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In high school I was buying a lot of albums. Smaller record labels put out a lot of these albums and they usually had unique

packaging. For example, some of the packaging was letterpressed. Often times, it was as basic as using uncoated paper instead of glossy paper (which seemed to be the norm at the time) that made the artwork special. This kind of work appealed to me a lot because there just seemed to be an extra level of thought and care put into it. Later when I was in school for design, I learned about Jeff Kleinsmith’s work through certain design magazines and it was then that I realized he had designed some of my favorite covers.
 
Of all mediums, what attracted you to silk-screening?

A friend of mine was doing a lot of screen printing while I was attending design school. A lot of what appealed to me was the tactile quality of it and it was always exciting for me to see the posters up around town so quickly after they were produced. The process of designing something, then screen printing the design and having a stack of posters to promote the shows with was really exciting and immediate.

How influential was skate culture and graphics to you growing up?

I grew up skateboarding and became introduced to art and design through skateboard graphics, t-shirts, and record covers. Later I realized how much that informed how I enjoy working with a limited color palette and a central graphic for the most part.

Before forming the Small Stakes, you worked various jobs including a stint at Noise 13 (San Francisco based design firm). While you were there, you became involved designing posters for shows at a venue called the Ramp. Who were some of the bands/musicians you designed for during that time?

Friends of mine booked all the shows at The Ramp and they asked me to make a poster for each show. This was how I got started making posters. The Ramp would usually have one show a month. Some bands that played at The Ramp were Aspects of Physics, Damien Jurado, Deerhoof, and Why? On average there was one touring band with a couple of local bands supporting.

Did your relationships grow with those bands as you moved forward in your career?

One band and record label that I continued to do work for beyond The Ramp was Castanets on Asthmatic Kitty Records and also Why?

We are living in a world where one can read classic novels on a Kindle and listen to music without ever holding an album in their hands. As the digital music revolution marches on, do you find that poster art is becoming more significant?

The music and artwork or design definitely goes hand in hand in my mind. With less people owning albums there is something missing and posters help to fill that void.

Your designs are a combination of intellect, minimalist style and wit. When you started out designing, was that a conscious decision to create imagery that didn’t necessarily fit into one’s stereotype of what rock and roll should look like?

Viewers would be hard pressed to find any images of semi-clad girls, devils or a barrage of text in your work. It wasn’t so much of a conscious decision. I was making work that I was drawn to. I really credit Jeff Kleinsmith and Aesthetic Apparatus and their approach to poster design. Their work influenced me very much early on and made me really excited to design posters. I wanted to make work that seemed to fit the bands I got a chance to make posters for.

A follow up to that question, in the L.A. Times you were quoted as describing your style as “very non rock n’ roll”. I found that statement somewhat ironic considering the majority of your work focuses on rock music. Can you elaborate on what that means?

A lot of the bands I make posters for I consider to be very unique; when I make a poster I want to get the feel of the band down on paper. I view it as a collaboration between the band and myself.

Your ideas are executed in a way that they never read as literal. For example, you designed a poster featuring a vertigo pattern of butterflies for the band Blonde Redhead and designed a heart comprised of dismembered fly wings against a bold red background for a Nada Surf print. Do these concepts stem from specific songs or music references?

I will often reference songs or album titles to get my start on a poster design, but sometimes it can be more a general feel or an image that might evoke the bands sound. For instance the butterflies swirling on the Blonde Redhead poster refers to the sound of Blonde Redhead, which especially on the newer albums had a definite swirly sound and hum throughout the guitar work. It may be kind of funny to say, but to me the poster makes that sound.

Have you collaborated on posters with the bands being promoted and is that something that interests you?

I often don’t receive a lot of feedback or word back about particular designs, but occasionally there will be some guidance. One example would be a poster I did for Josh Ritter that has an image of Idaho combined with piano keys to make the overall image of a grand piano. Josh had requested a design that had something to do with Idaho. This made me nervous at first, but I’m happy that he made the request because it sent me off in a certain direction right away.

Along with poster work, you’ve also worked with different companies like Patagonia on designing garments. Have you ever considered veering away from poster design and working in other arenas?

I still really enjoy making posters and want to continue to do so. That being said, I am always interested in working on new types of projects. I’ve also been thinking of doing some more self initiated type projects in the near future.

You have exhibited your work at Flatstock (a series of exhibitions featuring the work of many working artists, sponsored by the American Poster Institute). What does it mean to you to show your work amongst your fellow artists as well as meeting the consumers and fans in person?

I really look forward to attending Flatstocks each year. I’ve met some of my closest friends at these exhibits and I always look forward to seeing them and their work in person. I remember being really nervous and intimidated when I first attended Flatstock because I was in a room with many of my favorite designers and work that I admired.

Do you find there to be a sense of community with your fellow artists?

Yes, definitely. It’s very welcoming and always inspiring to see everyone’s work.

When I visited San Francisco over the last couple years, I not only felt a sense of kinship amongst the artists and galleries but certain neighborhoods also gave off their own brand of creative energy. What do you attribute that to and do you think your urban surroundings, in this case S.F. and Oakland, affect your work?

There is definitely a community of designers working here in Oakland. Most of us work from home, which can be difficult at times as we tend to get stuck in our own worlds a bit. I have been definitely making it a goal to getting out a bit more and meet with other designers and friends so we all don’t feel so isolated. There is a lot the area has to offer and I definitely want to take advantage of those things more.

Lastly, do you have anything planned for the future that you can share?

I’m most excited about a book Chronicle is publishing about my posters that will be coming out in March.