A different product every time. The same job every time.
Thirteen years across live-service games, SaaS platforms, mobile titles, and client work. A shooter played by millions, a quarterback training platform, slots built under licensor review, a consultancy selling to federal agencies and small businesses at once.
What carries between them is not a style. It is a habit: find where people are getting stuck, and design that away.
Product Design · UX / UI · Product Marketing
A quarterback training platform for coaches and athletes: QB Lab, Offensive Info, and Custom Racks.
Sales up 45% after my additions shipped.
View case study →UX / UI · Brand identity · Client sites
The site for an AI consultancy selling to federal agencies and small businesses at once, plus sites for their clients.
Two audiences who share nothing, one front door.
View case study →Sole → Lead UI/UX · Retention · Monetization
Rebuilt the out-of-game experience of a nine-year live shooter: store, inventory, quests, daily login, and per-champion HUDs.
Cut the 7-click purchase flow, four clicks above the genre standard.
View case study →System design · Modernization · Retention
Reimagined core out-of-game systems for the sequel, simplification first, boutique themed UI second.
A modern front end a returning audience does not have to relearn.
View case study →Research · Retention · Modernization
Four programs on a declining match-3 title: two new features, a UI modernization, and an outsourcing pipeline.
Includes the redesign that failed, and what I did next.
View case study →“Kam absolutely owned UI/UX as a single individual. She was self-sufficient, self-managing, and clear on her tasks. It was a massive relief to have a pro at the helm.”
Read all recommendations →My resume is one click away, and I answer email the same day.
Every product I have worked on has been someone else's world. My job in each of them has been the same one.
Thirteen years of it. Seven in web and PC, six in mobile, across industries that share almost nothing.
Live titles with fixed ship dates taught me to plan the day a project is approved and to work agile beside the engineers building it. I have led a team and I have been the only designer in the room, and I am better for having done both.
When a domain is new to me, I learn enough to be useful and ask the people who live in it for the rest. That is how a designer who had never called a play ended up designing how quarterbacks study.
Lately that means carrying what games taught me about attention, motivation, and clarity into SaaS. Scientific Games, Caesars, Zynga, Hi-Rez, and most recently Crucible.
“Kam’s exceptional creativity, technical expertise, and pragmatism have made a significant impact on the game we worked on, and I am confident that she will be an invaluable asset to any team she joins.”
I had the privilege of working with Kam for the past three and a half years at Hi-Rez Studios, where she, as sole and Senior UI/UX Designer on Paladins, reported directly to me.
Kam played a critical role in the design and implementation of several major features in Paladins, including the Daily Login and Quest systems, custom mutators for game modes, and the complete rework of the Item Store UI in the Siege: Beyond update. Her ability to manage large-scale design projects, deliver polished, intuitive user interfaces, and collaborate across disciplines, often under tight deadlines, was instrumental to the game's success.
Kam took point on several process improvements and helped to establish best practices on Paladins. She was pivotal in prioritizing UI/UX features and managing project milestones to align with tight deadlines. Her mentorship and knowledge-sharing helped integrate newcomers into the team swiftly and effectively.
She has a keen eye for monetization opportunities, and her work on high-impact features like the Trials Rework, UI Style Guide, and Bounty Store UI directly contributed to improved player retention and engagement. I enthusiastically recommend Kam.
“The game industry is actually behind on UX and usability, and the key is an understanding of basic UX from other fields and the new emerging language in games. It’s vital, and Kam is pushing forward with those sensibilities.”
It’s awesome to hear about someone and see their work building a clear reputation of passion and consistency, and it’s even better to get a chance to work with that person. As a long-time employee on Paladins, I knew its UI needs back to front, and when I was moved to other teams I was hoping the project would get the talent it needed.
Even being on another team with light crossover, it was clear that Kam was that person. Just seeing the effort, the attention to detail, and the ambition of quality that Kam would post on JIRA was worth keeping your eye out for.
UI is complicated; the venn diagram of cosmetic needs and UX needs is hard to parse and even harder to explain, but so clear when it’s all done right. Kam lived up to the reputation of her passion and energy.
“Kam absolutely owned UI/UX as a single individual. She was self-sufficient, self-managing, and clear on her tasks. It was a massive relief to have a pro at the helm.”
I could tell directly that she took full responsibility for her portion of the pipeline. As the new EP on a team that had just undergone staffing reductions, I was concerned for every portion of the pipeline still being able to function, and it was a massive relief to see that Kam was fully on top of her role.
She had already made adjustments with the shifting sands on the project team and was focused on keeping things moving. Kam, alone handling UX/UI as well as UI Art, was not a part of the project I had to be concerned about. I would definitely recommend her as someone who is very reliable and passionate about her role in game development.
Crucible trains quarterbacks in a 3D decision simulator and gives coaches an analytics portal to track it. I designed both sides.
Product Designer, covering UX, UI, and product marketing
ResponsibilitiesProduct strategy, information architecture, content modeling, interaction design, design system, onboarding, prototyping, marketing site
TeamFounders, backend and frontend engineers, and football subject-matter experts
ToolsFigma, Adobe CC, engineering handoff
TimelineNov 2025 to present
The product worked. It just asked too much of the people using it. I cut steps out of the paths coaches use daily and rebuilt login and onboarding so a new user actually reaches their first session.
Same product, far less to get through.
Athletes were dropped into simulated reps with nowhere to learn the vocabulary those reps assume. QB Lab is where they build it first.
Normal mode picks the modules from the plays a coach already chose. Expert mode opens the full library. One flow, two levels of trust in the tool.
Every module and play name renders in the organization's own terminology, so a lesson reads like that program's film room.
Coaches drag modules into the order they want taught. Sequence is part of the lesson, so it had to be theirs.
Study the concept, rep it, read the decision data, go back to what tripped you up.
QB Lab satisfied coaches and lost the players. Teenagers opened it, felt school, and stalled out partway through. So I rebuilt the study half as flashcards.
Term on the front, answer on the back, at the player’s own pace. No clock, no score.
The same set against a timer, scored on speed as well as accuracy.
The color is data. An organization sets its own palette and every surface picks it up, so an install looks like that program and not like Crucible.
A slow right read is still a sack, so the clock is part of the drill.
Coaches did not want a shuffled deck. They wanted the six defenses their quarterback sees on Friday. A rack freezes specific plays, no randomization, with a due date.
I cut the build to two steps because assigning is the part coaches abandon. Each rack reports back complete or pending per athlete.
The player-facing half of the same data, written for someone who wants to know what to fix before Friday.
Sign-in, verification, password reset, and organization setup.
Seat selection, requests, plan changes, checkout. The revenue model is seat-based, so this is where the business lives.
Positioning, page structure, and copy for the site in the video above.
Sales rose 45% once my additions shipped.
Engineering rollout ran behind the design work, the trade you make at an early-stage company. Scoping for what the team can actually ship is part of the design, not a constraint on it.
VCS sells AI automation to two audiences with nothing in common: federal contracting officers and small business owners. I designed and built the site that has to convince both, then designed sites for their clients.
Technical Operations and UX Designer
ResponsibilitiesSite architecture, UX and UI, brand identity, content structure and search, build and technical operations, client site design
TeamAgency principals, plus client stakeholders across sports, hospitality, and legal
ToolsFigma, Adobe CC
TimelineAug to Dec 2025
A contracting officer needs SAM.gov status and NIST alignment before anything else. A small business owner needs to hear that their website is costing them leads. Same company, opposite reasons to keep reading.
So I split the navigation at the top level. Government and Small Business are peer paths with four services each, and the home page hands you off within one screen. The shared story comes after the split, where it reads as credibility instead of hedging.
The methodology is what makes VCS one company instead of two, so it gets the same visual weight as the services: four principles, short declarative blocks, landing before anyone reads a service description.
Zero dependency sits first, in the client's own words: you own the system, you run it without us.
The differentiator gets the same real estate as the offer.
Both audiences start at search, so structure was a design problem. Every service is its own page rather than an anchor on a long scroll, and the FAQ answers the questions people actually type.
I handled the build and technical operations myself, so nothing drifted between design and implementation.
A page per question people actually ask.
Website design is one of the things VCS sells, so I designed sites for their clients across sports, hospitality, and legal. Three industries, three different buyers, each needing real brand identity rather than a template with their logo dropped in.
Client work sharpened one thing in particular: getting a non-designer to say what their business actually promises, then holding them to it when the design gets uncomfortable.
I joined a legacy live-service shooter as its only UX/UI designer and rebuilt the out-of-game experience so players could find things and finish what they started.
Sole UI/UX Designer, then Senior and team lead
ResponsibilitiesUX, UI art, engine implementation, UI style guide, feature prioritization, milestone planning, mentorship
TeamGame designers, engineers, artists, and producers, plus outsource partners
ToolsPhotoshop, Illustrator, After Effects, Unreal Engine, Perforce, Jira
TimelineMay 2020 to Sept 2024
Monetization had been a long-standing problem: buying an item took seven clicks, four more than players expect anywhere else. I streamlined the purchase, added real inventory sorting, sped up the back end, and made the line between owned and buyable legible at a glance.
Shipped in the Siege: Beyond update.
An over-bloated system, split across two places. I merged daily quests with the eight-week questing track into a single screen, which cut new-player confusion and gave designers a system that stopped adding tech debt every patch.
One screen for every quest a player owns.
The old month-long calendar punished you for missing a day. The new model compresses the chase into seven days and lets you claim on your own schedule, so the reward still pulls without the guilt.
No more penalty for missing a day.
Designed, implemented, and animated unique devices that track each champion's abilities. Engine restrictions meant no runtime animation, so every state was hand-animated as a PNG sequence.
A third-person MOBA rebuilt in Unreal 5. Anything with a well-loved predecessor has to innovate without betraying the source, so the work was making systems clearer and more characterful at the same time.
Senior UI/UX Designer, system design
ResponsibilitiesSystem design and implementation, boutique character ability UI, in-game ability quick view, resource-management legibility, themed UI
TeamGame designers, engineers, and artists
ToolsFigma, Adobe CC, Unreal Engine
TimelineJan 2024 to Sept 2024
The original Smite had ability UI that was inconsistent from god to god and inefficient to read mid-fight. The rebuild had to make resource management unmistakable while pushing as much character-specific theming into it as the engine allowed.
Jing Wei's device below is one system in its states: base, then each bird charge, then the VFX shape. The theming is doing real work here, because the resource it tracks is the thing the player is watching for.
In play, where it has to work: the devices read at a glance in the corner of the screen, mid-fight, without pulling the eye off the god.
Distinct per god, consistent as a system.
MOBAs lean hard on recency memory: you are expected to remember what every ability does, on a character you may have picked up ten minutes ago. That tax falls hardest on new players, and on anyone trying a god for the first time.
I designed an in-match quick view that puts a digestible version of each ability description one glance away, with animation and highlight states making locked, upgradable, and upgraded abilities readable without stopping to parse text.
Less memory, more play.
A sequel to a game people have played for a decade is a change-management problem as much as a design one. Every improvement is measured by returning players against the version living in their muscle memory.
So the rule I worked to: fix what was genuinely inconsistent, keep what players already knew where to find, and spend the novelty budget on theming rather than on relocating things.
Innovate where it helps, stay familiar where it counts.
A three-year-old match-3 title losing revenue every week, played mostly by women aged 45 to 60. Four programs over two years: two new features, a UI modernization that failed publicly before it worked, and an outsourcing pipeline built from nothing.
UX Designer and UI Artist
ResponsibilitiesUser research, flow charts, wireframes, interactive prototypes, FTUE design, UI art, RFP authoring, outsource direction
TeamOne designer, one artist, and one remote developer per feature, inside a team of two designers, two artists, and three developers
ToolsInVision, Photoshop, Illustrator, After Effects, Unity, Jira
TimelineMay 2014 to Sept 2019
The team had already shipped a feature like this once and missed the target. Nobody had gone back to ask why. I did: message analytics and player conversations showed the instructions ran too long and read as work, and that players resented anything interrupting the core loop.
So the rebuild stayed outside the loop and led with a character instead of a task list. On an aggressive deadline I cut the art cost to one pose and one face, changing costume and color per level, then carried that level color through the rest of the feature as a progress cue.
Up about 5% monetization and 3% logins within two weeks.
At final review, a stakeholder added a requirement that was not in the acceptance criteria and would not ship without it. It also broke the core flow, the one thing every piece of research said not to touch.
Rather than take the flow hit, I proposed an alternate ending animation that satisfied the request without adding a step. Our developer and I wireframed it the same day, got approval, and shipped on time. Afterward I added a flow-chart review with stakeholders to the process, so criteria stop appearing at the finish line.
Stakeholders wanted a genuinely new kind of experience inside a game whose players were 82% women, most of them between 45 and 60. Card collection is a mechanic built by and for a very different audience, so the risk was obvious.
I audited the established players in that space, Elder Scrolls: Legends and Shards of Infinity among them, and played them daily for a week keeping my own notes so the wireframes argued from evidence. Post-its to whiteboard to flow chart to graybox, then art swapped in screen by screen.
Internal testing across teams outside QA said the instructions still confused people. I added an FTUE screen explaining duplicate cards, upsized assets, and animated every tappable element.
About 6% monetization lift over the first limited run.
Year three, revenue sliding about 0.03% a week, and years of added features had left visual clutter that buried anything new. I stripped the decorative characters, moved the header up to read as progression, simplified copy, raised contrast, and deliberately left monetization exactly where players' thumbs already knew to find it.
We launched it. Sales dropped. We reverted inside days and sales recovered, and the interviews explained why: players liked the new UI. They just did not want their screens changed.
That reframed the whole problem from visual design to change management. New strategy: every new feature ships in the modern style, while existing core screens change only in small increments as players acclimate. The first feature built that way lifted daily users about 0.06% and monetization about 1.2%, and the core screens went onto a five-part roadmap across the following year.
The redesign was right. The rollout was wrong, and that was mine to fix.
Two designers, two artists, three developers, new level content due every two weeks, and no documented process for any of it. I wrote the RFPs and ran the outsourcing myself.
I trialed two vendors against the same brief to see which asked questions when confused, built documentation that paired visuals with written instruction, and shipped a library of blank templates pre-set to the right ratios and guides so deliverables came back correct by default. Then a standing check-in cadence: they send progress, I send feedback, nobody discovers a problem at delivery.
Every miscommunication went back into the documentation. It ended up doubling as onboarding material for new hires.
Three weeks, six check-ins, content shipping without the internal team touching it.
Alongside Magic Match I worked the studio's slots titles, the work that helped revive Zynga's Austin office.
Designed within licensor guidelines for two well-known IPs, clearing art and UI through client review without losing the game's own voice.
Worked the highest-value player experience, the tier where design decisions move revenue directly.
Developed saleable concepts early enough to shape what got greenlit.
Graphics, icons, and hand-animated sequences made alongside the UX work. Click any image to open it full size.
Ability-tracking devices for Paladins champions, hand-animated as PNG sequences because the engine allowed nothing else.
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