About me
Hi, I'm Mara.
My path as a creative director has been anything but linear — and that’s part of its value. I currently oversee brand and design at Infinitus, evolving its positioning as it grows from point solution to the leader in agentic healthcare communications. Before that, I helped shape Deepgram’s voice and identity through its emergence as the leading foundational voice AI company. In both roles, I’ve been the creative engine on fast-moving teams, guiding organizations through pivotal transitions and positioning them for their next stage of growth.
Long before tech, I was building experiences you could see, feel, and move through — from James Beard award-winning restaurants to mental health brands, nonprofits, and more. That work shaped my belief that a brand isn’t just what you see, it’s how it makes you feel. Even in the most technical spaces, I bring that lens: creating brands that feel clear, resonant, and alive.
4 things you wouldn't know about me from LinkedIn
1
My first real design job was the San Francisco Giant's Stadium signage. As a graphic designer, it's rare to see your work live on for years. Regardless of the name on the main entrance, the design remains unchanged. It's quite a thing to have contributed to the experience of a landmark and something I'm quite proud of.
2
The first time I was hired as a web designer — at CNN.com, no less — I had no web experience. When I asked my Creative Director why he hired me, he said: “I liked your logo designs. If you can tell a story in one mark, you can figure out web.” It shaped how I hire: choose people who make good design choices, not a list of skills.
3
I once designed a line of handbags sold in NYC and abroad — even appeared on a major daytime talk show. I built it on the side while working at a billion-dollar retailer with six-figure photo shoot budgets. My little side project taught me that six-figure budgets aren't the only way to bring something to life. It taught me to be scrappy, resourceful, and unafraid of tackling unfamiliar business challenges.
4
Remember the 2000s craze of self-serve fro-yo shops that all looked like a Hello Kitty explosion? That's on me. I designed the brand for Menchie’s, meant as the playful opposite of Pinkberry’s trendy, VIP-rope elitism. It grew into a global chain but also spawned countless knock-offs. Wherever you live I'm sure you've got one of them. Menchie's taught me that design doesn’t always just brand a single business — it can set the tone for an entire industry.
About me
Hi, I'm Mara.
I spent over a decade running Works Progress Design, where I led a team of designers, developers, and illustrators to create brand experiences that ran the gamut from James Beard award-winning restaurant groups to a national nonprofit to a global frozen yogurt empire. That early work shaped my belief that a brand isn’t just a logo or product, it’s the entire experience people have with it. Over time, we pivoted to a specialty in technology, as a result of startups reaching out to us in search of a more experiential brand and help turning complex, often intimidating products or services into something people can actually connect with.
Long before tech, I was building experiences you could see, feel, and move through — from James Beard award-winning restaurants to mental health brands, nonprofits, and more. That work shaped my belief that a brand isn’t just what you see, it’s how it makes you feel. Even in the most technical spaces, I bring that lens: creating brands that feel clear, resonant, and alive.
Long before tech, I was building experiences you could see, feel, and move through — from James Beard award-winning restaurants to mental health brands, nonprofits, and more. That work shaped my belief that a brand isn’t just what you see, it’s how it makes you feel. Even in the most technical spaces, I bring that lens: creating brands that feel clear, resonant, and alive.
For as long as I can remember, I’ve been drawn to the intersection of design and experience; where a brand’s voice isn’t just heard, but felt. My path as a creative director has been anything but linear, and that’s part of what makes it valuable.
Today, I lead brand and design at Infinitus, a voice AI company transforming healthcare communications. Before that, I shaped the brand at Deepgram, helping define the visual and narrative identity for one of the foundational companies in voice AI. In both roles, I’ve been the creative engine on small, fast-moving teams, building brands from the ground up in technical, often ambiguous spaces.
My path as a creative director has been anything but linear — and that’s part of its value. I currently oversee brand and design at Infinitus, evolving its positioning as it grows from point solution to the leader in agentic healthcare communications. Before that, I helped shape Deepgram’s voice and identity through its emergence as the leading foundational voice AI company. In both roles, I’ve been the creative engine on fast-moving teams, guiding organizations through pivotal transitions and positioning them for their next stage of growth.
My path as a creative director has been anything but linear — and that’s part of its value. I currently oversee brand and design at Infinitus, evolving its positioning as it grows from point solution to the leader in agentic healthcare communications. Before that, I helped shape Deepgram’s voice and identity through its emergence as the leading foundational voice AI company. In both roles, I’ve been the creative engine on fast-moving teams, guiding organizations through pivotal transitions and positioning them for their next stage of growth.
4 things you wouldn't know about me from LinkedIn
1
My first real design job was designing the San Francisco Giant's Stadium signage. As a graphic designer, it's rare to see your work live on for years. Regardless of the name on the main entrance, the design remains unchanged. It's quite a thing to have contributed to the experience of a landmark and something I'm quite proud of.
My first real design job was the San Francisco Giant's Stadium signage. As a graphic designer, it's rare to see your work live on for years. Regardless of the name on the main entrance, the design remains unchanged. It's quite a thing to have contributed to the experience of a landmark and something I'm quite proud of.
My first real design job was the San Francisco Giant's Stadium signage. As a graphic designer, it's rare to see your work live on for years. Regardless of the name on the main entrance, the design remains unchanged. It's quite a thing to have contributed to the experience of a landmark and something I'm quite proud of.
2
The first time I was hired as a web designer — at CNN.com, no less — I had no web experience. When I asked my Creative Director why he hired me, he said: “I liked your logo designs. If you can tell a story in one mark, you can figure out web.” It shaped how I hire: choose people who make good design choices, not a list of skills.
3
I once designed a line of handbags sold in NYC and abroad — even featured on a major daytime talk show makeover. I built it on the side while working at a billion-dollar retailer with six-figure photo shoot budgets. My little side project taught me that six-figure budgets aren't the only way to bring something to life. It taught me to be scrappy, resourceful, and unafraid of tackling unfamiliar business challenges.
I once designed a line of handbags sold in NYC and abroad — even appeared on a major daytime talk show. I built it on the side while working at a billion-dollar retailer with six-figure photo shoot budgets. My little side project taught me that six-figure budgets aren't the only way to bring something to life. It taught me to be scrappy, resourceful, and unafraid of tackling unfamiliar business challenges.
I once designed a line of handbags sold in NYC and abroad — even appeared on a major daytime talk show. I built it on the side while working at a billion-dollar retailer with six-figure photo shoot budgets. My little side project taught me that six-figure budgets aren't the only way to bring something to life. It taught me to be scrappy, resourceful, and unafraid of tackling unfamiliar business challenges.
4
Remember the 2000s craze of self-serve fro-yo shops that all looked a little like a Hello Kitty explosion? That's kind of my fault. I designed the brand for Menchie’s, meant as the playful opposite of Pinkberry’s trendy, VIP rope elitism. It grew into a global chain but also spawned countless knock-offs. Wherever you live I'm sure you've got either a Menchie's or one of its clones.
Remember the 2000s craze of self-serve fro-yo shops that all looked like a Hello Kitty explosion? That's on me. I designed the brand for Menchie’s, meant as the playful opposite of Pinkberry’s trendy, VIP-rope elitism. It grew into a global chain but also spawned countless knock-offs. Wherever you live I'm sure you've got one of them. Menchie's taught me that design doesn’t always just brand a single business — it can set the tone for an entire industry.
Remember the 2000s craze of self-serve fro-yo shops that all looked like a Hello Kitty explosion? That's on me. I designed the brand for Menchie’s, meant as the playful opposite of Pinkberry’s trendy, VIP-rope elitism. It grew into a global chain but also spawned countless knock-offs. Wherever you live I'm sure you've got one of them. Menchie's taught me that design doesn’t always just brand a single business — it can set the tone for an entire industry.