For anything else, write to m@saramarkie.com.
My experience spans creative direction, strategy, writing, AV, and live production in the US and Europe. I work across the concept, the team, and the practical work of making it happen.
High-end brand experiences, private and corporate events, exhibitions, public art, and spaces. I also work on brand strategy, naming, identity, and content, bringing creative direction and production together.
I start with the purpose, the people, and the constraints. Then I develop a direction, test it through sketches or prototypes, and refine it with the team.
I welcome direct feedback. I clarify what needs to change, agree on priorities, and make sure each revision serves the project.
Clear, considered, and shaped by the project. I care about proportion, materials, legibility, and how people experience a space or piece of work.
I look at the audience, the offer, and what makes the organization distinct. That gives us a basis for the name, voice, visual direction, and how the brand is used.
Adobe Photoshop, Illustrator, and InDesign; Procreate for drawing; Polycam for 3D scanning; and InVision for prototyping. I also use collaboration and project-management tools to keep work moving.
Through exhibitions, reading, conversations, and ongoing learning. I’m interested in tools and ideas that make the work better, rather than following every trend.
I break projects into clear stages, track deadlines and dependencies, and raise conflicts early. Trello, Monday, and regular check-ins help keep priorities visible.
Clear roles, shared context, and room for people to contribute. I want collaborators to know what we’re making, what they own, and where they can ask for help.
We agree on success at the start. Depending on the project, that may mean audience engagement, a stronger identity, a successful installation, or delivery within the agreed scope and budget.
Yes. I use the guidelines to understand the brand, then look for a strong expression within them. Consistency should make the work recognizable without making it repetitive.
At an art gallery and community space in San Francisco, I coordinated designers, writers, and photographers on an event campaign spanning digital, print, and outdoor materials. Clear responsibilities, weekly check-ins, and budget tracking helped us keep the work consistent and deliver it on time.
In my editorial work, I balanced a documentary promotion with a magazine-launch campaign. I broke each project into stages, tracked deadlines in Trello and Asana, and used regular check-ins to resolve conflicts and keep collaborators informed.
I study the brand’s history, audience, values, and existing work. Then I ask what needs to stay recognizable and where there’s room to develop.
I establish a shared visual direction and review materials against it. For fashion-brand webinars in Milan, that meant checking each asset for consistent typography, imagery, and presentation.
In Chicago, I coordinated photographers, videographers, and an image-enhancement partner for event-promotion assets. I reviewed the work for accuracy, consistency, and fit with the intended use.
Yes. Earlier work in Chicago included catalog print production for a tech company, with Salesforce and Quip used for coordination and collaboration.
I compare the work with its peers, listen to the team, and look for a specific problem worth solving. In Milan, that included exploring AR through a small pilot before considering it for larger campaigns.
Singing, writing, dancing, reading, sculpture, travel, and hiking. I’m a former gymnast, so stretching is still part of my day.