Aero came to me in 2019 to design the livery for their first plane and revisit the logo. The goal was to elevate the perception of luxury.

My advice was to keep the symbol and wordmark but refine the palette, removing the blue tones and developing a warmer spectrum of yellows, oranges, and reds that better expressed the sunrise idea at the core of the brand. Rather than forcing the window color stripes onto other parts of the plane, we deconstructed the color component of the symbol and morphed it to fit the fuselage. The symbol was placed in the first window, and the staircase was wrapped in the gradient palette, turning boarding into part of the experience.

Testing the livery on black revealed something unexpected: the warm tones against dark backgrounds made the palette richer and more distinctive among airlines. That discovery became the foundation for a broader identity system built around Haas Grotesk and a restrained Swiss-inspired grid, flexing across boarding passes, destination cards, and amenity packaging while keeping the identity unmistakably Aero — 2019

Back in 2014, when I joined Uber, the company had outgrown its identity. What began as a premium ride service had become, during a period of hyper-growth, a global platform spanning dozens of products and price points. The existing brand had no language for that complexity.

Working closely with the head of design and Uber's leadership, the answer was a core concept called Bits & Atoms: technology meeting the physical world. That tension became the foundation for the entire design framework, structured in two parts: consistent monochromatic components rooted in the Bit, creating coherence across every expression; and colorful, variable components rooted in the Atom, enabling localization and keeping the system fresh across markets.

Drove the project end to end. Defined the design framework, crafted the Uber wordmark and its sub-brands, created the color spectrum and established the color architecture. Built and maintained the brand guidelines portal, defining guidelines, templates, and branded examples across print, packaging, web, and product.

Team: Head of Design: Shalin Amin · Design Manager: Strahan McMullen · Lead Brand Designer: Roger Oddone · Designers: Bryant Jow, Catherine Ray, Donald Wong, James Bamford, Lian Ng, Matt Riley, Mirtho Prepont

Google's visual identity had a consistency problem. Designers and vendors across the company were producing assets without shared standards, and the gaps accumulated across products, time zones, and teams.

At the same time, Google's design direction was shifting. Creative Lab had introduced a flat visual language — a significant departure from skeuomorphic design, approved by Larry Page as the new standard. Our team was responsible for producing assets in that style and building the infrastructure to scale it.

As project lead, I built Google's first company-wide visual asset guidelines: a comprehensive framework covering product icons, logo lockups, UI icons, and illustration principles. The goal was a document rigorous enough that a vendor in a different timezone could open it and produce work indistinguishable from work made in-house.

The guidelines shipped internally in 2012 and were published on Behance in 2013, where they reached over 750,000 views and were featured as Best of Behance. They became the reference point for Google's visual identity at the moment the company was defining what that identity would be for the next decade — and led to an invitation for our team to contribute to Material Design v1.

Team: Art Director / Team Manager: Christopher Bettig · Project Lead: Roger Oddone · Designers: Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan and Zachary Gibson

After the flat design language was established across desktop apps, the gap between desktop and Android became impossible to ignore. Google's design organization was tasked with unifying the two — and a cross-functional team was assembled, drawing designers from across the company, to work on the project. It launched internally as Quantum Paper, and publicly as Material Design.

My contribution was twofold: evolving the flat icon style to carry more tactile, paper-like depth while staying true to its geometric foundation; and building Google's color system from scratch.

For color, I started with Google's four brand colors and expanded outward — building a full spectrum that designers across the company could share without creating new colors or fracturing consistency. To make the system usable at scale, I introduced a numerical naming convention — 50 through 900 — assigning a value to each tone in the spectrum. That structure became standard practice in the industry after Material Design launched in 2014, and remains the basis for how design systems reference color today.

After Uber, I started Oddone — a brand identity studio in San Francisco specializing in visual identities for forward-thinking businesses.

The studio's own identity was the first project — and being my own client is hard. It became a process of self-discovery, forcing clarity about my values. Partnering with brand strategist Caren Williams was essential to that. The core idea that emerged: I explore every angle of an idea. The "O" is treated as a three-dimensional object that reveals a different form depending on the angle — each view a different dimension of the same thinking. Strategy, design, and exploration, made visible.

After launching, I decided to push the system further — creating a series of expressive motion posters rooted in the same visual logic, developing a motion language for the brand in the process.

Creative Director / Designer: Roger Oddone · Brand Strategist: Caren Williams

Expa is a company studio that partners with founders to build companies from zero. This project evolved the website: expanding the case studies, sharpening how the studio articulates its approach to building, all executed with the utmost level of design and technology craft, minimal by design and precise in execution.

At the heart of the identity are the dots that form the letters of Expa, representing the companies the studio works with. Each one distinct, together forming something larger. The logo animation expresses that idea through movement: a 3D grid of 2D-looking spheres rotates like the face of a cube to reveal each letter in sequence. Four letters, four faces, one continuous motion — 2025

Sushi No Ma is an ultra-private, 8-seat omakase sanctuary tucked within an exclusive club in LA, with views of the Hollywood Hills. An experience as carefully composed as the food itself.

The symbol is drawn from the restaurant's view of the Hollywood Hills, rendered with deliberate imperfections to evoke a Japanese Hanko stamp. The typeface was chosen for its resemblance to Japanese characters and set vertically, reinforcing the cultural authenticity of the experience. Precise without being cold, intimate without being casual — 2024

Can Luna is an exclusive seafront villa in Ibiza — a rustic stone retreat set within lush gardens, where local architecture and contemporary comfort meet under the Mediterranean sun.

The property's central stone tower and its squared, modular forms inspired the brand symbol and letterforms. The identity balances rustic sophistication with a refined simplicity, and the palette moves between the warmth of daylight and the depth of night — 2025