Self-promotional card featuring an English-to-Japanese katakana/hiragana syllabary chart.

Promotional card for Pinball Publishing, my very favorite print shop in Portland, Oregon. Printed using two fluorescent Pantone soy inks on post-consumer recycled card stock.

Packaging for Pause Original Blend Tea, a limited edition tea packaging concept by Cafe Pause in Ikebukuro, Tokyo.

Announcement card for the Meeting Modernity exhibition in Portland, Oregon at Reading Frenzy Meeting Modernity is a traveling exhibition of found photography documenting Japan as it engaged with modernization and commercial photography in the Meiji and Taisho Periods of history. The Meeting Modernity series is comprised of portrait photography in particular. Meeting Modernity is the focus of my online cultural journal Néojaponisme’s first traveling exhibition.

Website for Nagoya electronic musicians and sound design studio Lullatone. See the website here.

Art direction, design, and illustration for Lesque Skateboards’ Winter 2008 line of skateboards. Lesque is an independent skateboard company based in Tokyo. One design features the work of illustrator Toshiko Kimura.

 
Essay about the state of logo design in the contemporary graphic design field for Idea Magazine. I lucked out and got to design this section of the issue, as well.

Identity refresh for Hermitage, a wallpaper and home design shop in Portland, Oregon.

CMS-controlled website for Five by Fifty, Asia’s fastest growing trend analysis and market research agency focused on Asian Consumer Intelligence. This WordPress-based CSS-driven website is fully updatable by the client and includes a custom PHP mailer along with copious client intranets used to deliver regular reports on what is happening in Asia, trend-wise. The updated site features LinkedIn feeds, Twitter feeds, and an updated appearance with large graphics.

Logo, English naming conventions, key art, and print campaign for the feature film The Clone Returns Home, directed by Kanji Nakajima and executive produced by Wim Wenders. Producer Hikari Ohta and I collaborated to bring the film an updated name and identity informed by JAXA’s early identity explorations as much as Dutch Modernism.