Motion Designer
Keyframe Architect
Cocktail Slinger
Chaotic Multitasker
80’s Techno wooer
Motion Designer
Keyframe Architect

Typography, Motion Design/Time-Based Communication
Aka: froggie
Proudly: Hispanic-Canadian
Nathaniel is a communication and motion designer with a passion for impactful design. He constantly adapts to different environments and explores unique ideas to inspire curiosity in his design. Nathaniel attempts to incorporate raw elements from a daily experience and aims to connect to his target audience on an emotional level. Additionally, he is a fast-learner and approaches his challenges with an open mind. With his experimental mindset, he likes to try new foods, different hobbies, and capture memorable moments through photography in his free time. Most of all, Nathaniel believes doubt is not to interfere with sheer will. You are the only power.
First thing you would do after COVID is over? (If ever)
Go to the movie theatres with Gagan Saggu.
2nd favourite typeface (after Papyrus)
Favourite Designer(s) and/or Design Communities
Jenny Tiêu, Nathaniel Rojas, Emily Malcolm, Mena Rimac, Natalie Almosa, Christine Chow, Kiran Patel, Victor Wong, Andrew Del Rizzo, Sam Yang
Case Studies
The Salvation Army Rebrand
The Salvation Army is a Christian non-profit organization founded by William Booth in the UK around 1882 and has expanded into multiple locations in Canada and across the world. The organization has various services, from shelters, churches, thrift stores, recreational events, food banks, social services, and emergency disaster services. The Salvation Army has made its presence in providing a sense of change to the less fortunate. The act of giving alone is a mighty deed. The Salvation Army’s rebrand offers an enhancement to its passionate identity for making a difference and influences an inclusive atmosphere for everyone. The importance of promoting the inspiration of others through kindness and committing to goodwill is exhibited throughout its strategy.
A significant part of the organization’s history was William Booth’s efforts in redefining the conventional use of a church to a shelter. This factor had a vital contribution to the rebrand of the organization and their logo. The concept was to adopt the door frame and re-introduce it with the logotype and present a memorable element attached to it being the “S” streaks. The additional element to the logomark also serves as a representation of unity, a strong practice in the organization. The logotype presents a visually welcoming and legible typeface that works with the slogan embracing the devoted attribute of The Salvation Army.
The thesis project presents an approach to the pandemic scenario where empty spaces capture emotion. The goal is to illustrate the personal impacts that one may experience through the isolation period. The campaign concentrates on Canadians who are affected by the circumstances the pandemic offers. Thus, the footage of the environment takes place in the heart of Toronto, Ontario. The two-minute film presents a mixture of recorded soundscapes and ambience, which establishes the context of the scenes.
This overall progress took place in a year. Research and observations dedicated themselves to half of the year and the design process for the remainder. The importance of the video surrounds the interpretation of many interviewed participants and public observations who found themselves affected by the isolated lockdown period. While some may have shown less impact than others, the majority felt equally disconnected from their reality. Initially, the discovery of frustration towards reasoning behind specific provincial guidelines from participants inspired the concept—the overall perspective of the collected data expanded into the direction of other significant impacts. From there, the possibilities towards a design output were apparent.
How to Win
How to Win is a 30-second motion graphic piece incorporating handmade elements manipulated into a digital output with overlaying dialogue from the film “Rocky.” The motion piece consists of vibrant colours and organic texture to enhance the impact of the speech. The visual theme is based on vintage boxing posters incorporating a bold slab serif typeface as the main element.
The dialogue was recreated using an extensive linography method. The procedure began with laying out the characters of Alfa Slab and printing out the existing typeface. The printed result was used as a stencil on a block of rubber and carved afterwards. Using the original dialogue as a reference, each word was pressed by hand using acrylic paint three times to create a visual effect. The process proceeded with scanning and cropping each set of words, then bringing them into a composition.