marisa

rafter

Senior motion designer with a decade of experience translating complex ideas into clear, engaging visual stories. I combine animation and creative strategy to help people understand products, concepts, and the world around them.

MARKETING | PRODUCT

Brilliant is an interactive math app built around a simple challenge: making one of the subjects people fear most feel intuitive, visual, and engaging. I worked across every touchpoint used to reach new audiences and grow the product — directing and editing ads that grew Meta spend 4x, shaping the onboarding redesign that lifted signups 6.5%, and animating sponsored content that reached 700M+ views on YouTube's biggest science channels. After nearly 5 years on a small, multidisciplinary team, I'm comfortable moving from strategy to execution, solving unfamiliar problems, and bringing wildly different briefs to life — sometimes all in the same week.

CONCEPT DEVELOPMENT | BRILLIANT

Bringing a new universe to life

Brilliant's lessons already lived in playful, alternate versions of the real world. When our new mascot Koji arrived, our challenge was figuring out how he belonged there and how new users would step into that world. We used an onboarding redesign as the testing ground for those ideas. I helped shape Koji's character by exploring an origin as a "particle," which became his intro/outro animation, and created the first concept animations of him traveling through a portal into Brilliant's world.

The portal became Brilliant's central metaphor, and I was part of the team that built the resulting Koji-hosted onboarding experience, which lifted signups 6.5% and trial starts 6.4% over the previous version.

CONCEPT DEVELOPMENT | BRILLIANT

Bringing a new universe to life

Brilliant's lessons already lived in playful, alternate versions of the real world. When our new mascot Koji arrived, our challenge was figuring out how he belonged there and how new users would step into that world. We used an onboarding redesign as the testing ground for those ideas. I helped shape Koji's character by exploring an origin as a "particle," which became his intro/outro animation, and created the first concept animations of him traveling through a portal into Brilliant's world.

The portal became Brilliant's central metaphor, and I was part of the team that built the resulting Koji-hosted onboarding experience, which lifted signups 6.5% and trial starts 6.4% over the previous version.

2D ANIMATION | BRILLIANT

Subverting expectations

Brilliant's premium upsell ads ran between lessons, a moment when users just want to get back to learning. Looking at how apps like Duolingo leaned on their mascots and kept each ad to a single value prop, I proposed the same approach here: one clear idea per ad, giving us room to lean into entertainment over a hard sell. For some ads, like the one featuring ancient mathematician Archimedes, I created the concept and original script. For others, I iterated on my colleagues' concepts, developing the humor further in the animation phase through timing, cuts, zooms, visual effects, and sound design.

Users liked the ads so much they started leaving comments about them in our app store reviews, and they lifted trial starts and checkouts ~20% over the previous ad. I personally animated half the launched set, wrote the concept for a fourth, and built the character rigs used across all six.

VIDEO INTERVIEWS | BRILLIANT

Finding stories 

Our scripted ads weren’t connecting with parents, so we pivoted to unscripted interviews with our in-house education experts — grabbing colleagues for quick 20-minute sessions during a company onsite. During one session, I noticed our interviewee had a visceral reaction to the question “What’s hard about teaching math?” and knew we’d hit on something. I built the edit around that authentic moment and we immediately saw success. Our experts had genuine opinions about math education and a natural ability to challenge commonly held beliefs. This unexpected question format became our core Meta ad strategy. Within days I was setting up new interviews, throwing unexpected questions to find the next unscripted moment worth building around. The approach continued to work well enough that I flew to Chicago to shoot more interviews with our CEO and a member of the board.

VIDEO INTERVIEWS | BRILLIANT

Finding stories 

Our scripted ads weren’t connecting with parents, so we pivoted to unscripted interviews with our in-house education experts — grabbing colleagues for quick 20-minute sessions during a company onsite. During one session, I noticed our interviewee had a visceral reaction to the question “What’s hard about teaching math?” and knew we’d hit on something. I built the edit around that authentic moment and we immediately saw success. Our experts had genuine opinions about math education and a natural ability to challenge commonly held beliefs. This unexpected question format became our core Meta ad strategy. Within days I was setting up new interviews, throwing unexpected questions to find the next unscripted moment worth building around. The approach continued to work well enough that I flew to Chicago to shoot more interviews with our CEO and a member of the board.

STORYTELLING | EDUCATION

My work has always centered around the same challenge: finding the clearest, most human way to communicate complex ideas. I've created short educational videos on public-interest topics like global food systems, racial divides in the working class, and prosecutorial power; translated complex benefits programs into accessible animations for eBay teams worldwide; and turned dense conference talks into live visual notes, synthesizing ideas in real time.

STOP MOTION+2D | EBAY

Making sense of complexity

eBay needed an annual series walking global managers through complex compensation and performance reviews. To keep the project scalable across yearly updates without losing charm, I developed a hybrid production strategy—combining tactile paper stop-motion designed by Roguemark's Art Director with flexible digital animation. I led the animation team, directing two new animators, and edited the final pieces, transforming a mandatory HR requirement into a memorable, personality-filled series used across the company.

STOP MOTION+2D | EBAY

Making sense of complexity

eBay needed an annual series walking global managers through complex compensation and performance reviews. To keep the project scalable across yearly updates without losing charm, I developed a hybrid production strategy—combining tactile paper stop-motion designed by Roguemark's Art Director with flexible digital animation. I led the animation team, directing two new animators, and edited the final pieces, transforming a mandatory HR requirement into a memorable, personality-filled series used across the company.

STOP MOTION | JACK CONTE / PATREON

Getting hands on

Jack Conte (founder of Patreon and one of YouTube's original creator success stories) was relaunching his personal channel with a video about the future of being a creator. His producer came with a script and a vision, and we developed the story together before I took it into production. I brought Jack’s actual creative history to life through the objects that defined it: his instruments, his old video cameras and the notebook where he first sketched the idea for Patreon. I shot the two-minute piece in four days across two locations, bringing my own camera and lighting gear, automating a robotic camera slider, and hand-animating hundreds of items. We wrapped in two weeks.

STOP MOTION | JACK CONTE / PATREON

Getting hands on

Jack Conte (founder of Patreon and one of YouTube's original creator success stories) was relaunching his personal channel with a video about the future of being a creator. His producer came with a script and a vision, and we developed the story together before I took it into production. I brought Jack’s actual creative history to life through the objects that defined it: his instruments, his old video cameras and the notebook where he first sketched the idea for Patreon. I shot the two-minute piece in four days across two locations, bringing my own camera and lighting gear, automating a robotic camera slider, and hand-animating hundreds of items. We wrapped in two weeks.

VISUAL NOTES | SALESFORCE, EY, SANDISK

Live synthesis

I got my start at a small multi-media animation studio where in addition to animation and video production, I spent years doing live graphic recording at tech conferences — synthesizing complex topics into visual narratives in real time, blank canvas and permanent marker in hand. That environment taught me how to listen closely, process information fast, and find the core story.

VISUAL NOTES | SALESFORCE, EY, SANDISK

Live synthesis

I got my start at a small multi-media animation studio where in addition to animation and video production, I spent years doing live graphic recording at tech conferences — synthesizing complex topics into visual narratives in real time, blank canvas and permanent marker in hand. That environment taught me how to listen closely, process information fast, and find the core story.

Thriving in uncertainty

My life has been defined by a major theme: I'm unusually capable of diving into unfamiliar spaces and figuring out how to make something amazing. Outside of work, that shows up in the challenges I take on just for fun — like teaching myself to knit, or building a hydroponic garden.

That drive is rooted in my history as an internationally competitive ultimate frisbee player and winner of the Callahan Award, the sport's national college MVP. The highlight video I made as my entry went viral, and to this day, people come up to me at tournaments to tell me how it changed what they believed was possible.

Constantly pushing my own limits has built a deep tenacity and an unusually wide creative range across animation, design, and making things with my hands. I naturally gravitate toward small, scrappy teams and a constant stream of new, varied projects. Right now, I'm looking for a role where I can get hands-on and flex my full creativity.

marisa.rafter@gmail.com

Working together

“Marisa is talented, adaptable, endlessly curious, and grounded in the fundamentals of good storytelling […] She’s a creative team’s ultimate Swiss Army knife, moving effortlessly between any and every creative project.”

COLE BOLTON | BRILLIANT

“If I were a client, Marisa is the woman I’d turn to when I’m a little bit desperate, in over my head, and have no idea which way to turn. Her competence, creativity, and practicality make her an excellent match for righting the ship.”

BETHANY KAYLOR | ROGUEMARK

Top