polished presence from first impression to checkout.

The result is a single, coherent visual language, anchored in realistic 3D and brought to life through motion. It positions Halo with the credibility and refinement that its market demands.

Motorola is a global technology brand with a presence spanning every market and touchpoint, from the smallest interface to the largest campaign. Built alongside PORTO ROCHA, the project was a complete rebrand and a full rebuild of the systems behind how the company shows up worldwide.

The challenge was scale. A brand operating at Motorola’s reach needs a system rigid enough to stay coherent across thousands of applications, yet flexible enough to evolve with the times without losing its roots. The framework was built from the ground up, defining how every element behaves from micro to macro, from a single icon to a global product launch.

The system spans every expression of the brand, from typography and colour to product and campaign. Among its pillars is motion, a theory that captures Motorola’s energy, attitude and expression. It's treated as a supportive layer, stripped back when nonessential so the message can take the spotlight, and never decorative. Every move amplifies meaning and reflects the brand's confident, expressive personality. The result is a living system, built to hold together at any scale and to carry Motorola forward while keeping it unmistakably itself.

I worked closely with a motion director at PORTO ROCHA and the design team driving the project across web and brand design. The motion systems were mine to build: animated logo, type and 3D renderings, developed to hold together across the full range of Motorola’s applications.

I brought the secondary 3D logo to life, giving the brand dimension and presence in motion. I also developed the spherical image treatment used for the brand’s boldest moments, wrapping footage and imagery into a sphere that ties back to the circle at the core of Motorola’s logo. That device connects every heightened moment to the brand’s central form, elevating the identity while keeping it unmistakably Motorola.

The system had to perform at every scale. For the brand’s boldest moments, that meant the spherical treatment and fully animated 3D renderings, built to command attention in hero films and launch campaigns. At the other end, it meant restrained, precise type motion for social media ads and banners, where a single animated headline has to land in seconds. The same motion language carries both, holding its character whether it’s a full cinematic sequence or a quick in-feed moment.

Throughout, the work followed the brand’s motion theory: Motion as a supportive layer that amplifies meaning rather than decorating it. Every move was built to reflect Motorola’s energy and expression, scaling from the smallest interface animation to the largest campaign moment while staying coherent across the entire system.

REF is a web studio based in Montreal.

Our team developed the studio’s complete visual identity and brand system. REF’s identity is rooted in the paradox of a “10-year-old startup,” a company with the agility of a new player and the discipline of a seasoned one. The system uses geometric perspective, anchoring everything around a modular square that pivots and transforms from 2D to 3D, illustrating how a single reference point can redefine an entire vision. Far from the monochrome standards of the industry, the aesthetic leans on the organic softness of greige and khaki, punctuated with sharp neon green. Between encyclopedic illustrations and jargon-free writing, the identity pairs intellectual rigour with digital agility, signalling a studio that thinks deeply but moves quickly.

The result is a human, high-performance brand that embodies its motto: Move fast, build to last.

I developed REF’s entire motion system, extending the identity from logo and typography to image treatment and 3D illustrative work. The whole system grows out of the square at the brand’s core, evolving that single form into 3D and motion to give expressive shape to REF’s values and principles.

Beyond the system itself, I worked closely with the designer leading the brand identity, joining the creation process early to bring ideas that would put motion at the centre of REF’s toolkit rather than treating it as an afterthought. From 3D illustration to motion language, the goal was a brand where movement is foundational, not applied later. I also crafted the launch video, carrying it from storyboard through to final edit, with sound design produced alongside an external collaborator. The video’s role was to push REF’s vision out of pure concept and into the real world, explaining what the brand stands for and setting the tone from the very start of its life.

The result is a motion system that doesn’t just decorate the identity but defines it, giving REF a way to move, behave and express itself with the same intent built into every other part of the brand.

POP! OU RIEN (translated as “Pop or Nothing”) is a new cultural news magazine broadcast on Noovo, a major network in the French-speaking province of Quebec, Canada. Our team created the entire visual identity and motion design system.

The identity is built around a high-impact, print-magazine-inspired system. From the bold custom masthead logo to the vibrant colours and dramatic layouts, every element is engineered for maximum visual punch. A custom highlight effect flashes across the typography, echoing paparazzi cameras to add an undeniable layer of pop glamour. The motion principles bridge Y2K-era tabloids, traditional journalism and digital feeds, blending classic newsroom tickers with social media’s vertical scrolling, while letters animate sequentially like real-time typing.

We delivered a scalable toolkit of flexible motion templates including intros, outros, titles and transitions, empowering the production team to remain fully autonomous and rapidly package daily cultural news within a cohesive, highly stylized brand.

Working alongside the designer creating the identity, I developed the motion system for the show, taking its core aesthetic pillars and bringing them to life in ways a static system alone couldn’t reach. The identity draws on Y2K-era tabloids, traditional editorial magazines, social media and glamour, four references the motion system had to unify and bring to life. The approach kept things simple but impactful: I introduced the glimmer as a signature treatment for type, logo and footage, layering it over the existing brand assets to add complexity and energy without overcomplicating the language.

A core part of the project was building every asset and tool around the people who would actually use them. The system was made for Bell Media’s internal production team, so I developed the motion graphics templates in After Effects, one of their standard software programs, with fully customizable fields for content, footage and colour. Animations like background and type colour changes were built to be adjusted on the fly, giving the team a flexible toolkit that’s easy to use and fast to deploy.

The result is a system designed for autonomy. Rather than a set of fixed assets, the team received tools they can drive themselves, packaging weekly cultural news within a cohesive, highly stylized brand and set up to keep producing at a steady pace well into the show’s life.

This collection brings together a range of 3D work spanning modelling, texturing, lighting and animation, produced across commercial and brand projects. Each piece demonstrates a different facet of the craft, from photoreal product rendering to stylized 3D illustration.

Watier, a premium beauty brand, needed a product launch built around its serum: a 3D simulation and animation of the bottle, rendered to capture the material precision and refinement the product stands for.

Lithion Technologies, a Quebec startup recycling lithium-ion batteries to recover critical minerals, used 3D to support a rebrand, translating an industrial, sustainability-driven story into polished visuals.

Il Teatro, an Italian restaurant, called for a warmer, more atmospheric treatment, using light and texture to evoke the mood of the space.

Loto-Québec needed a series of 3D illustrations to represent its casino spaces across every location, building a consistent visual language at scale while supporting a responsible-play approach.

And the Canadian Space Agency’s rebrand brought its logo into real-world context, rendered onto a spacefaring rover to ground the new identity in a tangible setting.

Across all five, 3D became the medium for telling each brand’s story, adapting tone, material and technique to the demands of each project while holding a consistent standard of polish and detail.

For Watier, I created 3D renderings of the bottle along with simulations that visualized the new product at a microscopic level, translating the science behind it into something tangible and premium.

For Lithion Technologies, I worked alongside the designer crafting the brand identity to put 3D at the core of the brand’s toolkit, visualizing the company’s goal of a greener earth through battery material recycling. I represented each recovered material, lithium, nickel sulfate, cobalt sulphate, graphite and Lithion’s own black mass with every rendering approved by a Lithion chemist to ensure the highest possible accuracy. From logo to materials, everything was built by me and lives across the website and all brand applications.

For Il Teatro, I produced a series of renderings representing textures found in the restaurant, designed by our architecture team, working in tandem with the brand created by a fellow designer.

For Loto-Québec, I created a series of stylized 3D illustrations for casinos across all locations. These illustrations live as a core part of the casino environment throughout its applications. The goal was to capture part of the casino experience without glamorizing it, in keeping with responsible play.

For the Canadian Space Agency, I rebuilt the rover, a real spacefaring vehicle set to carry the agency’s logo, to visualize it in context, along with logo animations and other visualizations for the agency's new brand.