Process
Shaping a wordmark with some groove to it.
The brief called for something hip and retro — a wordmark with real character, closer to a hand-lettered concert poster than a typical logotype. I explored alternate constructions for the W and V: rounder counters, more playful terminals, letters that felt like they were in motion. Our head of design folded them into the type system he'd already built, and together we landed on a mark that reads equal parts vintage radio and modern broadcast. From there, I moved into sourcing the shader textures that became the station's signature look, and designed the web and mobile experience end to end.
Visualizer
From there, the creative technology team took the concept further — building this audio-reactive visualizer, feeding live signal into the shader system so the station's look pulsed and shifted with whatever was actually on air. Powered by The Machine, voiced with ElevenLabs, scored by Epidemic Sound.
Prototype
Try the shader concept yourself.
This is the actual prototype I built and handed off to the creative technology team — a way to show the look and motion I had in mind before anyone wrote the real shader code. The images above are the same static frames already approved for the sizzle video; swap between them to see how each one reacts, or adjust the parameters yourself.
Touchpoints
A type system built to travel.
I designed the web and mobile UI — typography, layout, the responsive system the station ran on all week — then carried that same type system into print. I built the files for the ai.rwaves stickers handed out around the festival, plus coasters stamped with a QR code linking straight to the station, so anyone at Sport Beach could scan, tune in, and keep listening.
