The work starts before the first sketch.
Hey, I'm Scott.
I've been drawing since the early 90s and working professionally since 2010 — but what shaped how I work wasn't a design school curriculum. It was years of paying attention to brands: studying what made some feel alive and specific, and why others felt like they could belong to anyone.
That curiosity became a method. Before I open a sketchbook, I read the brand — its history, culture, the moments that made it what it is. The illustration comes after. It's why work I've done for companies like Dutch Bros and Chevrolet looks specific to those brands rather than interchangeable.
I've worked at agencies, in-house, and as a freelancer. That range gave me something most illustrators don't have: the ability to think like a strategist and execute like a craftsperson.
Why hand-crafted matters
Most brands today are chasing the same aesthetic: clean, minimal, safe. Identical sans-serif logos. Stock illustrations. AI-generated patterns. Template-based solutions that every competitor can access. It all blends together.
I take a different approach. Every project combines strategic thinking with actual craft: hand-drawn elements, custom illustrations, research-driven design decisions. Not because "imperfect is authentic" (that's a cliché), but because custom work solves specific problems that templates can't.
Dutch Bros needed a headquarters installation that told their story — not generic corporate art. Campbell Ewald needed racetrack illustrations for Chevrolet that stock images couldn't touch. base5280 needed Colorado merchandise with a point of view, not the 47th version of the state flag.
The hand-crafted aesthetic isn't a style choice—it's a strategic one. It signals someone invested time and thought into this, not just applied a template. And yes, you'll see the human touch in the work. That's the point.
Where the aesthetic comes from
My design aesthetic didn't start in design school—it began in middle school, when I would cut out my favorite skateboard deck graphics from CCS catalogs and glue them into notebooks. I grew up skateboarding, riding BMX, and rollerblading, completely immersed in action sports culture.
In high school, I worked at a local bike shop—partly for the paycheck, partly to get a mountain bike. Those years exposed me to the intersection of technical engineering (obsessing over bike components and studying drafting in school) and bold visual expression (product design, brand identities, and graphics).
The combination of action sports and street culture shaped my entire visual approach. I learned that the best brands don't blend in—they commit to their personality, even if it's rough around the edges. I incorporate that philosophy in everything I create.
The graffiti-influenced lettering, the hand-painted shoes and skateboard decks, the Bad Luck brand's aesthetic—they all trace back to those formative years when I was surrounded by brands that weren't afraid to have personality.
Now I bring that same energy to client work: bold visual storytelling that doesn't play it safe. Whether I'm working with agencies, corporate clients, lifestyle brands, or back in the action sports culture where it all started, the underlying philosophy stays the same—create work with authentic personality, not sanitized corporate decoration.
Want to see where this aesthetic comes from?
How projects work
Every project starts with a conversation, initiated by you, either by submitting a project inquiry form or by sending me a quick email.
We’ll schedule a video call, which is an opportunity for me to ask deeper questions about your story and project. The goal is to get to know each other and plan the ideal outcome for what you need.
After our call, I’ll create a project agreement that outlines the project, including price, deliverables, timeline, and all the dirty details. Once the agreement is signed and the initial deposit is paid, I’ll start the project as outlined in the agreement.
Throughout the project, we’ll review proofs of the work. This gives you insight into the process and, more importantly, a chance to provide feedback.
Once the project is complete and the final payment is made, I’ll send you the appropriate files in all necessary formats (according to the project scope).
What guides my work
Research before rendering
Every design decision comes from understanding your story. If I can't explain why something's in the piece, it doesn't belong there.
Strategy and craft, not one or the other
I develop the concept and execute the illustration. No handoff, no compromise between the thinking and the making.
Selective by design
I take on projects I can do excellent work for. If I say yes, it means I believe in the project — and you'll feel that in how I show up.
Collaborator, not order-taker
I'll ask questions, push back when I see a better solution, and advocate for what actually serves your goals — even if it wasn't what you originally asked for.
Beyond the studio
I'm a runner who learned early that growth happens when you show up consistently and push beyond your comfort zone. You don't see results immediately, but you trust the process. That work ethic carries directly into how I approach client projects.
I'm also a percussionist. I played from grade school through the University of Oregon marching band drumline. My role wasn't to steal the spotlight; it was to keep time, provide foundation, and set up the band for their big moments. That's how I approach client work too: I'm here to make your brand look great, not compete for attention.
Outside of work, you'll find me nerding out over Formula 1, playing with my kids, or solving puzzles. I've always been drawn to figuring out how pieces fit together and finding patterns—skills that translate directly into design problem-solving.
Let's talk about your project.
If the way I work sounds like what you've been looking for, I'd love to hear what you're working on.