in America the artist set out on the road, which became the basis for his 365DAZE project of 1998. For this project the artist spent the full year of 1998 driving around the United States, over 30,000 miles (48,280 km) by his own account, doing a drawing-per-day, embellishing whatever found-media he came across in whatever part of the country through which he happened to be traveling. The profusion of Mace's Media Graffiti during prior years peaked with his 365DAZE project. Exhibitions in 1996 titled "Media Graffiti" in both New York and Tokyo had been composed entirely of artwork from the series, but the series had its origins within the emergence of graffiti culture of the 1980s in New York City, of which Mace was a participant. The series’ title refers to the artist's practice of embellishing existing printed matter with his ballpoint doodles, sometimes in the form of ironic commentary to what is already implied within the advertisement. He considers the series his artistic “shorthand", able to render quickly under any circumstances. Mace began officially publicizing these works as Media Graffiti as output grew to dominate his exhibitions throughout the 1990s. He also refers to the series as Ad Libs, an acronym of "ADvertisement LIBeration" adapted by Mace as a pun of "ad lib," to which he has compared his creative process — improvisational, stream of conscious creation — a process with unpredictable results in which the art effectively "draws itself," from an instinctive visual library. Mace spent 1999 touring with selections of completed 365DAZE artwork, beginning with New York City in January. San Francisco followed, in April, and Los Angeles thereafter. Media Graffiti from Lennie Mace's 365DAZE project has also been exhibited in other cities as part of group exhibitions in Chicago, Detroit, Tampa and Miami. As recognition of his Media Graffiti broadened, corporate interests began offering finer printings of their own products for Mace to embellish, to then be used for promotional purposes. 2000-2010: Return to Japan, Lennie Mace VIEWseum Mace was able to return to Japan, and soon became the de facto house-artist for the Febbraio Di Ales cosmetics company, whose president is a principal patron in Japan. Work for Ales included most of that which Mace had become recognized — illustration, logo and font design, decorative fine art, et’al — and added architectural and interior design to his credits. Many of Mace's most substantial projects in