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.

Semi-fast food Italian restaurants are a dime a dozen, but Jenny’s Pizza stands head and shoulders above the imitators. With a history dating back more than thirty years, what really separates Jenny’s from the other places is a dedication to fresh food made from scratch. Unfortunately, their branding didn’t stand out from the rest, so I created an identity that referenced the establishment’s history while also appealing to new Charlestown transplants. In addition to a logo and several printed pieces, I also created a web site and email template to make connecting Jenny’s Pizza with its customers as easy as possible.

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.

The very nice people at Be Nice Art Friends did a little feature on my work. Short it and sweet, it shows a few of my prints and includes a bit of a bio, as well as my recent interview for the SCAT Gallery show: Pattern Recognition.

If you haven’t checked out their blog, I highly recommend it. It’s curated by a handful of well informed individuals, and features very interesting articles on contemporary art and popular culture. They usually update multiple times a day, so you should definitely check it out.

The past year saw a lot of quite high-profile rebrands that received a very cold, if not hostile reception. Generally, this isn’t something that is particularly unusual—at least among the design community at any rate. What is of note is the degree to which the average observed from outside of the design world had something to say about these rebrands.

Ask almost any designer, and they will have an opinion about any given logo. Even if branding is not part of their expertise, it’s something the designers tend to be very opinionated about. They will go on and on about the merits of the FedEx logo or the timeless qualities of Paul Rand’s IBM logo, but it has only been recently that non-designers have been particularly vocal when a logo that they share an emotional connection changes.

There are three examples that really stick out as examples of this over the past year: the GAP logo, the BIG10 logo and the Comedy Central logo. All three rebrands released in the past year were immediately met with intense, often vitriolic response. Consumers called for the return to the old logo, with frequent comments questioning whether the logo had been created by a child, or other rude critiques. What they are really saying, however, is that the design is bad.

The problem with online criticism

It is, of course, an individual’s right to publicly question and critique anything. As the most frequently reproduced and most publicly facing representative for a company (or organization or a cause), a logo should never be immune to this discourse. However, the value of most online discussions of logos is rarely conducted in a thoughtful way. How could any critic have been a fly on the wall at all the meetings, all the brainstorming sessions, all the long hours of working that resulted in the final identity. As designers, we are only slightly more equipped to provide informed criticism. We can relate to the process, but we still weren’t there when it happened.

Quality of criticism is another issue. What value does the comment, “meh” really bring to the table? What’s the point in saying merely, “I liked the old logo” if you don’t substantiate it with a “why” or provide some suggestions? The issue is that criticism is so easy, while logo design/branding is so difficult. In the online space, nobody asks you to provide evidence for your beliefs. Nobody asks you your credentials. Nobody knows your name, your background or your identity and the internet give you a listening audience.

What’s at stake

If these scathing remarks were fired off into the ether, with no impact on the external world, then this scenario would be acceptable. The reality, unfortunately, is that people’s reactions to these rebrands have caused companies to waffle and change their position. Instead of sticking with the decisions that have been made, they scrap everything and wind the clock back to the original identity, as if none of this had ever happened. Go about your purchasing, it was all just a bad dream.

Let’s ignore, for a moment, that this would be a prime example of the excesses of American corporations. Let’s look past the time and effort committed to the project by all the stakeholders. What message does this send to people about the value of design? It says that design is a frivolous pastime not to be taken seriously. It says that design can be discarded if there are a few vocal detractors.

That’s not to say that customers should be ignored, or that their opinions don’t matter. It certainly doesn’t mean that bad design shouldn’t be singled out and lobbied against. What it does mean is that the level of discourse that commonly happens via e-mail, on message boards, through social networks rarely adds something of value. Most often its off-handed comments and flame-war bait.

Worst case scenario

If this trend continues—and it certainly shows now signs of abating—it certainly has some rather grim implications. These rebrands have all taken place at large corporations, and to call these entities risk-adverse would be a rather severe understatement. It’s not difficult to point out examples of large companies choosing the safe and easy path when it comes to their visual identity. While history has favored those willing to take risks, it’s a difficult job to pitch challenging work to The Boardroom.

Sometimes the best design solution runs contrary to the research and the focus groups. It seems increasing unlikely that challenging work could make it past the decision makers without somebody bringing up, “Oh hey, that won’t work. Reminds me too much of that whole GAP debacle. We don’t need that.”

For the record…

…I really hate that proposed GAP logo, but I have my reasons.