This invite was printed with 2 colors, metallic gold & white, on black. The event was a fundraising dinner for the UM LSA Screen Arts department, and it was held at a venue in LA. These alums would have used the same gear I used in film school, so I made illustrations of some of my favorite tools: an Arriflex camera, a 5k baby fresnel light with barn doors, a flag on a C-stand, and clothespins holding on a sheet of diffusion. Everyone loved this piece, and the event was very successful.
At Jackson-Dawson I spent a lot of time working on the Ford F-150. I created a dealership display program called “The Truth About Trucks” which included video we shot in an LA studio stripping competitive pickup trucks down to the frames. I was amused to feature a comparison of whose bed bolt was longest, which was believed to be an important feature to customers.
The display would attach to the side of a pickup truck in the showroom and play the video, while customers could pick up literature and fondle real bed bolts and frame rail cross sections mounted on the piece. The supporting website was one of the first flash all video sites launched by a car company. As the art director, I focused on combining tech and tough; I scanned bolts from a computer hard drive to use in the ‘bolted on’ look panels in the collateral, and photographed sheets of steel for the background textures and shot all the parts on brushed steel sweeps.
This campaign got exceptional feedback from dealers, who claimed it really helped sell trucks, and I received an award of some kind from Ford for it.
“Legends and Myths” is a good example of a competitive comparison collateral, which I did a lot of at Jackson-Dawson. It was sent to dealers as a selling tool, and used in national vehicle tours.
This is a video recording an installation project with Traktung Rinpoche and David Chaim Smith. They covered an entire room at Tsogyelgar with diagrams and poetry in a kind of mad floor to ceiling conversation that is the basis for a book they are working out together. All the shooting happened at odd hours with no preparation, the editing may or may not make some sense out of it. It was wonderful to work on.
I worked as a volunteer and as the marketing director at White Lotus Farms for the past several years. I worked with the team out here to design a logo, typeface and branding components, and developed and implemented our advertising, PR, social media and sales strategy. As a long time volunteer and member of the community here at the farm, this has been an intensely personal project.
In 2015/2016 I created two fonts for White Lotus Farms, ‘Lotus Gothic’ and ‘Lotus Script’. Each letter was hand drawn with pencil, scanned and brought into TypeTool to generate an Open Type font.
Samudra was a project conceived by Odissi dancer Sreyashi Dey. She asked me to create a multimedia projected backdrop for the piece. I had to learn a great deal about classical Indian dance in order to use photography, animation, footage, and artwork to relate to the layers of meanings in the experimental choreography. These photos are shot at the Kelly-Strayhorn Theater in Pittsburgh during our 2012 performance there.
In 2004, Mercury released the Mariner and Montego as vehicles that were to take their “grandparents” brand back into relevance with younger buyers. A large part of how car companies market re-branding is to work with dealers on how to describe and sell the new look and feel of the product with multimedia tours that put the cars on stages for presentation and tracks for testing.
When Jackson-Dawson got the job to do a national dealership tour, there was very little artwork or advertising created for these cars. As the art director, I had a lot of latitude creating a style to present these cars to dealers, even though our tour was months ahead of the national ad campaign. I used aggressive cropping and image manipulation, space, and repeating circle forms that mirror the round mercury badge, as elements to create stage graphics, banners, booklets, signage, web graphics, animation, and other collateral in a consistent style reflecting a radical departure from the ‘old’ Mercury.
I worked on numerous articles for Audi Magazine when they were pushing to get more traction as a premium luxury vehicle in the mid 2000’s. This story featured David Bowie, an Audi spokesman, and one of my personal idols.