My work––whether commercial or personal––reflects a journey through aesthetic and philosophical dichotomies. I shift between two opposing aesthetics, creating balances that suit the conceptual and communicative needs of a particular project. This versatility allows for a larger expressive repertoire that mig… Read More
My work––whether commercial or personal––reflects a journey through aesthetic and philosophical dichotomies. I shift between two opposing aesthetics, creating balances that suit the conceptual and communicative needs of a particular project. This versatility allows for a larger expressive repertoire that might otherwise be lost in the pursuit of a singular “style.”
My body of work is influenced by Warhol’s celebration of the seemingly mundane, Morris’ championing of the craft arts, Massin’s kinetic layouts and expressive typography and Heartfield’s courageous and clever photomontages. In short, I am influenced by the world around me. From the moment I wake up, to hitting the pillow hard at night, I am influenced by everything I see and interact with. Exposure to culture––high or low, historical or contemporary––forms the wellspring of the designer’s palette. And it is design thinking that guides conceptual ideation and creativity.
I am particularly interested in subjects that feed my insatiable intellectual and aesthetic curiosity. I had an early interest in the scientific––geology, cartography, astronomy, and physics––every discipline provides an opportunity to learn and be inspired. I tend to collect scientific ephemera, mineral specimens, fossils, maps, etc. I enjoy their textures and detail. When I learned about the printmaking arts, I was immediately taken by their enormous potential for communicative expression. Screen-printing, relief, lithography, monotype, letterpress and the like all have their own textures and voice. Each method can communicate the same message differently. I try to incorporate printmaking into my graphic design when appropriate.
My work is informed by a variety of theoretical influences. Historical and contemporary philosophers and theorists provide the intellectual stimulus for design thinking and conceptual ideation. I am especially interested in post-modernism, semiotics and graphic design history. I feel that these areas are the most relevant to my field as they educate me on social trends, communication and history respectively.
Therefore, my design process is mostly comprised of thinking and contemplation. In-depth research and conceptual brainstorming come before pen is put to paper. Before the first logo is drawn or the first typeface chosen, I examine the design problem in its entirety. When I am certain of my direction I precede with rough sketches or collages. The computer comes later. I often move back and forth between the two. I work with a Macintosh using most of the Adobe Creative Suite (Photoshop, Illustrator, InDesign, After Effects, Flash, Fireworks, and Dreamweaver) as well as QuarkXpress. Read Less
