In 2010, my partner and I took a lease on a storefront across the street from WD~50 on the lower east side, with hope of using it as a studio. As passers by began to inquire, we found the need to serve the neighborhood in some way. We began to share art from friends and curate well designed goods by color. In 2012 we outgrew the space, and move the studio. We still sell the products we found online.
I Co-Directed and shot this project in partnership with Co-Collective. It sets the context and tells the story of the future of work, as a collective of future focused business and creative leaders see it.
From 2004 until 2009 Thehappycorp global, ran an event series called LVHRD. "Live Hard". We aspired to bring together people from various creative and cultural industries, in hopes of building a community of collaborators that would better the world. Born out of a frustration in the quality of social events derived from media companies and brands, we created an event series designed to bring together creative people from diverse backgrounds. We started with small exclusive events, and built a list of 10,000 members, with events with more than 1,000 attendees.
In creating the series from scratch, we learned so much about how people socialize in new york. I worked on a process that would break down social barriers in public and semi-private spaces through community based concepts.
The series gave birth to a bunch of events types that I am proud of:
- Architects Duel – A live architectural design competition
- Fashion Duel – A live fashion design competition
- (CLL) PHN-LCKN - A mass experience that changes your relationship with mobile tech.
- Vending Machine Challenge – A live team eating competition
- The Bi-Fold Series – A lecture series.
- Mic Fight – A live karaoke competition.
- Dance-Hard – A live dance competition.
- Photo-Hard – A live photo competition.
- The Work/Play Conference – A conference about turning play into work.
Our experiences as a team included the promotion, sponsorship, and planning of events in a very diverse set of venues, including the Museum of Modern Art, The Canal Room, The Broad Street Ballroom, the 92streetY, Le Poisson Rouge, Public Assembly, and many others.
The series was called " A fight Club for Creatives" by Fast Company, and was features in the NYTIMES and CNN.
As thehappycorp grew in numbers, I tried to take time to get to know everyone. One of the ways I tried to do this, was to take everyone's picture. In early 2008, we had reached almost 26 people. I decided to shoot everyone at the same distance from the camera, allowing for the camera to set the scale of the people.
In 2005, My firm thehappycorp had the opportunity to collaborate with Milton Glaser on the Brooklyn Brewery Website. At the time Milton and his team were not very interested in web design, but were responsible for the brand design, packaging, etc. We were excited to develop strategies that would allow for Milton's brand language to live online and give it some interactivity and life.
In the early days they did not spend a lot of money on marketing, but were flexible in offering some compensation in the form of event sponsorship, and beer for our office. We really enjoyed watching the brewery grow, and to be part of their success and growth.
In 2009 we resigned the account, when we decided to close thehappycorp global.
In 2006 my team at thehappycorp collaborated with PopRally to bring an experiential performance of Les Savy Fav to the Museum of Modern Art ( MoMA). We conceived of a means of bringing young patrons, and influential creatives to the museum in order to strip them of their mobile devices and provide them with an immersive art experience with 1,000 others.
As part of the event the lead singer, Tim Harrington and his band dress as art thieves, while a group of volunteers also dressed as art thieves distributed copies, and pieces of art that were currently on view.
In the Summer of 2003 I went to Hong Kong and main land China to oversee the production of ABSOLUT WONDER. ABSOLUT WONDER was a printed insert that ABSOLUT made and distributed through the Sunday New York Times. We created over 1 Million.
In 2003 Johmny Vulkan and I set out to create a apparel brand that used it's canvas to provoke issues around nationality and self. We started with facts about America that no everyone knew. The first was that at the time America had more handgun related deaths than any country not at war. We named this design America No 1 Shooter. Other designs followed including issues around corporations issuing our freedom through their influence over our government through lobbyists.
In the Three tears that we were working on the project we manages to participate in two fashion tradeshows, get distributed across the USA, as various boutiques, and got featured in fashion trade press. The process of designing, and manufacturing product, selling it through wholesale, digital direct sales, as well as working with the media, was an invaluable experience that has given me so much respect for the fashion industry.
While at TBWA, I was asked to develop the visual identity of Disruption. Under the supervision of Jean Marie Dru, and the global marketing group. Myself and a small team executed a book launch at Cannes, a website, internal learning tools, and an intranet. These tools were distributed globally to inform the global planning practice. Below are screenshots of the website for Beyond Disruption, a book with chapters from the global leadership of TBWA\.
At TBWA\C\D I brought on a team to help conceive and build a website to launchBeyond Disruption. The theme of the website was based on the Einstein quote. The website used flash to deliver pages as if off of a copier machine from the left side of the screen. The pages would push onto and overlap the previous page. At the time it was pretty brave to make a website for a book, and we had a lot of fun making it.
ABSOLUT had a rich tradition of creating holiday spectaculars. Because the holidays are a time when people get together, we continued this rich tradition online with ABSOLUT GIFT. The ad teased the used wit a loose ribbon, and would unravel as the user moused over the ad revealing more paper below. One the unwrapping was done, the user would be invited to print limited edition Cynthia Rowley wrapping paper.
Through the Ad we made it possible for users to download 4 different gift wrap designs that were created by based on designs by Cynthia Rowley, that we created by designer Meghan Williams. Because this was a user action, it could be tracked, and inform the brand of the advertisements performance.
Leveraging the strengths of the animated gif and the common language of street signs.
When I was at TBWA\Chiat\Day the agency made a point of working on projects that would help the world around them at no cost to the client, in exchange for the opportunity to make great creative work. When I was invited by a creative director, Marc Klein, to help him on a project for Doctors without Borders, I jumped at the chance. The doctors needed a way to communicate how hard their job was and how harsh the conditions were where they were needed most.
Marc and his team created a campaign that would support two camps, one in New York and one in Los Angeles that would demonstrate the conditions in the third world, in two major American cities. Marc made an incredibly bold, yet simple campaign to support the initiative, and my team created an digital media campaign with looping animated GIF89As. The digital campaign earned recognition at international award shows. Hat tip to Lawrence Levene, who animated the running man.
The 'Mines' banner was particularly difficult, because of the level of animation required, and the need to keep the file size low so that It could be served on the most sites. By restricting the color pallet, and the animation area, we were able to keep the file size low, while keeping the visual/aesthetic quality very high.
One Show – Silver Pencil Interactive ( 2001 )
Cannes – Gold Cyber Lion ( 2001 )
This was the first ad that we created for the paid media campaign for ABSOLUT. It was designed to run on NYTIMES, Wired, and CNET. One of the main challenges was to get the imagery to look good, while living under the 60k file load limit. This ad ran in 2001, when file sizes for ads were between 10-15k, and rich-media ads were around 30k. At the time we worked with ad caching technology that would allow for the ads to load into the cache on the computer an play once it has been loaded. I felt strongly that the ad needed to have a prescribed button to take you to the absolut.com site, in order to build trust with users.
In 2001, I was part of a small team at TBWA\Chiat\Day that was responsible for the graphical user interface for Orbitz.com at launch. The agency already had the advertising business, and it was the management's goal to coarse correct the product design, and have my team develop the visual design for the website, including the then famous "Matrix Display".
Most of the design was done to convince the clients, and the team at BCG in Chicago that this was the way to go. In the end we ended up doing a design shootout in conference rooms on the same floor in Chicago vs. the incumbent digital agency. The designs were then discussed in focus groups. Our designs were the crown favorite, and we were awarded the business. We followed through and created digital style guides as well. In 2003 Orbtiz went public!
I created this 468x60 ad for ABSOLUT VODKA in early 2001 that was designed to run on WIRED.com. The Advertisement was designed to provoke the industry before we ran a series of global ads that used rich media to deliver interactive ads in premium placements.