Chapter 01 — 2010–2019
Amazon
Fashion
Contemporary fashion for a company nobody believed could do fashion. Coco Rocha in the September books, and New York wearing the campaign on its streets.
Read the case studyIsaac Mackay — art director, Portland, Oregon
Art direction · Brand systems · Portland, Oregon
The record's below. The door's at
the end.
Scroll to pull the plate
Fifteen years making
brands look inevitable.
Amazon.
Starbucks.
Organisations that mean it.
Fascinated first,
hired second.
Now
Portland, Oregon. Freelance since 2023, and building MouvementInk. Senior art direction and studio commissions through the practice.
Before
Nine years at Amazon — Art Director for Fashion, then Visual Designer for Echo and Alexa. Starbucks Global Store Design, 2021–2023, inside a program spanning 15,000+ locations.
What I actually do
Direct image systems that hold their shape — a Vogue page, a 600px module, a taxi top at eleven miles an hour. Fix what can't move; let the rest change.
The argument, with evidence
Amazon
Chapter 02 — Brand & platform, launching Fall 2026
Eagle
Portland
Most bar websites are a poster with a phone number. This one is a system — built for what actually happens running a venue, not what a template assumes happens.
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Chapter 03 — Brand & ecommerce
DADDY JO
A magazine that happens to sell skincare. Brand, packaging and a headless commerce build — scoped like an agency job, funded and built by the person who wrote the scope.
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Chapter 04 — Brand development
World Changers United
Logo, brand book, collateral, the phoenix, and a full site launched in twenty-four hours. Scrappy, and it held.
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Chapter 05 — The rest of the record
Also on the record
Engagements I'd rather list plainly than dress up with imagery I can't publish.
Ask me about any of theseAmazon contemporary — reach
0
Impressions across print, Amazon's homepage and fashion pages, and out of home.
01 / 03
Inside the building
0
At Amazon: art director for Fashion, then visual design for Echo and Alexa.
02 / 03
Starbucks Global Store Design
0
Locations inside the program I designed for, 2021–2023.
03 / 03
Studio practice — Residual Forms: Against Correction, ©2025
Il y a des choses qui partent sans partir.
There are things that leave without leaving.
Against
correction
The series begins with damaged photographic negatives — scratched, partly destroyed, unusable by conventional standards. I don't restore them. The damage isn't an error to be corrected; it's a condition to be extended. Generative tools are used the way a loupe or an enlarger is used: to articulate what was already present and inaccessible. Not an author. An instrument.
That position is also how I work commercially. I direct, I edit, I take responsibility for the result — and I'm honest about which parts of the process are mine and which are executed. I'd rather say plainly what I use, and be judged on the judgement.
Finding Light in the Dark — acrylic, Posca, pastel, 2025
Residual Forms — edition of 7, mixed media, 2025
The tools and I are sympatico. I direct, they execute — and we make the work together.
I've embraced the tools as a partner, not a pariah. They expand the work — more directions explored, more ideas tested, more finished at the standard I'm willing to sign.
The eye, the brief, the judgement — none of that got delegated. And the process is an open book for the people I work with.
Writing
Seven pieces · Essays, craft notes and the art practice
30 Apr 2026
Ce qui reste / What Remains
Bilingual · Practice
30 Dec 2025
Residual Forms: Against Correction
Statement · Mixed media
12 Nov 2025
Finding Light in the Dark: Recent Works, Fall/Winter 2025
Studio note
31 Jul 2025
How Tom Ford's Gucci Era Redefined My Perspective
Essay
29 Jul 2025
Why I Still Shoot 35mm
Craft
All writingEnquiries
Senior art direction, brand systems, campaign direction — and studio commissions through MouvementInk. Portland, Oregon, working remote with teams in New York, Seattle and Los Angeles. If it matters to you, it'll get my full attention.
Elsewhere