Hulu
Designing distinct campaigns at streaming scale.
Client
Hulu (via VML)
Tools
Photoshop, Figma, After Effects
Type
CRM / Email Design & Motion
Duration
2020-2026
Role
CRM Designer & Developer
Problem
Every campaign ships in inbox-ready one-, two-, and three-column formats on recurring deadlines, while staying faithful to a dozen-plus partner brands with different typography, color, and promotional hierarchy.
Solution
A stable production framework that handles email's structural requirements, plus flexible hero modules and text treatments that let each title keep its own identity.
Outcome
My contribution helps the CRM team deliver a high volume of accurate, on-brand campaign assets across a complex partner ecosystem. Animated heroes became a recurring option for campaigns needing more attention in the inbox.
Visual System
Color
Typeface
Graphik
AaBbCc Gg Qq 0123456789
Hulu's brand typeface
Project emphasis
The story, section by section.
Recurring Email Production
The constraint
Campaigns arrive as layered Photoshop creative and have to leave as one-, two-, and three-column email, on a recurring schedule, across Hulu, Disney+, ESPN+, ABC, FX, Freeform, National Geographic, HBO Max, Paramount+ with Showtime, and Starz. Each partner has its own typography, color, image treatment, and promotional hierarchy.
The decision
Rather than treat each request as an isolated resize, I learned the system behind each brand: what its hierarchy protects, which crops survive, where a CTA belongs. That fluency is what lets the work move quickly without flattening into a template.
The execution
I prepare the source PSD, rebuild the composition in Figma against Hulu's email structures, and adjust hierarchy, cropping, typography, and CTA placement per column configuration. Every output is checked against the email environment it has to survive.
Custom Show Campaigns
The constraint
The standard promo template is efficient, but it flattens a title's identity. Signature shows like The Handmaid's Tale, Beauty, and Tell Me Lies needed sends that read as part of the show's world rather than marketing about it.
The decision
For these titles I stepped outside the template and designed in-world: borrowing the show's atmosphere, palette, and narrative tone, then rebuilding the email around it. The framework still guaranteed deliverability; the creative earned the attention.
The execution
Title-specific hero art, promotional modules, and text treatments, adapted into supported email interactions where they earned their place: hover states, carousels, and polls tied to the show's story.
What changed
Each campaign held its own presence in the inbox, and the approach set a reference point for how in-world email creative could work for future titles.
Animated Hero Assets
The constraint
Static artwork could not always carry the energy a release needed, but email is an unforgiving medium for motion: limited client support, hard file-weight ceilings, and no room for anything that fails to read at a glance.
The decision
Motion here has to do a job in about two seconds. I use pacing, hierarchy, image transitions, and typography to deliver the message quickly, so the movement supports the promotion instead of competing with it.
The execution
Clean up the source PSD and export flattened frames, design the frame-by-frame sequence in Figma, animate it on a keyframe timeline in After Effects, then export a lightweight, email-safe GIF that stays legible inside the size budget.
What changed
Animated heroes went from an exception to a recurring option; a majority of the team's sends now include an animated hero or trailer.
The Results
12+ networks, on time, on brand
My contribution helps the CRM team deliver a high volume of accurate, on-brand campaign assets across a complex partner ecosystem. Animated heroes became a recurring option for campaigns needing more attention in the inbox.