Sequential confidential.

As a longtime designer/animator, I’ve touched upon many legs of a project’s process – many times running things solely from concept through to completion. While doing it all is satisfying, it’s telling when you find yourself drawn to a specific part of the process, especially if it wasn’t your primary job or end goal.

For example, during one stage of my career, I was engulfed in the corporate design world – touching upon numerous brands and their sub-labels in an effort to develop a various range of kinetic marketing media (you can see a corner of this world here). Many times I was given the freedom to not only design & actualize the animation, but conceptualize, script, and art direct the work, too – and that front end was the juicy part.

I’m detail-oriented and want the final product to be polished (usually meaning getting my own hands dirty), but the front end development is the real playground. And anytime I can visualize things sans computer, the better.

Of course, a lot of this prelim work never sees the light of day, but below are a few example sketches from various old developments - some actualized, some not. Again, not the primary goal of the projects of course, but to me, the real fun…

For animated ads – example boards from various animated videos.

For screen-heavy displays – concept work for window displays, event booths, and large-scale projections for animated videos that I also developed.

For facade redevelopments – self-initiated concept illustrations for large-scale development.

For props & displays – a mix of client and self-initiated concepts for mobile displays, parks, and signage.

One artist paints one tree (trunk).

In a recent attempt to get away from the computer for bit, stretch my legs, and resurrect the glory days, I threw my hat into the Mariemont Paint Out ring.

I hadn't attempted plein air painting since my undergrad days, and even then didn't do it often, so this was a reach (most of my work came in-studio) – but I had some inspiration (ref. to this post title).


I used a stretcher that I built by hand in college and had been lugging around, gathering dust. It was mammoth, but I prepped it for some "new" 80 year-old canvas from my great uncle (of Cincinnati Art Academy fame). This was good-quality cloth, but pre-gessoed and now hard and flaky – but I was nostalgic, so put it on anyway.


Kept it simple – no oils this time. Back to basics with chalk and acrylics.


Subject: trees. Not totally a cop out, as Mariemont is known for its trees, but this was an easy subject to sidle back onto after being away from brushes for so long.

I wanted to focus on the core of the tree – the trunk, surface roots, and texture. After two partial days, I came up with something partially-complete:


This one will be revisited.

A maze of solutions.

Park Bench contacted me to produce a short marketing video for a tradeshow event they were attending – to be looping on-screen in the background of their booth while they pitched their services in the foreground (or were away at the snack bar in the back).

Although it was a tight turnaround, this was a fun project to work on (hat tip to Rube).

More about this and other Park Bench projects here.

Of mice and models.

While sifting through the archives recently, I ran across a token of ineptitude with yesterday's creative tech – initial attempts at live model digital illustration:


Around 2003, I enrolled in some "adult-ed", continuing education courses (intentionally non-credit) at UC-DAAP – including Intro to Digital Video. I had officially nixed my long-term Architecture goals, and so was just sitting in on various classes of personal interest.

This particular course – Intro to Digital Video (now known as Motion Design) – was just starting to make the rounds in educational spheres at the time. I had no idea what to really expect, but it looked interesting.

Fortunately, this class (and my relative success in it) became a jumping off point for a future in Animation, and relocation to Savannah in pursuit of an MFA from SCAD – one of the first schools in the country to offer a formal Motion Design degree.

The syllabus for this UC starter class was far-reaching – from basic infographic and animation history, to technical skills in illustration and animation, and even touch points on interaction design (desktop-centric, at the time).

The professor, Artie Kuhn, really threw a lot of content at the students (even though most were pretty green) but it was spot on for me: An Edward Tufte / infographic design primer, Disney's 12 Principles of Animation, intro to After Effects, digital illustration with live models – a fantastic amalgam.

Specifically though, this was my first attempt at freehand digital illustration – and using Corel Painter. I'd experimented with vector illustration in the early-90s Adobe products, but nothing to this extent. Several different models were brought in over the length of the course for some quick sketch sessions, and we attempted to render them - via mouse.

And this is where the problems began... 

As most are aware, tools available to the run-of-the-mill students at large universities are not always in pristine condition, and this class was no exception. Also remember, this was back in the day of fairly slow CPUs, huge CRT monitors (see what the model is leaning on, top illustration), and cheap, wired, trackball mice – headaches all around.

I vividly recall sitting there with my face 2 inches from the screen trying to magically will a smooth path across the screen, while my mouse with dirty trackball constantly fought me.

Slow strokes, no way. Quick strokes, sometimes – but still with cursor occasionally jumping somewhere random at leisure. Removing and cleaning the trackball was an exercise in futility. Switching computers altogether – more of the same, if not worse. And then, of course, the random computer burn out, so continual saving was crucial – though even just the act of saving itself was time consuming.

Still, the exercises were eventually completed (with the help of a few of the more patient models).

I had plenty of experience with figure drawing and other forms of fine art previous to this experiment (see Studio Art), but getting there under these new terms was like trying to harvest where you haven't planted:

Good tools and extensive practice are a combination for success. Unfortunately, both were lacking there for me at that time – at least en computer. 

Even today, while my capabilities have expanded with the times: wheel me in front of a Cintiq and I'll be happy, but kick me to the curb with pencil and paper, and I'll be elated.

A summary of symbols.

I've been lucky enough to have worked on many different types of animation projects throughout the years, and one of my favorite parts of the process is creating kinetic IDs. They may not be requested, warranted, or even budgeted, but I always try to kick the bumpers a little – concept a short animated story that teases the product / service while selling the brand.

Here's the latest exploratory:

You can view more idents in motion here.

Putting a cap on it.

Just took the trash out from my most recent project: recycling awareness for the Cuyahoga County Solid Waste District. A couple of commercial spots and some 3D modeling to boot. Here's the 30:

This was a fun campaign to work on, since I was able to pretty much develop the projects front-to-back (while partnering with their agency). You can read more about the complete project over here.

Little did I know that I was recycling improperly all these years... always assumed you take the cap off. Lessoned learned.

Read more about this project here.


This is a notebook briefly discussing new and recently completed projects, events, collections, sketchbooks, and other behind-the-scenes processes. Overall, just opening up the shades and providing a little more light into the studio.

Feel free to comment here or email me anytime.