The Lovebomb

My love bomb design / tattoo has long since been associated with this site and the work on it. But everything ends and last year I set out to ‘re-brand’ myself, which is really just a stupid cultural phrase I use as an excuse to get new business cards printed. So, I set out to create a new visual mark. This is more difficult than it may seem and ends in a lot of conversations with myself I realize too late I am having aloud.


CS signature

I wanted primarily to focus on my signature, which is some representation of my initials. A bonus qualifier is if I could play off the D/P visual titles for this site; the result of my efforts has been posted around these parts for a couple weeks.

CS / DP Logo

Logo / Inverse Variant

The end mark and the inverse ‘stroke’ is a result I am pretty happy with; it achieves the visual requirements while having a few personal nods; the equal and opposing sides representing the same objective psychology the previous mark did; the angle of the stroke is 24 degrees (traditionally, my favorite number) off the x-axis; the letterforms can be seen as both a c/s and a d/p.

And now I can get new business cards.

Catching A Break


Who Goes There


For all the talk regarding Selma and the Oscars, we should also recognize though just in general how traditionally under-represented / minority voices are killing it in producing quality discourse in mainstream arts and entertainment right now.

The Nightly Show? Two episodes in and completely sold. Broad City? One of the best first seasons since Arrested Development, and all of that comparison to Girls is stupid. (The latter, which, while I’ve grown tired of keeping up with Hannah Horvath, will always have a pretty outstanding debut season.)

Speaking of Broad City, check out their interview with Sleater-Kinney.

(Sleater-Kinney, who just released a ridiculously fantastic record after being a defining force of the history of women in music for two decades.)

On one hand, a lot of this falls in to the About Fucking Time category, but progress and recognition is one of those things that you at least have to still count the wins with. It’s not that these are new attitudes we’re seeing; it’s just so refreshing to actually being something from outside the status quo finally breaching in to the mainstream.

There’s a scene in an episode of Studio 60 on the Sunset Strip (leading up to this interaction) where DL Hughley talks about the necessity of diversity on a writing staff, and this is all evidence of why it’s great to tackle these things with truth. I don’t necessarily identify with Illana on Broad City at a character level (the way all the characters on Friends catered to white American men), but I love watching the stories they are telling.

Universal truths can be told through any lens if they’re told well, and transcend gender, race, language, all of it; that is the importance of art, after all.

Under The On-Ramp


“Reform, Lamar.”

Enter on Ash Street

An Oncoming Train

War In Slow Motion

Fury / Riot

Fury / Riot

War In Slow Motion

If anyone wants me to take their shirt and make art with it, send me a an envelope with a shirt and some dollar bills of your favorite denomination.

Like most things, it seems annual discussions regarding figureheads is becoming a bit tired. Not to diminish Martin Luther King, Jr or what he stood for—in fact, quite the opposite. The disruption he emphasized was not that of state-sponsored marches through approved areas of town. It wasn’t for annual retrospectives about celebrated accomplishments and ‘tough’ introspection regarding current social tensions.

Most importantly, though, MLK stood for an ongoing fight.

We shouldn’t just be talking about racial tensions one day a year, and it seems that even yesterday there was a startling lack of press with the ongoing #blacklivesmatter movement, which is the most ridiculous thing.

Two cops got shot in New York by one crazy person and the news immediately shuts down reporting on how protests have formed because a few cops ganged up on an innocent person and murdered him. This is not a system worth being predictable for.

The Slammer


Plaid Pantry

It isn’t just that Boy was one of last year’s better releases, or that seeing her open for Swans was one of the better shows of 2014, but when Carla Bozulich sings, “Maybe it’s the fever, maybe I’m not real / Oh, or too much sun, I just want to feel your skin / Let’s move this part of my shot heart / Lazy crossbones, bringing me home” and leads in to that crunchy guitar, there’s a recognizable expression of a greater truth in the moment.

Perhaps it’s vague or subjective, but the last third of this song has something serene yet disturbing going on that is lacking in contemporary music: a sense of art.

The Back of The Store

The Back of The Store

Still Falls The Rain

Still Falls The Rain

Do Not Enter

Do Not Enter

Left In The Blank

Chapter One, Left In The Blank

Formal Concepts of Beauty

Chapter Two, Formal Concepts of Beauty

Nothing Worth Saving

Chapter Three, Nothing Worth Saving

The Morocco Trip

Chapter Four, The Morocco Trip

How I Could Look At You Now

Chapter Five, How I Could Look At You Now

Standing Still In A Storm

Chapter Six, Standing Still In A Storm

From Whence You Came

Chapter Seven, From Whence You Came


Chapter Eight, Someday


Chapter Nine, Softer

My new book is finished except for a title.

Above is one spread from each of the nine chapters, which accounts for a majority of the 136 pages. Each book will be different, which is what will hopefully make them cool.

More details are forthcoming; once it’s got a name, a Kickstarter will launch to try and fund a press run through Edition One.

‘Artist Statement’ / Project Info (A Draft):

The purpose of the book as an object has always been to communicate a cumulative amount of visual content in an efficient manner appropriate to the desired audience. Throughout history, this audience was of a certain guaranteed diversity due to the necessity of the printed page in the realm of communication. Then came the computer.

In the waning significance print faces as the digital world continues to grow exponentially on a daily basis, two opportunities are born: one is to forget technologies rendered obsolete and allow it to sink fully into the meta-entitlement of letterpress posters; fully embracing new technologies and experimenting exclusively with their potential.

The second chance lies in posing the question What do the remnants of the world as it was mean now?

The digital world has not destroyed the opportunity for print to pose relevant social questions or demand the attention of an easily distracted audience. It merely gives us as artists the freedom to re-shape the definition as to how we see a medium evolving free from the constrictions of social responsibility in the post-digital world.

Books, magazines, publications in general; these collections of content now allow us to physically understand the actions we take on a daily—sometimes hourly—basis in regards to our volume of digital media consumption. The world of print can be used to critique the digital world as much as the reverse is true.

This book is an attempt to begin to analyze the shape of the new world by the re-interpretation of objects from the old; I hope you enjoy it.