Panoptic Design by Ryan Moeck :: Visualization. Storytelling. UX Design.

UX Design

What does it feel like?


This is the art of considering whether each touchpoint of the user experience is intuitive and delightful. Often it is considered exclusive to the realm of product or screen design. However, it is absolutely crucial to the panoptic design process. Like Siamese triplets, it is mixed, wrapped, intertwined, and conjoined with visual and story for a well-crafted new world. For example how does the user feel when a certain color is used? Do visuals such as color and texture elicit the desired emotional response?

Because the core of UX design often involves new and future products, I am unable to show much of what I have worked on with clients such as Magic Leap, Microsoft, Intel, Eli Lilly, VMWare, Qualcomm, Alaska Airlines, and Oculus.



Mastercard | Baobab Social Media Learning Platform

Desktop and Mobile App UX + Visual Design

Thousands of students from African countries pursue their education each year through the support of The MasterCard Foundation Scholars Program. Becoming a MasterCard Foundation Scholar can be a life-changing moment that opens up opportunities to study at top universities in Africa and around the world. 

At Artefact, I was asked to help design a community that would support Scholars throughout their education and set them up for success long after graduation.


This community would be based on a new social learning platform that elevates scholarship into a source of lifelong learning and empowers the next generation of African leaders to create social change.

Because this community was so large and diverse, we wanted to ensure the system was scalable across both desktop and mobile, with each element always accessible. We felt the onboarding process for new scholars would be critical to enabling integration. If we could get them to properly signal what they were interested in and tie that into the network, much of the rest of the experience would be set up for success. We began sketching big picture flows and interaction models before considering the details of the visual design.


I wanted the scholars to simply be able to say what they wanted to do. This led me to design a phrase-based onboarding system that would be the portal to the rest of the network.


This led to basing much of the UI around phrases to help make it more intuitive and clear.


We worked through dozens of higher fidelity UX flows to ensure the community was functional and accessible. 


The result was a community enabling scholars to easily exchange ideas and learn from each other. They are able to join forces and share resources on common challenges to help them accomplish their goals, boost their resumes, and attract employers. 


Sparking Conversations and Community

Before Baobab, Scholars had no way to easily connect with fellow Scholars involved in The MasterCard Foundation across campuses and programs. Baobab acts as a digital rolodex, giving Scholars instant access to a community of students like them who share their experiences and can serve as a built-in support system as they adjust to life in a new location.


We designed space within Baobab for Scholars to meet career mentors and find job opportunities to accelerate their success once Scholars return home. Specially invited African business and community leaders participate in Baobab as mentors and chat directly with Scholars, answer their questions and provide valuable professional advice.


Today, more than 2,000 Scholars from nearly every sub-Saharan country use Baobab, with thousands of new users becoming eligible each year.

Scholars use the platform daily to connect with others, tackle shared challenges and find inspiration and guidance from mentors. For more information, please visit

Mastercard Foundation



Artefact | Design Management Institute

Design value Awards Application Poster Design

Artefact submitted two projects to the Design Management Institute (DMI) to be considered for Design Value Awards (of which, Vicis ZERO1 won second place). I was asked to design the print posters for the application.


The posters had to communicate the project value proposition and process at a glance, while still being somewhat comprehensive of the design process. 



 Artefact | Artefact Talks

Animated Title Visual Storyboards

Once upon a time Artefact was going to produce a series of thought leadership talks called "Artefact Talks." I was tapped to design the animated bumper package for the series.


The challenge was to "design something with personality and visual interest" while fitting into the constrained Artefact brand guidelines with clean layout, limited color palette, and zero visual assets to build from. 


I designed a series of visual storyboards to guide the discussion. I also created several animation concepts showing transitions and motion to suggest how these might come to life.



 IDEO | Future of Automobility

Visual + UX Design

Project Team: Danny StillionWill CareyRicardo FigueiroaFrancois RybarczykDav RauchQuinton LarsonClaudio Fresneda, and myself

How will tomorrow be different from today? We’ll live longer and move faster. Our resources will dwindle while our technological capacity grows. But our basic needs to sleep, eat, work, and get from place to place will stay the same. That last part is what we were interested in. How will we move people, things, and spaces together in the next decade?


I was fortunate enough to be involved with nearly every aspect of the project including vehicle interior and screen design, as well as vehicle personality display


(Exterior SUV design by Ricardo Figueiroa). For the full rundown, visit



Personal | Sunflower: Tactile Navigation System

UX + Industrial + Visual design

For my master's thesis at the University of Washington (M.Des, 2015), I designed a bodysuit-based navigational system for low-vision environments called "Sunflower," named after the flower that always orients toward the sun.


Sunflower is an exploration of new ways to interpret ambiguous information about the world around us.


People in low-vision environments often meet challenges that cannot be solved by handheld mobile devices. Firefighters work in extremely low visibility while carrying heavy loads. Parents fear a small child wandering off in a crowded public area, lost in a sea of bodies. Students on complicated campuses often bike outdoors, only to proceed indoors where GPS is no longer viable. In these situations where eyes- and hands-free are not optional, how might we use other senses to find what we are looking for? 

I created a Firefighter journey map to understand the navigational pain points and sketched out a ton of ideas that could help alleviate them.


Eventually this work led to the concept of a full-body wearable consisting of a network of tiny nodes that contain sensors, actuators, IMUs, and CPUs to orient a user to the environment. Similar to pixels in a screen, the nodes fire together in swarm patterns to generate haptic feedback from the surrounding environment. Although the uses for a device like this are countless, this project focused on design to impact personal navigation, particularly in low-vision environments.


Sunflower provides both an eyes- and hands-free solution by locking on to a destination within a scanned 3D floor plan of a building and leading the user by touch.


Sunflower generates a pulse that moves freely across the body informing the user of the location of the destination.


It also provides a secondary pulse for decision point assistance to guide left, right, up, or down. As the user approaches the destination, the pulse intensifies like a game of “Hot and Cold” until he or she arrives. Through this combination of pulses, the user essentially feels 3D space.


I roughly prototyped the pulse in a couple of different ways to test whether this pulse idea would be effective. The test results showed that it actually holds a lot of promise.



 Sulky Bros. | Brand Identity

Visual design

A few years ago I designed the corporate identity system for my design firm, The Sulky Bros. Manufactorium that I formed with my best childhood friend, Brandon Brown. Our own narrative of a couple of designers who shared the same hopes and dreams since middle school informed everything from the main brandmark, Robbinius J. Robb (which may or may not have been named after something like this) to the short story script and world design that informed everything else.

Robbinius, or Robbi for short, emerged from an infatuation with flight and discovery in a simpler time, and symbolized this childhood friendship forged in a time of less care and responsibility. The mark was designed to symbolize the challenges and efforts of two designers who wanted nothing more than to break the gravity that bound them to this earth to see the world from an uncommon vantage point.

I extrapolated the phrase "a simpler time" to a Victorian, fleur-and-bent-metal visual theme that inspired our main logo typeface as well as decorative elements and layouts.


I maintained strict Swiss design principles of clear hierarchy and ultra-generous whitespace to prevent these visual forms from becoming gaudy.


The result was a clear, yet personality-driven and rich identity that conveyed the energy and creativity of the Bros., and lent itself well to any design space across screen or print.