Kam Seidl — Senior UI/UX Designer
Kam Seidl UI/UX
Open to Senior & Lead UX roles Atlanta, GA

Kam Seidl

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 the goal, find what's getting in its way, and clear the path.

Selected work

Product & Web Games
Hi-Rez Studios PC / Console Live service

Paladins

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 →
Hi-Rez Studios PC / Console Live service

Smite 2

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 →
Zynga Mobile Live service

Wizard of Oz:
Magic Match

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 →
What leads say

“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.”

Daniel Lilleberg
Executive Producer and Art VP at Hi-Rez Studios
Read all recommendations →

Hiring for UX?

My resume is one click away, and I answer email the same day.
Kam Seidl

Every product I have worked on has been someone else's world: a casino floor, a card game's economy, a quarterback's film study. What travels with me between them is the same instinct, figure out what the person using it actually needs, fast.

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.

Recommendations

“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.
Daniel Fishman
Lead Game Designer and Mentor at Hi-Rez Studios

“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.
Casey Edwards
Art Director and Character Concept Artist at Hi-Rez Studios

“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.
Daniel Lilleberg
Executive Producer and Art VP at Hi-Rez Studios
← All work
Product Designer Web Mobile SaaS

Crucible

I designed both sides of Crucible's quarterback training platform: a web portal where coaches track analytics and build game plans, and a 3D decision simulator where players learn and run them.

Role

Product Designer

Responsibilities

Product strategy, UX/UI design, interaction design, information architecture, design system implementation, prototyping, onboarding, content modeling, product marketing, marketing site

Team

Founders, backend and frontend engineers, and football subject-matter experts

Tools

Figma, Adobe CC, Unity, Claude, VS Code

Timeline

Nov 2025 to present

I defined the brand's look here, on the marketing site, before it carried into the product. Visit crucibletech.com ↗
01

The web portal: everything a coach needs

I led the design of the web portal and helped build it. It's the coach's hub: one place to track players and shape a digital playbook, working in tandem with the mobile app players use every day.

Core features I spearheaded:

Player analytics

Drill down from the full roster to the one metric, like reaction time, that shows exactly where a player needs work.

Terminology customization

Coaches rename plays in their own language, then push those terms straight to the mobile app.

Custom game plans

Coaches build targeted lessons and plays in the portal, delivered to players' mobile app, which reports scores back.
In progress

Whiteboard to 3D simulation

A 2D whiteboard where a coach sketches a play, and AI turns it into a 3D simulation the player runs in game.
02

Offensive Info: flashcards, not coursework

Our user base had a wide range of understanding, from zero football knowledge to pros. I pulled play recognition into its own flashcard system, built to flex with however much a player needed.

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Learn mode

Terms got split into stacks of ~20, so a new player could make progress in sections instead of facing the whole set at once.

Built for every level

One system built to work for a rookie and a pro at once: basics for one, a straight shot to scoring for the other.

Test mode

Accuracy came first: speed was only scored once a player hit 100%, tracked as a stat pro players could flex.

Built to improve

A slow right read is still a sack, encouraging quicker accurate recall.
Design detail

Color customization

The organization sets its own palette, and I carried it into the mobile app, so a player could tell at a glance whether they were in their team's version of the app or Crucible's default.
03

QB Lab: a learning loop in front of the simulator

Installs are graded modules that combined multiple choice, tests, and required 3D simulation runs into one unit. Coaches got the same tools in the web portal to build or adjust lessons and assign them to players.

A QB Lab install expanded to show its lessons, their progress, and the concepts each one covers
An install opened up: each lesson carries its own progress, status, and the concepts it drills. Red text shown here is dynamic text, only shown this way to developers.

Two ways to build a lesson

Two levels of trust in one flow: Normal mode pulls from plays a coach already chose, Expert mode opens the full library.

Their words, not ours

Every module and play name uses the organization's own terminology, not Crucible's.

Order is teaching

Coaches set their own teaching order, since sequence is part of the lesson, not mine to assume.
04

Easing the friction in what already shipped

I built an AI layer that reads signup signals to identify coach or player, using link origin or QR code to personalize onboarding.

Targeted from the first email.

Before
Sign up
Same intro emails
Same setup links
After, with AI
Sign up
Use case identified
signals: event, page, QR code
If unclear,
ask coach
or player
Matched emails + setup links

Outcome

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.
← All work
V Consulting Services Marketing site · Brand UX Designer · Tech Ops

VCS

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.

Role

Brand and UX Designer

Responsibilities

UX and UI, brand identity, client site design, site architecture, content structure and search, build and technical operations

Team

Contractor working directly with clients across sports, hospitality, and legal

Tools

Figma, Adobe CC

Timeline

Aug to Dec 2025

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01

Two audiences, one front door

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 alternative was one shared homepage speaking to both, which is the default for a merged brand. I decided that reads as hedging to both audiences rather than confidence to either.

The split
Government
AI Readiness · Agentic AI · Document Intelligence · AI Governance
Proof first: certifications above the fold
Small Business
Brand Strategy · Website Design · Workflow Automation · Managed Security
Pain first: the cost of the workaround
02

Selling a methodology, not a service list

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.

I gave the methodology the same visual weight as the service list rather than letting it trail as supporting copy. A differentiator that reads as an afterthought reads as no differentiator at all.

The differentiator gets the same real estate as the offer.

04

Designed to be found

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.

Owning both meant slower iteration on my own time. I made that trade deliberately, to keep design intent and shipped page from drifting apart.

A page per question people actually ask.

05

Then the same work, for their clients

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.

Holding that line sometimes meant pushing back on a client's own first instinct for their brand, when the promise they wanted to make and the one their business could actually keep were not the same thing.

Sports Hospitality Legal Brand identity and site design per client
← All work
Hi-Rez Studios PC / Console Live service Sole → Lead UI/UX Designer

Paladins

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.

Role

Sole UI/UX Designer, then Senior and team lead

Responsibilities

UX, UI art, engine implementation, UI style guide, feature prioritization, milestone planning, mentorship

Team

Game designers, engineers, artists, and producers, plus outsource partners

Tools

Photoshop, Illustrator, After Effects, Unreal Engine, Perforce, Jira

Timeline

May 2020 to Sept 2024

01

Store refactor & inventory rework

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.

I prioritized the purchase path first, since every extra click there was lost revenue, and treated sorting and back-end speed as fixes that had to ride along rather than separate asks.

Shipped in the Siege: Beyond update.

Paladins store refactor
Questing rework mockup
02

Questing rework

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.

Merging them meant giving up the two systems' separate screen real estate. I decided one coherent screen was worth losing that space.

One screen for every quest a player owns.

04

Daily login modernization

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.

Compressing thirty days into seven also meant a shorter chase and less total reward on the table. I decided the goodwill from removing the punishment was worth more than the length of the chase.

No more penalty for missing a day.

Daily login modernization
05

Boutique champion UI

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.
← All work
Hi-Rez Studios PC / Console Live service System Designer

Smite 2

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.

Role

Senior UI/UX Designer, system design

Responsibilities

System design and implementation, boutique character ability UI, in-game ability quick view, resource-management legibility, themed UI

Team

Game designers, engineers, and artists

Tools

Figma, Adobe CC, Unreal Engine

Timeline

Jan 2024 to Sept 2024

Smite 2
01

Boutique character systems

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.

Where legibility and theming pulled against each other, I let legibility win. Theming had to fit inside a reading pattern that stayed the same god to god, never the reverse.

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.

Jing Wei ability device, base state
Jing Wei ability device, one charge
Jing Wei ability device, two charges
Jing Wei ability device, three charges
Jing Wei ability device, VFX shape
02

An ability quick view, in gameplay

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.

I scoped it to a digestible summary instead of the full tooltip text. A player reaching for it is mid-fight, and a wall of text they can't act on in that moment is worse than no lookup at all.

Less memory, more play.

In-game ability quick view
04

Designing against a beloved predecessor

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.
← All work
Zynga Mobile Live service Designer · UI Artist 2014 to 2019

Wizard of Oz: Magic Match

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.

Role

UX Designer and UI Artist

Responsibilities

User research, flow charts, wireframes, interactive prototypes, FTUE design, UI art, RFP authoring, outsource direction

Team

One designer, one artist, and one remote developer per feature, inside a team of two designers, two artists, and three developers

Tools

InVision, Photoshop, Illustrator, After Effects, Unity, Jira

Timeline

May 2014 to Sept 2019

01

Daily retention, on the second attempt

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.

Daily retention feature
A late requirement, solved without a flow hit

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.
Card collection event
02

A card-collection event for an audience that hates complexity

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.

04

The modernization that had to fail first

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.

Original UI before the pass
Old UI kept, copy simplified
New UI, duplicated framing removed
05

Buying the team more hours

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.

06

Also at Zynga: Wizard of Oz and Willy Wonka Slots

Alongside Magic Match I worked the studio's slots titles, the work that helped revive Zynga's Austin office.

Brand compliance

Designed within licensor guidelines for two well-known IPs, clearing art and UI through client review without losing the game's own voice.

VIP program

Worked the highest-value player experience, the tier where design decisions move revenue directly.

Pre-production strategy

Developed saleable concepts early enough to shape what got greenlit.

PLACEHOLDER: VIP program

Set up the original tier levels and how the VIP UI communicated status. No surviving images from that era, write-up TBD.

PLACEHOLDER: Web portal foundation

Laid the foundation for a web portal, built out afterward by others. Scope and write-up TBD.

UI Design

Graphics, icons, and hand-animated sequences made alongside the UX work. Click any image to open it full size.

Graphics

Animation

Ability-tracking devices for Paladins champions, hand-animated as PNG sequences because the engine allowed nothing else.
← Back to work

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