Every city or town is formed, in part, by the industries which develop it. People create
a community and sense of place based on shared goals and experiences. Over time
these features develop a history, a legacy, and a heritage.
Kenton is no exception. The story of Kenton mirrors that of the entire Northwest
through it’s connection with ports, timber, and agriculture. A unique combination of
location and industry has crafted the story of Kenton. The people of Kenton have lived
and guided its path. This heritage is still with us today in the feeling of community, the
sense of history, the architecture, and the routes we take through our day.
Recently Figure Plant joined forces with the good folks over at the Northwood Apartments to create this 8′ x 20′ art piece for their lobby, celebrating Kenton’s History.
Probably my largest wall art to date. It was a pleasure to work with Mary Hanlon of the Northwood and, as always, the Figure Plant team. Here’s the project description on FigurePlant.com.
Historic images provided by
Old Oregon, The Art of Historic Photos
Oregon Historical Society
Oregon State University Libraries
University of Oregon Libraries
Middle Tennessee State University’s Walker Library
Special thanks to
Alta Mitchoff’s History of the Kenton Neighborhood
Portland State University
Historic Kenton, and the Kenton Neighborhood Association
PDX History, and our neighbors and friends for telling the story of Kenton’s history.
An illustration I made for the Winter 2016 issue of Colorado Summit Magazine, about how "a serious shortage of worker housing turns apartment hunting into a joke."
Check out the article here!
Two versions of an entirely mechanical vending machine; one which rotates the product in front of a hinged opening (above), and another which added a bellows-powered nozzle that could be aimed at a particular bag of chips and blow it down to the drawer below. It was super fun working with Figure Plant on the design, and then illustrating it in this style.
Art Director Kate Madden assigned a series of cartoon Sasquatch illustrations, a variety of more realistic animal illustrations, and a full page map of the Mount St. Helens area. It was a lot of fun to work in different styles, and then to see them come together in such an interesting and good looking feature!
Squatch takes part in a variety of outdoor activities, navigating the area, observing and photgraphing the unique landscape, and teaching us about it’s history.
Animals populate the map and field guide. You can find out what these critters are up to here: Life Goes On: Mount St. Helen’s Flora and Fauna.
If you don’t get your hands on the magazine, read the full story here: The Essential Guide to Mount St. Helens
One of my favorite on-going Burning Man projects is the Virgin Letter Project. This year the lovely folks over at VLP asked me to hook up a logo, and here’s what we came up with. I’m really happy with how it turned out, and even happier to contribute to such a rad project. Participants, check them out.The 2013 event marked the third year of the Circle of Regional Effigies (CORE). Four circles, six projects each, representing eight countries, and culminating in one big fire. The art of dang is proud to have contributed the logo for Portland’s CORE project. The treehouse was awesome and burned something lovely. I’m glad to have been a part of it.
Stay tuned for more dang burning man stuff in parts II and III, where we’ll discuss the art of dang’s honorarium project, my role as an art department volunteer, and my experience as a participant in the 2013 event. More fun and photo’s to come…
“Innocent Until Proven Guilty” mixed media shadow-box 18″ x 12″ x 6.” Created for the invitational exhibition “Gun Control” at 555 Nonprofit Gallery and Studios in Detroit, MI.
Here’s a photo of the final piece before the glass and frame went on. I’ll show you some of the steps along the way.
An early sketch before I’d decided on the line-up and redrew the character in the ski mask.
After adding color to the characters, cutting them out, and inking all of their edges, I added some paper armature to the backs to keep them rigid. This also gave me more material to tie into for the paper ‘posts’ attaching them to the background.
I pulled out an old trick for the numbers. I wanted them clean and well spaced, and done by hand. The matte board was too thick for a light box, so I printed out the numbers and made a carbon-transfer with pencil; shading in the reverse of the print and drawing the contours on to the board.
I made a digital version (from the hand-drawn characters) and there are prints for sale!
Thanks for checking out my work, and check out what they’re up to at 555!