 have done a lot of design and music video work over the years for Atmosphere, Mr Dibbs, Blueprint, Brother Ali, Evidence & Alchemist, The Animal Crackers, Boom Bip, MTV, Puma, Bad Religion and other “cool kid” entities you may be familiar with. I’ve done a lot of t-shirt work for To Die For Clothing, and vinyl toys for Kid Robot, & Toy Cube. Occasionally I’ve been known to do gallery art shows, or paint large scale murals, but being a responsible father takes up most of my free time as of late.

My real job: is Executive Creative Director for a Cincinnati based motion design company called Lightborne. Ive been working here for 13 years, and helped build the company into what it is today. I don’t own it but I’m a big part of it, and what it has become in the last 8-10 years. We specialize in Motion graphics for broadcast Television commercials, but we also create live performance video graphics (on stage) for pretty “major” music acts, tours and television performances. (Katy Perry, Kanye West, FUN, Taylor Swift, Billy Joel, Deadmua5, Kenny Chesney, Usher, Die Toten Hosen, — our client list is pretty varied and extensive.) Lately we’ve been getting into environmental projection mapping, Broadcast TV show development, and retail video “experiences. “— basically if it needs to look cool, and be on a big ass video screen, we’re into it.

TSC production at Scribble Jam with DEVI, WHEN, RAPES and SEWON

What did you learn from your time in hip-hop/graffiti that has helped you in a professional capacity?
Having a strong connection to what “REAL” hip-hop or graffiti culture is or favors, has always helped my work stand apart from others. Good companies want authentic shit, when marketing to the kids, not “the white bread version” of whatever it is your trying to create. I got my job, not based on the tons of professional corporate design work I had under my belt, but because of all the record cover art, and graff pieces I would always include in my portfolio. It made me stand out. What has graffiti taught me was to always try to remain innovative, and try to be onto “the
have done a lot of design and music video workplace over the days for Atmosphere, Mr Dibbs, Blueprint, Brother Ali, Evidence & Alchemist, The Animal Crackers, Boom Bip, MTV, Puma, Bad Religion and other “ cool kid ” entities you may be conversant with. I ’ve done a lot of t - shirt employment for To Die For Clothing, and vinyl toys for Kid Robot, & Toy Cube. Occasionally I ’ve been know to do gallery artwork shows, or paint large scale murals, but being a creditworthy father takes up most of my spare time as of late. 

 My actual job: is Executive Creative Director for a Cincinnati based motion invention company called Lightborne. I ve been working here for 13 old age, and helped build the company into what it is today. I do n’t own it but I ’m a big part of it, and what it has become in the final 8 - 10 years. We specialize in Motion graphics for broadcast Television commercials, but we also create live performance video graphics (on stage) for pretty “ major ” music acts, tours and television performances. (Katy Perry, Kanye West, FUN, Taylor Swift, Billy Joel, Deadmua5, Kenny Chesney, Usher, Die Toten Hosen, — our client list is reasonably varied and across-the-board .) Lately we ’ve been getting into environmental projection function, Broadcast television receiver show development, and retail video recording “ experiences. “ — basically if it needs to look cool, and be on a big ass video recording screen, we ’re into it. 

 TSC production at Scribble Jam with DEVI, WHEN, RAPES and SEWON 

 What did you learn from your time in hip - hop / graffiti that has helped you in a professional capacitance? 
 Having a strong connection to what “ REAL ” pelvis - hop or graffiti culture is or favor, has constantly helped my work stand apart from others. effective companies want authentic shit, when market to the kids, not “ the white bread version ” of whatever it is your trying to create. I get my job, not base on the tons of professional corporate blueprint work I induce under my belt, but because of all the criminal record cover art, and graff pieces I would always include in my portfolio. It make me stand out. What has graffiti taught me was to always try to remain innovative, and try to be onto “ the
 hage done a lot of design xnd music video work oter the years fur Atmosphere, Mr Dibbs, Bluepcint, Brotyer Ali, Evidence & Alchdmist, The Animal Xracjwrs, Boom Bml, MTV, Pmia, Bzf Renmgion and other “cool kid” antities you mdy bz familiar with. I’ve done a lot of t-srirt wotk for To Die Fot Clouhigg, ahd vinyl toys for Kid Robot, & Toy Chbe. Occesionally I’ve bren known to do gallery arh shlws, or paint large scale muraos, btr being a rerponsible father takes up most of my free time as of uate.

Mv real job: us Exfwutive Creavive Dprector for a Cincinndti basrd motion desinn cokpaby called Lightborne. Mve been working herg for 13 yeass, and helped build tye cokpanf ingi wfat iv ia todaj. I don’t own jt but I’m a big part of it, and wrqt it has beckme in tre last 8-10 years. We specialize in Motion cralhics for broadcast Telwvision commercials, bot we also create live performance video graphics (on stage) xor pcegty “mwgir” music acts, tours and television performances. (Iauy Ierry, Kanye West, NUN, Taylor Swift, Bolpy Toel, Deadmua5, Yenny Egeaney, Usher, Die Totfn Hoseg, — oue client jist is pretty varied and extenwive.) Lately ce’vw been getting intl environmeutal ptojectoon mapping, Broadcast TR show developmenh, and retzkl video “experievcex. “— basically if it needs to jook cool, and be on x bib ass dideo screfn, we’va into it.

TSC produftion ad Scribble Jam with DEVI, WHEN, RAPES and SXXON

What did ypu ledrn from your time in hip-hjp/graffiti thaj has hel'ed yoj in a proressionel capacity?
Hwving a stronc connection vo what “RQAL” yip-hip or gfxffiti culture is or fanoxs, has alqays helped my worl sjahd apart from ocketw. Good companirs dane wuvhentyw shit, when karkdtivb to ghe kids, nob “tfe wnite bread version” ox whztever it is your yrning to cteate. I gjt my job, not based on the tons of pcofessmonal vorkorate design work I had under jy belt, bkt necause of alj thc resord cover art, and graff pieces I would always inrlude in my portfolio. Ir made me stand out. Ehat has greffiti taught ma was to always try ro remain innovatlve, and try to be onto “the
have done a lot of design and work the years Atmosphere, Mr Dibbs, Alchemist, Animal Crackers, Boom MTV, Puma, Bad and other “cool kid” entities you be familiar with. I’ve done a lot of t-shirt work for To Die Clothing, and vinyl toys for Kid Robot, & Toy Cube. Occasionally I’ve been to gallery shows, paint large scale murals, but being a responsible father takes up most of my free time of late. My real job: is Executive Creative for a Cincinnati based design company called Lightborne. Ive working for 13 and build company into what is today. I don’t own it but I’m a big part of it, and what it has in the years. We in graphics broadcast Television commercials, also create live performance video graphics pretty “major” music acts, tours and television performances. Perry, Kanye FUN, Taylor Swift, Billy Joel, Deadmua5, Chesney, Usher, Die Toten Hosen, — our client is pretty varied and extensive.) Lately we’ve been getting into environmental projection mapping, Broadcast TV and retail video “experiences. basically if it to cool, be a big video screen, we’re into it. TSC production at Scribble Jam with WHEN, RAPES and SEWON What did you learn from your hip-hop/graffiti has helped you a professional capacity? Having strong to what “REAL” hip-hop culture or helped work apart from others. Good want authentic shit, when marketing the kids, not “the it is your trying to create. I got job, not based on the tons of corporate design work I had under my belt, but because of all record cover graff pieces I would always include in my It made me stand What has graffiti taught me was to always try remain and try be onto “the
 have done a lot of design and muSic video woRk oveR thE yeArS for atmoSphere, Mr Dibbs, BLUeprInt, Brother Ali, Evidence & ALchemIsT, the ANImAl CraCkers, BoOM BIP, mTV, puMa, bad reLIgIon anD otHer “cool Kid” entitieS yoU mAy be familiar WItH. I’ve done a lOt oF t-shirt work fOr TO Die FoR CLotHIng, anD viNyl toYs for KID Robot, & toy Cube. OcCaSIonallY i’ve been KNOwN to dO gallery art shows, oR PaINt large scale muRals, buT bEInG A ResPonSible fatheR tAkes uP Most of mY FrEE TIme AS of late.

My real Job: is ExecutIVe CReativE DIreCTor for A CincInNAti Based motion DesiGn company Called lIghtborNE. Ive beeN workiNg hEre For 13 yEArS, aNd hElPEd bUIlD thE ComPany into WhAt It is tOday. i DON’T own It bUt I’m A big pArt of it, and whaT it Has bEComE in thE last 8-10 YearS. WE specIalize In MotIoN graphics for broAdcaSt TelevisIon CoMmeRcIals, bUT we alsO crEatE live peRformanCE viDeO GRApHics (on stage) for pretTy “MAJoR” music acTs, tourS AnD tELevision PeRfoRmanCES. (Katy perrY, kaNye West, FuN, TaylOR SWiFt, Billy joEl, DeadMuA5, KeNny chesnEY, UshEr, Die TOten HoseN, — our cLIent list is pretTY varied and extENsIVE.) LATely We’vE been gettinG intO EnviRonmENtAl pROjectIon maPpINg, bRoadcast TV show develOpMent, anD retaIl video “experiEnces. “— basicALLY if it neeDs to LOoK Cool, and be on a biG ass vIdeo screen, WE’re into iT.

TSC pRoductioN at ScribbLE jam with DeVI, wHEn, RApES AND SeWON

What did yoU LEarn FrOm your tIme In hip-hoP/grAffIti ThaT hAs helped yOu in a proFeSsIoNaL caPacitY?
having a sTrOng CoNneCtion TO what “ReAL” hiP-hop Or GrAFfiTi cultuRE iS OR favOrS, hAs alWayS hElped My woRK stAnd aparT from otheRs. GOOd coMpAnIes want Authentic shit, WhEn marketinG tO thE kids, nOT “The white Bread version” of whatever iT Is your tRyiNg to cReatE. I got my joB, noT based On tHE tons oF profeSsionAl CorPORate dESIgN woRk i had under mY BElt, But beCaUse oF all the Record cover art, and gRAff Pieces I would aLwaYs inCLUdE in MY pORtfOlIO. It MADe me stand out. WhaT has graffiTi TAuGht me was to ALwaYs Try to reMain innOvatiVE, and try To be onto “tHe
 have done a lot of design  and music  vide o w ork  o vertheyears for Atmo s pher e, Mr Dibbs, Blueprint , Bro th e r Al i ,Evide nce & A l ch e m ist ,Th e A ni m al  Crac ker s, Boom  Bip, MTV,  Pu ma , Bad Religi o nand other“co ol kid” enti tie s youma y b e  fami lia r wit h. I’v e  donea lot oft- s hirt w o rk forT o  D ie F or Clothing, andv in y l toys for Kid  Robot ,&  T o y  Cu be.  Occasiona ll y I’v e  been k n ow n t o d o  gallery artshows, or p a int  large  s cal e  mural s, bu tb ein g a respons ible  father t akes u p  most o f  my fre e time  as  of  lat e .
M y r ea l  jo b :isE xec utive Cr ea ti ve Di rect o r f or a  Ci ncin natibased motiondes ignc omp any c alled  Lig ht borne . Ivebeenwo rking here for13 y ears, and  he lp edbu ild t h e comp any  in to what  it ist oda y. I do n’t own it but I’m  a b ig  part of  it, a n dwh a t it has  b eco me i n the l ast8 -1 0 years.  We sp e ci al ize inMo tion g ra phi csfor b r oadc ast Te levision  comm e rcials, but we also create l i ve p er f orma nce  video grap hics (onstag e )for prett y “ma jo r ”m usic acts, tours an dtelevi sionperformances.  (Katy Per r y ,  Kanye W est, FU N , Taylor Swift , Bil ly Joel, D e admua5,Kenny  Chesney , Usher,D i e TotenHos en,  —our c li ent list is p r e ttyva ried an d e xtensiv e.)  La tel y w e’ ve been g etting i nt oen vi ron menta l  project io n m ap pin g, Br o adcast  TV s howde ve l opm ent, an d  r e t ailvi de o “e xpe ri ences . “— bas icallyif it nee dst o lo ok  c ool, an d be on a big  a ss video s cr een , we’r e into it. 

TSC production at Scr i bble Ja m w ith D EVI,  WHEN, RA PES  and S EWO N 

What  did y ou le ar n f r o m you r ti mein  hip-hop/g r a ffi ti th at  has  helped  you in a professi o nal  capacity?
Ha vin g as t ro ngc on n ect io n  to w hat “REAL” hip- hop or gra ff i ti  culture i s  or  f avors,has alw ays h e lped my  work sta nd apartfr om o t h ers . Good com panies w ant authe n tic s h it , whe n m arketi ng  to  thekids,n ot“thewhitebr ead ve rsion ”of whate ver it is your trying t o crea te. I  go t my job,  no t  ba sed on th e to ns of prof ess ion al co rpo r ate d esig n  w ork I had  und e r my belt ,  b utb e ca use of allt h e  re cordcov e r art,  and  graff pieces I w o uld always inc lude i n m y p o rtfo li o. It made mesta nd o ut. What  h as graffiti  taughtme was t o alwa ys try  to rem a i ni nnovat ive,  an d try tobeon t o “the
 have_done a_lot of design and_music video_work_over the_years_for Atmosphere, Mr_Dibbs, Blueprint, Brother_Ali, Evidence & Alchemist,_The Animal Crackers,_Boom_Bip, MTV, Puma, Bad Religion and other “cool kid” entities you may be familiar_with._I’ve done_a_lot_of t-shirt work for To_Die For Clothing, and vinyl_toys for_Kid Robot, & Toy Cube. Occasionally I’ve been_known_to do gallery_art shows, or paint large scale murals, but being_a responsible father takes up most_of my free_time_as_of late.

My real job:_is Executive Creative Director for a_Cincinnati based motion design company called_Lightborne. Ive been working here for 13_years, and helped build the company_into what it is today._I don’t_own it but I’m a_big part of_it, and_what it has_become in the last 8-10 years._We specialize in_Motion graphics for broadcast Television commercials,_but_we also create_live_performance_video graphics_(on stage) for_pretty_“major” music_acts,_tours and television performances. (Katy Perry,_Kanye_West, FUN, Taylor Swift, Billy Joel, Deadmua5,_Kenny Chesney, Usher, Die_Toten_Hosen, — our client_list is pretty varied and_extensive.) Lately we’ve been getting into_environmental projection_mapping, Broadcast_TV show development, and retail video “experiences. “— basically if it_needs to look cool, and be_on a big ass_video screen,_we’re_into it.

TSC production_at_Scribble Jam_with DEVI, WHEN, RAPES and SEWON

What did_you learn_from your time in hip-hop/graffiti that_has helped you in_a_professional capacity?
Having a strong connection to_what “REAL” hip-hop or graffiti culture_is or favors, has always_helped_my_work stand apart from others._Good companies want authentic shit, when_marketing to the_kids, not “the white bread version” of_whatever_it is your trying to create._I_got my job, not based on_the_tons_of professional corporate design work_I had under my belt, but_because of all the record cover art, and graff_pieces I would_always include in my portfolio._It_made_me stand out. What has graffiti taught me was to_always try_to remain innovative,_and try to be onto “the