Paul
Green.

WM Phoenix Open is the loudest, most chaotic week in professional golf. The 16th hole alone draws 20,000+ people a day. Breezy Golf needed apparel that could compete with that energy and a campaign that looked like it belonged in the middle of it.

Designed the full tournament-week collection and art directed the lifestyle shoot on-site at TPC Scottsdale. The campaign ran across Breezy Golf and Doing Things Media's network, putting the product in front of the exact audience that was already at the tournament.

The NFL was bringing back throwback uniforms across the league. Bud Light, as the official beer sponsor, needed a campaign that felt like it belonged in the same conversation as the uniforms themselves, not just an ad that ran alongside them.

We designed team-specific throwback cans and built a national rollout through Mitchell & Ness and Fanatics, putting the product directly inside the nostalgia moment rather than observing it from the outside.

Bud Light Seltzer had a perception problem: consumers didn't fully understand what it was. The brand needed to be present at Lollapalooza in a way that clarified the product while living inside the music festival world authentically.

Instead of a correction campaign, we built a visual world around disappearance. With Charlotte Sands as the artist partner, the shoot leaned into festival energy and seltzer's lightness. We partnered with a local Chicago vinyl record company to press clear vinyl — festival goers could add their favorite track from select artists on the Lolla lineup that year. The social contest gave fans a way to participate.

BABE Wine became the Official Canned Wine of the NFL. The brief: earn football fans who had never thought about wine at a tailgate. The product had the credential. The campaign needed to make the culture feel earned too.

We built a series of Unnecessary Inventions designed to solve fake tailgate problems with BABE Wine as the hero. Webby Finalist 2022. Featured in Adweek. The meme content through Doing Things Media's network spread the campaign further than a media buy ever would have.

Anheuser-Busch was launching CACTI, a new agave-spiked seltzer, in partnership with Travis Scott. The launch film needed to feel like a cultural moment, not a product ad. Travis was at the peak of his cultural influence, and the NBA Eastern Conference Finals provided the platform.

12.2 million social views in the first 24 hours. Treated like a music video and a brand launch simultaneously. The film used Travis's unreleased track and built an entire visual world inside a single drop of condensation on the can.

7-Eleven had been expanding their 7Collection merch platform into the golf space. Breezy Golf needed a collab partner that lived at the exact intersection of their audience: guys who take their golf semi-seriously and their snacks very seriously. Bob Does Sports was already there.

The brief was to design a full collection that felt like a genuine collaboration, not a logo swap. Every piece needed to earn its place in both brand worlds simultaneously.

The color palette pulled directly from 7-Eleven's brand DNA: the red, orange, and green stripes anyone who's ever walked past a Slurpee machine can identify instantly. The polo mirrored those exact stripes as chest bands. The "Gimme & Gulp" cap combined golf's most recognizable call with 7-Eleven's most iconic product in three words.

The all-over print polo hid 7-Eleven snacks and golf gear throughout the pattern: Big Gulps, hot dogs, clubs, tees. A joke that rewards people who look twice. The "7 Holes, Eleven Snacks, Yeah...we played 18" tee captured the exact energy of the Bob Does Sports audience and became the campaign's most shareable piece.

The co-branded headcovers brought both logos together as a single designed object. Every accessory, every detail, every graphic built to live in both worlds at once.

Bud Light had a TV spot called "Magnet" where a woman single-handedly carries a full round of freshly poured pints to her friends. The brief was to turn that moment into a social movement around their new tagline: Easy to Drink, Easy to Enjoy.

We built the #EasyCarryContest: submit your carry, win $15,000 and tickets to the Final Four. The campaign needed to work across paid influencers, organic meme content, a live stunt, and fan UGC simultaneously.

6.2 million impressions in the first 72 hours. Over 400 fan video submissions. Druski, Allison Kuch, and Rachel Demita all created challenge content. Pat McAfee ran it on his show and had his team attempt the carry live.

Jordan Knapp took the campaign to Madison Square Garden for the Sweet 16. Her live carry went viral on Instagram: 2 million views, picked up by meme accounts across Doing Things Media's network. A TV character became an internet moment. That was the whole play.

Pickleball went from backyard sport to primetime in about 18 months. Anheuser-Busch saw the wave coming and bought in early, securing expansion team rights for an Atlanta-based MLP franchise. I was brought in to build the entire brand identity from scratch: name, logo, color system, apparel direction.

The challenge was marrying two things that don't obviously go together: the credibility of professional sport and the energy of a beer brand that knows how to have a good time. Atlanta added a third layer.

Introducing the Atlanta Bouncers. The bald eagle nods to Atlanta's tradition of bird-based sports teams. His arms are crossed, his stance is bouncer energy, and he's looking rightward: a direct reference to Anheuser-Busch's forward-looking brand ethos.

The color system roots the team in Georgia: Peach for the state nickname, Barley Gold for the beer, Matte Black because every Atlanta team wears it. Nothing in this identity is accidental.

I grew up in Colorado. The mountains weren't a destination — they were Tuesday. And the culture I grew up in had two pulls that everyone else kept separate: the ranch and the slope. Cowboys riding down the same mountains that ski brands were turning into something I didn't recognize.

The mountain lifestyle space had been taken over by parkrat energy, tech fabrics, and hype-driven streetwear brands with no roots. The western tradition — the cheeky phrases, the shared love of cold air and open space — was completely absent. Cowboy Ski Club was built to fill that gap.

CSC lives at the intersection of two cultures that were always the same culture. It's wearable for the actual cowboy in Wyoming and the one who moved to Austin or LA and still wants to rep where they came from. The attitude is shared: irreverent, outdoors-first, built to last.

We're expanding into ski technical gear — because the original riders deserve proper kit. The brand I built and continue to build from the ground up: identity, apparel, community, and content.

The NHL partnered with Adidas on a league-wide alternate jersey initiative: every team reinterprets a piece of its own history with a modern recolor. As Lead Designer for the Nashville Predators, I was responsible for delivering a jersey that respected the franchise's legacy without feeling like a costume.

The challenge with Nashville is that the history is short but specific. The Preds only entered the league in 1998, so every design decision carries real weight. Fans remember everything.

I drew directly from the original 1998 inaugural season sweaters. The silver arm striping came back. The fossil sabertooth patch came back. The gold stayed dominant because Nashville is a gold team and that was never up for debate.

The design went through multiple rounds of concepts before the winner was selected. Confident, grounded, and built to last longer than one season.