TRUE
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Trev TrueDigital Transformation Leader · AI Solutions Architect

I build systems that power brands.

0
deliverables
0
APIs integrated
0
languages
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reports delivered
Postgres memory
automated alerts
management dashboard
token optimized

Situation

Search is moving from ranked links to generated answers. For brands, discovery now depends on what ChatGPT, Claude, Gemini, and other answer engines understand, trust, cite, omit, and recommend — yet most teams still manage visibility with tools built for traditional SEO, leaving the AI layer largely invisible.

Task

Make answer-engine visibility an operational discipline — something a brand can measure and manage, not guess at.

Action

I built ye5.ai (pronounced YES AI), a four-product AI Visibility Suite that measures how answer engines perceive a brand, maps the gaps across its owned and off-site signals, and produces the fixes. It’s real software — traditional and machine-learning methods working together, not prompts glued together behind a UI wrapper. First line of code to public launch in one week.

Result

ye5.ai is live and delivering at scale — 500+ reports and counting. It gives brands a practical way to see how answer engines understand them today, where their visibility breaks down, and what to do next.

ye5.ai — Multi-Model Perception: the audited brand vs. its competitors across three AI models
ye5.ai — a live GEO Brand audit: how three AI models perceive the brand against its competitors.

The suite — 4 products + a recurring rail

· all live 2026 · one codebase · one maintainer


Unified SMMP
Unified User Access and Security
Unified Dashboards and KPIs
Unified Storytelling Frameworks
Custom AI Powered Content Creation Tools

Situation

In December 2024, I was hired as Head of Social Media to modernize and align social operations across Roundglass, a complex multi-entity organization spanning executive communication, wellbeing, philanthropy, biodiversity, sports, professional football, music, and policy advocacy.

Task

My mandate was to create a unified social media operating system that could support very different brands and missions while improving access, security, reporting, storytelling, and content production across the organization.

Action

I began by assessing the existing social media ecosystem across Roundglass Living, Roundglass Foundation, Roundglass Sustain, Roundglass Sports, Punjab FC, Roundglass Music, and Roundglass Global India Collective. From there, I designed a unified social media management platform structure, standardized user access and security protocols, and created shared dashboards for KPIs and performance visibility.

I also developed unified storytelling frameworks that allowed each entity to maintain its distinct voice while laddering up to a clearer Roundglass-wide narrative. To improve speed, consistency, and creative output, I introduced custom AI-powered content creation tools tailored to the organization’s different content needs.

Result

The work created a more secure, coordinated, and scalable social media system across Roundglass. Teams gained clearer governance, shared performance visibility, stronger storytelling alignment, and faster content creation workflows, laying the foundation for a modernized global social operation across the full Roundglass portfolio.


Launched
DoorDash
Instacart
Amazon
9x
Social Media
Followers
Web Redesign
CMS Migration
140
SEO Optimized
Articles

Situation

In October 2021, I was hired to lead Metropolitan Market’s digital transformation. The starting point: customer data siloed and inaccessible, a desktop-centric website five years past its prime, declining email program, stagnant social media, minimal ecommerce presence, and no coordinated digital infrastructure.

Task

Transform a weak and fractured digital footprint into a modern, revenue-generating digital engine.

Action

Over three years, I designed and executed eleven interconnected initiatives across data, content, web, social, ecommerce and internal tools.

Result

A profitable system that still runs today. The eleven sections below show how it came together.

metropolitanmarket.com — the mobile-first redesign
metropolitanmarket.com — the mobile-first redesign.

The initiatives — eleven systems

· eleven interconnected initiatives · October 2021 – December 2024


15
Handmade AR Wearables
4mo Run
Extended from 2 Weeks
Millions
Social Impressions
Ostrich AR — 1 Silver White OGOstrich AR — 1 Gold RWBOstrich AR — 1 Blue PinkOstrich AR — 2 Blue OrangeOstrich AR — 2 Blue Yellow PinkOstrich AR — 2 Gold RedOstrich AR — 2 Green YellowOstrich AR — 2 Night VisionOstrich AR — 2 Orange GreenOstrich AR — 2 Pink BlueOstrich AR — 2 Silver Red BullOstrich AR — SHOWFIELDS 2Ostrich AR — SHOWFIELDS 3Ostrich AR — SHOWFIELDS 12Ostrich AR — SHOWFIELDS 15Ostrich AR — SHOWFIELDS 16Ostrich AR — SHOWFIELDS 18Ostrich AR — ToonVision 02Ostrich AR — ToonVision 03Ostrich AR — ToonVision 12

The SHOWFIELDS series — 20 frames. Steer with your cursor — left rewinds, right advances.

Situation

I wanted to create a more accessible augmented reality system that gave equal weight to the physical object and the viewer’s experience, rather than relying on conventional headset-based immersion.

Task

My goal was to design and prototype an AR/VR platform that could support visual, audio, kinetic, and interactive elements while avoiding the common barriers I observed in existing systems, including nausea, imbalance, disorientation, and participant discomfort.

Action

I began with academic and practical research into AR/VR systems, then studied audience behavior around works including Jordan Wolfson’s Real Violence at the Whitney Biennial, Ryder Ripps’ Diventare Schiavo at the Venice Biennale, and a ZBrush demo at NCECA17. I observed and interviewed participants, then tested multiple devices myself, including HTC Vive, Google Cardboard, and similar binocular-lens systems.

From that research, I found that novelty drove participation, but many systems left users feeling physically uncomfortable or socially exposed as unwitting performers. To move away from those limitations, I explored alternative wearable platforms including hats, straps, headbands, and medical devices before selecting construction hard hats for their adjustability, durability, cleanability, affordability, and visual variety.

At the University of Michigan in 2017/18, I developed the first generation of Ostrich AR as a test platform for fastening methods, kinetics, coatings, audio, video, lighting, and other sensory elements. I then built three additional units to explore aesthetic direction and test the system with art and design communities in Ann Arbor and Detroit.

For the second generation, I created a more streamlined visual language using mirror acrylic and developed a new video interface, 2nViz, designed to deliver an AR/VR experience without the physical limitations of mass-market headsets. Prototype testing confirmed that O2 could offer an immersive augmented experience without the nausea, blurred vision, imbalance, or disorientation common in conventional systems.

Result

Although the project began as a speculative studio experiment, a studio visit with Tam Gryn, head curator for SHOWFIELDS, led to an invitation to create an OstrichAR-based interactive installation for the SHOWFIELDS NYC launch. With only an 8-by-10-foot space and an initial two-week run, I built an installation featuring 15 Ostrich systems, custom display racks, and a digital selfie mirror running 2nViz.

The installation was extended from two weeks to four months, attracted more than 100,000 visitors, and generated millions of social media impressions.


6
Days
50
Events
500
Performers
7k
Attendees
39
Volunteers
Silent disco flash mob — openingPercussionMusicSinging bowlsTheaterTheaterSculptureLove Affair With a Square — Anja DuboisSelfie boothSwag boothClosing night

Fringe ’16. Steer with your cursor — left rewinds, right advances.

Situation

Oregon Fringe was entering its third year as a weeklong regional arts festival with international heritage, but its first two iterations were heavily weighted toward theater, dependent on visiting talent, and supported by a dated visual identity with limited digital direction.

Old Fringe identity, 1 of 4 Old Fringe identity, 2 of 4 Old Fringe identity, 3 of 4 Old Fringe identity, 4 of 4

The old identity — Fringe ’14 / ’15.

Task

I was responsible for transforming Oregon Fringe 16 into a broader, more inclusive, multidisciplinary festival while strengthening its creative direction, operations, community relevance, and public-facing brand.

Action

I started by analyzing the previous two years of programming, budgets, branding, web presence, and audience experience. Based on that research, I repositioned the festival around a balanced mix of music, theater, and visual arts, with preference given to local artists and projects that involved direct audience participation.

I built a diverse leadership team and organized working groups for talent selection, grant awards, community coordination, marketing, and operations. Together, we reviewed more than 100 proposals and selected 50 projects. We managed artist development, awarded grants, secured city and university site approvals, and coordinated insurance, accounting, public safety, signage, wayfinding, schedules, and promotion.

I also worked closely with equity and inclusion leaders to reduce physical and social barriers and create a more welcoming “festivALL” experience. In parallel, I led a full rebrand, including a new visual identity, color system, logo, type direction, graphic standards, website, and branded merchandise.

Result

Oregon Fringe 16 became a more balanced, locally grounded, and participatory festival, expanding beyond its theater-heavy roots into a true multidisciplinary arts experience. The new brand gave the festival a clearer public identity, and the operating structure supported a larger, more inclusive program that attracted over 7,000 visitors, doubling attendance from previous years.

The Oregon Fringe mascots

1st
in the US
5k
B2C
200+
B2B Partners
Exited
2020 - Sold my stake

Situation

In the winter of 2008, a severe snowstorm brought Portland, Oregon, to a standstill. I had recently bought winter tires, which kept me safe on the roads, but created a new problem: my car was full of dirty, heavy summer tires with nowhere practical to store them.

Task

When it came time to switch back, I realized the hassle of transporting and storing seasonal tires was a real customer pain point. After researching the market, I found that tire storage services were common in Canada, but no company in the United States was focused on seasonal tire storage as a core business.

Action

In 2010, I co-founded TireStorage.com, the first U.S. company built around seasonal tire storage. I helped build the company from zero, including the operating model, customer acquisition engine, and B2B white-label channel for tire shops and automotive partners.

Result

I sold my stake in 2020. TireStorage.com is now in its sixteenth year of operation and helped establish a new service category in snowy regions across the United States, inspiring competitors and broader market adoption.


15 yrs
Marketing & Transformation
2x
First to Market
25+
Art Exhibitions
3
Universities Taught

How I work

My training is in clay and code. Clay has opinions. Kilns don’t negotiate. When the tools I needed didn’t exist, I built them, including one of the first ceramic 3D printers.

I treat digital platforms the same way, as materials with physics. My graduate thesis named them systems of digital control: the machinery deciding what people get to see. Every project above began with learning a system’s physics well enough to make it carry a brand somewhere it wasn’t going on its own.

Empathy and iteration are foundational and the space between risk and restraint is where good becomes great.