Repeatable capabilities, not one-offs.
I’m most useful in the messy middle of product development — the space between an exciting idea and a product that actually has to be made, packaged, shipped, sold, and used.
That is where a lot of design decisions become real. The form has to look better, but it also has to hit cost. The product has to feel more valuable, but not become harder to tool. A rendering has to sell the idea, but the CAD still has to make sense to the factory. A prototype does not need to be perfect, but it needs to answer the right question.
My work is built around that balance: strong visual direction, fast exploration, hands-on prototyping, and production-aware design that can move from concept to retail shelf.
01
Design Language & CMF Systems
One of the biggest lessons I have learned at OnTel is that individual products are only part of the story. When a brand has a lot of products across different categories, the line can start to feel disconnected if every SKU is designed in isolation.
That is why I pay close attention to design language. I look at the bigger system: form direction, color, materials, finishes, graphics, button placement, branding zones, packaging cues, and how everything reads together at retail.
The goal is not to make every product look identical. The goal is to make the family feel intentional. A customer should be able to see the product on shelf and feel that it belongs to the same world, even if the function is different.
This work matters because it helps the team move faster, gives vendors clearer direction, and raises the perceived value of the product line without always needing major architecture changes.
What I focus on:
CMF direction, product-family consistency, visual brand language, shelf presence, finish selection, control layout, graphic hierarchy, packaging cues, and retail readability.
02
AI-Assisted Concept Development
I use AI tools like MidJourney and Vizcom in the early stages of design because they help me explore more directions faster. They are useful when I need to quickly compare form language, mood, proportion, or visual direction before committing to a path.
But I do not treat AI as the designer. A generated image does not know the part break, the cost target, the assembly, the user’s hand, the packaging size, or what the factory is going to push back on.
For me, AI is a way to widen the front end of the process. It helps me get past the obvious first ideas and bring more options into the conversation. After that, the real industrial design work still has to happen: sketching, filtering, CAD, ergonomics, CMF, prototyping, and deciding what actually makes sense for the product.
The value is not just speed. The value is better conversations earlier in the process.
What I focus on:
Form exploration, visual direction, mood boards, concept range, fast iteration, design filtering, sketch refinement, CAD translation, and early presentation visuals.
03
In-House FDM Prototyping
I like getting things off the screen as early as possible. A model can look good in KeyShot and still feel wrong in your hand. Scale, grip, button location, assembly, and proportion are hard to judge until you can physically hold the object.
That is why in-house FDM prototyping has become a big part of how I work. I use printed models to test size, form, fit, interaction, and basic assembly before a project moves too far into sampling or vendor development.
These prints are not always pretty, but they are useful. They make problems obvious. They help the team stop guessing. They turn a meeting from “I think this feels too big” into “this is too big — let’s change it.”
That kind of early physical feedback saves time because the team can make better decisions before the cost of changing direction gets higher.
What I focus on:
FDM prototypes, scale checks, ergonomic studies, grip testing, assembly validation, fit checks, sample reviews, internal alignment, and vendor communication.
04
Production-Aware Design
I care a lot about the look of a product, but I also care about whether it can survive production.
At a mass-retail company, design cannot live only in the rendering. The product has to work through tooling, materials, cost targets, packaging, shipping, factory feedback, and the way a customer understands it in a few seconds on shelf.
I try to think about those things early: where the parts split, how surfaces transition, where the controls live, how the product is assembled, where graphics sit, how the packaging explains the benefit, and how the vendor will interpret the design intent.
That is the part of industrial design I enjoy most — taking something that starts as a loose idea and pushing it until it becomes a real product with a clear reason to exist.
What I focus on:
SolidWorks CAD, DFM thinking, part breaks, surface transitions, control drawings, overseas OEM communication, sample feedback, materials, finishes, packaging communication, and production handoff..
05
How I Work
My process is fast, visual, and hands-on.
I like to explore broadly, narrow down with real constraints, prototype early, and keep refining until the product feels clear, useful, and ready for retail. I’m not interested in design that only looks good in a presentation. I care about the point where the product has to be understood by a buyer, made by a factory, placed on a shelf, and used by someone at home.
The best design work usually happens when the creative side and the practical side are working together. That is the space I try to stay in.
What I focus on:
SolidWorks CAD, DFM thinking, part breaks, surface transitions, control drawings, overseas OEM communication, sample feedback, materials, finishes, packaging communication, and production handoff..
See how this shows up in my projects →