I pursue designs that are clean, uncluttered and refined. I believe restraint is one of the most powerful skills a designer can employ and one of the most difficult to master. It comes from taking a thoughtful and purposeful approach to the design to discern what is essential and relevant and requires a highly developed attention to detail and an understanding of what to include and where to stop. I'm unapologetic about my desire to create things that are beautiful. I agree that form should not be put ahead of function, however, I believe function should not be sought without equal attention to form.
Print design remains a vibrant and vital part of my work—from business cards, letterhead, brochures, invitations and packaging, to posters, wayfinding and environmental graphics.
I appreciate that print enables me to communicate from all manner of places: posters appear on walls, in train stations, at bus stops. I can (and have) wrapped entire corridors of buildings in event graphics that transform the experience for those in attendance.
At the other end of the spectrum, there is an intimacy involved in putting a message or product right into someone's hands. It is interesting and refreshing to have an item to hold, and this area of print design affords a great range of methods and techniques to add to the sensory experience: textures, inks, coatings, metallic finishes, die-cuts, letterpress, and three-dimensional folding techniques to name a few.
Over the course of my career I have been involved in many aspects of brand creation, from guiding individuals and business owners through the first steps of working out how to articulate (even to themselves) what is most essential and defining about their company, product or service, to creating the primary visual expressions (logos, collateral, signage, etc.) and verbal tone guides.
Branding projects are done in close collaboration with the person, or small group of people, closest to the core of the client company. It is my job to explore with them, to question and listen intently, often past their words, to hear what they truly want their company, product or service to be, and then to take those kernels and craft the visual and verbal elements that reflect and communicate that intention.
The world of web design and code is ever-evolving and the need to ensure that my best practice is in line with current best practice is a constant. I respect clean code that is syntactically and semantically correct and well commented, and, to be candid, I have little patience for that which is inefficient, cumbersome or poorly structured. Currently I use the Sass version of Zurb Foundation as the framework and, where appropriate, Wordpress as the content management system. I custom build websites to be search engine friendly and responsive, meaning they will work and look as intended no matter what device is being used, whether it is a desktop, laptop, tablet, or phone.
I studied illustration at Parsons School of Design and the Art Students League, both in New York City, and I am an active member of the Society of Children's Book Writers and Illustrators. I have been sketching and creating visual art since childhood. I could say that some of my painting appears on the walls of a villa in Tuscany. It is in fact true, but that had more to do with an exploded coffee pot than any creative impulse. Unintended coffee frescos aside, I am currently working on illustrations for a collection of short stories and a new cookbook. In traditional media I work primarily in graphite, watercolor and pen and ink. In the digital realm, technologies may include Illustrator, Photoshop and Sketch. Often the best approach involves a combination of traditional and digital.