I have been contributing to Boston Review Magazine for the past year. Primarily, I’ve created infographics for the “State of the Nation” section, but I have also done some feature illustration for them. All of the infographics are to accompany a longer form article that often discusses social-political topics.

Known for their exceptional skin products and outstanding environmental record, Burt’s Bees recently unveiled a line of acne prevention and treatment products. The campaign that they commissioned as a promotional tool surrounds the kit in an enticing wrap. Inside the wrap, recipients found a sixteen-page, saddle-stitched booklet that informed them about the Acne Solutions line as well as product samples and coupons. The booklet features a felt textured cover and a multi-level emboss that encourage viewers to pick it up and explore its contents. All of the components of the guide were printed on recycled stocks, which reinforced the Burt’s Bees message of sustainability.

Designed at Alphabet Arm Design.

You’ve probably seen the video by now, as it’s been making the rounds in pretty much ever social network.

It’s pretty funny, and well written. Having a guy play the part of the girl is pretty ingenious and the whole thing is put together skillfully, with its repetition and quick cuts. It has a lot of what makes pop songs catchy, just in video form.

What really interests me about the video, though, is how it’s transformed into a meme that has become increasingly granular. In fact, I wasn’t aware of the video until I saw one of the take-off on it. Several of my friends posted a link to the video, “Shit New Yorkers Say,” which was somewhat funny to me (as a Bostonian). I couldn’t totally relate to it though, as I’m not a New Yorker. I’ve been there many times, but I don’t know it as intimately as my friends. I understood some of the jokes, but not all of them, so I watched the video and then moved on to the next thing.

The following day, another group of friends posted a link to this video:

This I could relate to and here’s where it gets interesting. I’ve been a passionate mountain biker for the past three years, and it’s a subculture which I’ve immersed myself in. I’ve probably said a bunch of lines from that video, and so for me there’s a lot of truth in it. That authenticity is where the power in these videos is, combined with the sense of community they create. If you’re not a mountain biker, you probably didn’t relate to that last video, but that’s what makes it great.  The tribe of mountain bikers is so small that it has developed specialized language to accompany the central activity of the group. In essence, the language is one of the main defining aspects of the subculture.

We humans have always sought to form groups of like-minded individuals, and in the modern connected area, this is easier than ever. We’re no longer limited by spacial boundaries, but we still seek out ways to make these connections. Language is one of them, and so are these sort of cultural artifacts that we create. They are a means to bring together members of a subculture from far-flung reaches of the globe and create things to talk about and share common experiences. We all seek these things out, and therein lies their power.

The Implications for Branding

Of course, professionals in the Branding spheres have known this for a long time. Logos are artifacts, so are modes of fashion and pieces of media. Just as a lot of the videos in this meme were created out of a passion for their culture, I’ve seen quite a few that were created by more corporate entities. From my point of view, not a single one of them has rung true. They have that whole stink of cashing in on the zeitgeist, for money and profit.

Smart folks in Branding know that you can’t create these memes, and most of the time you can’t piggy back off of them either. People can smell inauthenticity from a mile away, especially in such niche subcultures as mountain bikers (or fixed gear riders, or knitters, or organic gardeners, etc.). The risk of coming off as fake is always a consideration when you’re creating branding, but if you’re just recycling someone else’s idea, you’re chances of attaining an honest connection are pretty small. Your best hope is to already have enough brand equity in the viewer to overlook the face that you’re just taking wholesale from an original idea. There hasn’t really been a lack of corporations doing this historically, but I would suggest that this is the root of some of the corporate disillusionment in our society.

Strive for Authenticity

When we create branding, it’s imperative that we understand our audience. It’s not about riding the latest wave, it’s about making connections. To do that, you really have to get to know who the audience is. One of the first things to realize is that you don’t dictate branding. You can help to guide it, and provide input, but brands—whether they be corporate or non-profit or individual—are always about conversation. The hard reality that most organizations struggle with is that brands are not dictated, but are shaped by people just as much as they are created by designers, strategists and marketers.

It’s been a month of rather intense change for me. The biggest change has been a decision to quit my current full-time job and begin freelancing full-time. This hasn’t been an easy decision for me—as you might imagine—with the job market being pretty poor and a lot of people still out of work. There are a few reasons why I decided to make a move, but I’ll only get into a few of them here.

A Rolling Stone…

…gathers no moss, or so they say. It became abundantly clear to me, especially over the past 9–12 months, that I wasn’t growing. I felt like my skillset was stagnating, and I could read articles and self-educate all I wanted, but the types of projects that I wanted to work on just weren’t coming in. I wanted to work on a project that would challenge me and really push the limits of what I felt comfortable doing creatively. I wanted to think big and I wanted to get crazy. None of these things would happen at my previous job.

Some designers, especially these days, take this opportunity to create their own projects. This is great, and some amazing stuff has come of these kinds of ventures. For me, at this point in my life, I find the external stimulus far more motivating than self-defined projects. I’m not great at defining constraints for myself, so I find client work more rewarding.

One More Time, With More Focus

Some of the clarity that I’ve gained over the past 18 months relates to the type of work that I want to do. I realized that at some point, I got away from what I want to be doing. My first passion in design is Branding. The thrill of connecting with people and (positively) impacting their lives through my work is exciting. Branding is one of the things that I do best, but I want to do more of it, in a different way and bigger.

I’m also really excited with Interaction design. I’ve always loved technology, but I think that we’re getting to a point where the technology is starting to disappear. By this, I mean that designers (and engineers, programmers, etc.) are creating systems that people can interact with on a complex level with minimal interference. This dove-tails with wanting to relate to people through my work, as well as engage them in a shared experience. All exciting stuff that I want to do more of.

In Which a Garden Analogy is Used

Even though I’ve had the pleasure of working with some really great folks over the past nine years, I realize now that I’ve hoed a pretty narrow row. I have worked primarily in small firms for much of my career, and so the type of work that I’ve done has been small firm work. That’s not to say that there are benefits to the small firm environment. The relationships with clients, the accessibility to your boss, the ability to have some say in the direction of the company; these are all great things. For my immediate future, however, it’s not what I want. I want bigger and I want different.

As a freelancer/sole-proprietor, I want to work as part of a large campaign or bring my services to a company that might not be able to use them otherwise. I want to do important work and meet a bunch of different people. All-in-all, I just want to get out there and see what’s available to me.

So What Now?

Well, I’m not entirely sure. I suppose that I will more or less figure that out as I go along. What I do know is that I will feel a lot more in-control than I have in a while, and it’s exhilarating. Sure, there is the possibility for failure. I know it’s a risky move, but part of this move is having enough faith in myself that I can do it.

Of course, if you have any suggestions, words of wisdom or even a project that you might be interested in working with me on, feel free to drop a line. I’d love to chat more.

Just like last year, I decided to do a wrap-up of the music that I’ve really loved from the past 12 months. And also like last year, I’m not limiting myself to albums that came out last year. The reason is that even though new music can be very much “of a moment,” I really feel that new artists or albums can relate to something that you’re going through that might really strike a chord at a particular time in your life. Subsequently, I think it’s fun to talk about those records too because readers may have missed them the first time around too.

Gang of Four — Content

I am a die-hard Gang of Four fan. When I hear that this album was coming out, I battled with equal parts excitement and apprehension. It seems like Punk is becoming more like the new Classic Rock with every passing day, but I was hoping the these guys hadn’t lost their touch. Fortunately, I wasn’t let down. Content sounds both like old GO4, and like something new. With so many bands influenced by GO4 out there these days, it’s nice to know that they still have some lessons to teach.

The Kills — Blood Pressures

I’m not totally sure why, but this album really clicks for me. It probably has something to due with the minimal approach and electro-guitar sound combined with the drum loops. Allison Mossheart’s pained wailing of considered lyrics can’t hurt either. The total effect is a record that is fun to tap your foot to, but also stands up to deeper scrutiny.

The Thermals — Personal Life

Ok, here’s where I go off the rails and start in with albums that I didn’t get around to until this year. I’ve liked The Thermals’ previous releases, but this one really stuck with me. It’s definitely a bit more chill than previous albums, with the track that I’m including below being the fastest and most hard-hitting of the bunch. Taken as a whole, the album has a great arc however. It’s more dynamic, and at the same time this me a feeling of greater emotional range than their previous albums.

Battle House — Some Sleep

This one’s the first up from the somewhat obscure local releases. From my perspective, Boston has a bit of a sleeper scene right now. For every Passion Pit, there are a dozen bands around here that are just fantastic and subversive but put on a great show. I would put Battle House on the top of that heap, with their hard-to-categorize sound and general weirdness. I’m not sure how much widespread appeal that they have, but I’d nominate them to be our Rock Ambassadors anyday. Download the album for free here.

tUnE-yArDs — W H O K I L L

I don’t normally take to music endorsements from NPR as a rule. I couldn’t help but an exception in the case of this record, which I heard about on Studio 360. It’s a little tough to describe this release, what with each song being primarily composed of electronic loops, percussion, ukulele, bass, a couple saxophones and vocals. I guess the best way to sum it up is Paul Simon’s Graceland through a post-punk lense. Great stuff.

Jeff the Brotherhood — We Are The Champions

I started to come into my own—personally and musically—in the mid-‘90s. Looking back, it seems like a rather odd time in music, with Rock ’n’ Roll really looking purpose, Hip-Hop coming into it’s own, and MTV really going through its transition to not playing music. I definitely fell into the Grunge thing fairly hard, especially on the heavier end of the spectrum, so that may be why I have a soft spot for this album. We Are The Champions sounds like something that could’ve come out during Grunge’s heyday, but the suburban angst is swapped out for a generally chill vibe and songs about girls and partying. Basically, making it much more fun and less mope-y.

Olde Growth — s/t

Back to local releases, and this case probably the heaviest slab on this list. I’ve been checking out more and more metal these days, and Olde Growth plays exactly the kind of stuff I like. It’s dripping with sludge, and pretty heavy at times, but the tempo still gets rolling and the variety of the tracks keeps things interesting. I’m pretty sure that these guys aren’t really breaking any new ground, but I really like this album and I think it deserves attention from a wider audience for sure. Oh yeah: and there are Tolkien references. Check them out.

Various - Drive (Original Motion Picture Soundtrack)

Didn’t see that one coming, right? When Drive came out in the theaters, I went to see it and generally enjoyed it. Good, but not awesome. For the week afterwards, the music kept haunting me though. It fit the mood of the movie really well, but it also seemed like it might stand on its own pretty well too. I grabbed the soundtrack, and it turned out to be quite good. In a way, it’s two albums: five tracks by various electro/dance groups, and then 15 electronic and highly atmospheric instrumental pieces (by Cliff Martinez, no less). As with any compilation, there are a couple duds, but I think these tracks have longevity because they don’t have that “soundtracky” feel that you often associate with glitzy Hollywood productions.

Iceage — New Brigade

12 tracks in 24 minutes. I’m not sure if there’s a better indicator of quality in a record, but if you need one then this album probably isn’t for you. It’s fast, raw and refreshing. It could’ve been a Class of ’76 release, and I think it still would’ve stood out with the best of the Buzzcocks and 999.

Cold Cave — Love Comes Close

My other exception for the 2011 stricture. I bought Cherish the Light Years when it came out this year, and it was my introduction to Cold Cave. I really liked it, and the only reason that it’s not on this list is that I went out and got Love Comes Close shortly after and liked it even more. I fully realize that this album sounds a lot like the ’80s recycled some thirty years later, but it still sounds great to me. I wasn’t really aware of the early 1980s New Wave music when it first came around, so I can appreciate it much more now. As more of an oddity in 2011, it’s easier to appreciate that it’s just enjoyable music to listen to.

Generally, I think it was a pretty good year for music. It’s a great time to be a music fan, since groups are pulling from so many different time periods and stylistic influences. Especially in small, local scenes (like Boston), artists are exploring and pushing some interesting boundaries.

So what do you think? Did you guys enjoy any of these albums too or did I shine the light on some stuff that you might’ve missed the first time around?

I was asked by Jason from the Say Something Poster Project to collaborate with him on something that might be related to his project. I think what he’s doing is fantastic, so I was glad to be able to help out. If you’re not familiar, it’s a poster competition with the aim of inspiring and benefiting youth in the Boston area.

The above image is a lettering project that I created as a sort of response to his theme for this year, which is This Way Forward. I created this custom lettering, inspired by turn-of-the-century broadsides. I always enjoy lettering projects, and on this one I had free reign, making it even more enjoyable. To accompany the image, I wrote a short editorial piece. Check it out when you get a chance, and definitely think about submitting to the Project.

In addition to the printed materials, which included a save the date, an invitation and a welcome kit, the campaign included a mini-site for the event. With a registration form and information on the details of the event, the site covered all facets of the function for the attendees.

Done at Roycroft Design. Additional website pages designed by Emily Chionchio.

I really enjoy drawing letters. It’s something that I’ve done since I was a kid. I remember getting a book at a book fair with all different styles of lettering. In retrospect, that may be one of the books that sent me down the path that I’m on.

Regardless, the image above is the first in a series that I’ve been thinking about for a week or so now. When I do art, I often spend that time thinking about life. Without fail, I end up obsessing about little things or focusing on aspects that I would like to change. To that end, I’m trying to make a conscious effort these days to keep a PMA. I’ve also wanted to work on a lettering project. Here’s where those two aims intersect, and hopefully it won’t get too cheesy.

This first one, to kick off the project, is scanned (and slightly cleaned up) right from my sketch book. I really like thin, ultra condensed type, and I really like scripts, so here are examples of both of those from my imagination.

Camp Harbor View is located on Long Island (in the Boston Harbor Islands), and provides a safe place for area urban youth to get away from the city and enjoy the summer. The camp was started several years ago as a joint project of The Connors Family Office and Mayor Thomas Menino.

The annual report is their main piece of printed marketing, and is widely distributed. Our design captures the fun spirit of the event, without pandering and being “kiddy”. After several different concepts were pitched to The Connors Family Office, we settled on a direction that uses the camp’s bold orange color, as well as a complimentary palette. The type contrasts both lightheartedness as well as a more refined approach, reflecting the camp’s attendees and seriousness of the mission. Finally, the design features far more photography of the previous year’s activities of the camp than it does graphs and financial statistics, since it is the kids and the impact that the camp has on their lives which remains the true focus of the report.

Done at Roycroft Design.

As one of the printmakers at Mastwood Press, my work will be on display at Gallery 321, which is part of the Washington Street Art Center. In addition to myself, will be the work of Rachel Mello and Rachel Silber, two excellent printmakers. While we are all printers and share a common working space, we have unique approaches to the medium that result in different work.

The work will be on display June 4 through June 25.

We will be having an opening reception on Friday, June 10, from 6-9pm.

Details:

Gallery 321 at Washington Street Art Center
321 Washington Street
Somerville, MA

http://www.washingtonst.org/

I had worked with New Collisions before on their début CD. While that release got some great press, the band had a bit of a regroup afterwards. Dropping the “The” from their band name, and embracing a bit darker image, the change is pretty dramatic.

The artwork reflects that pretty directly, and is based on some of the lyrics from one of the songs. Let me tell you, it wasn’t easy to get that robin to hang out on that femur.

In addition to the CD packaging, I also designed a complimentary ad mat and postcard. One of my favorite parts of this project was using it as an exercise in pushing a typeface. I used Garamond exclusively for all the type, though I used several different weights and styles. If you start with something of high quality, it’s amazing what you can do.

Materials shot by Tony Luong.

I’m happy to announce that a week from today, I will be opening my studios for everybody to come check out. For those that have been to the 11 Miller Street Open Studios before, you’ll probably be aware that the event happens ever other year. This year, it happens to coincide with Somerville Open Studios, so I can kill two birds with one stone. I’m actually quite pleased with this, and I’m excited to show people the new work.

The Deets

The 11 Miller Street event starts next Friday (the 29th), from 6pm to 10pm. It’s a great event, with a jazz band on the first floor and each artist puts out a great spread of food. Come on by after work.

Somerville Open Studios is Saturday, the 30th, and Sunday, May 1st. I will be in the studio from 12pm–6pm both days.

If you would like more information on the Miller Street Open Studios, click here.
Information on Somerville Open Studios can be found on this page.

I hope you can make it out, and I look forward to seeing you.

By the way, the image up top is by the fantastic James Weinberg.