I have dogs to feed and a home to buy pay for. Hopefully learning a bit about me will help us work on something fun and we can get rich together, that is our mutual goal. 🤑
Features
99u / Adobe Creative Live / Creative Bloq / Creative Mornings / School of Motion / DesignTaxi / Domestika / Adobe Creative Jam / Behance Featured Artist / ARTCRANK Boston / Fubiz / Print Express / WIRED Magazine / 365 Awesome Designers / Visual News / Abduzeedo / Go Media
Partial Client List
Adobe
Amazon
Apple
Bed Bath & Beyond
Boston University
Disney/Pixar
Google
JP Morgan & Chase
Mailchimp
McDonalds
Publix
Traeger Grills
Uber
Thank You
The portfolio site includes many case studies, sketches, and details about my projects, aiming for transparency. I hope it helps fellow artists, provides insights for art directors, and allows me to be open. Please feel free to reach out for any conversations, whether about work or personal topics.
PROVISIONS
Driven by style, my work is agnostic of industry.
That said, here’s some common applications.
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I enjoy creating characters, whether it's a quick sticker, a small avatar, or a mascot. A character can greatly enhance a brand. Some believe a mascot can be more memorable than a logo, like Tony the Tiger. In other cases, the logo itself serves as a character, as seen with Pringles. Characters like Barbie, Kool-Aid Man, and Pillsbury Doughboy are great examples of effective design.
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In today's digital world, we can use motion in advertising, something that wasn't possible in the past. Simple looping GIFs get much more interaction from users than still images. Additionally, we can now use short films for advertising.
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I've been an art director on many projects, learning with each one. While hands-on work is important, clearly sharing your vision with the team is crucial. I'm eager to help create and guide a visual style, as well as execute it.
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Cereal Boxes, just hire me for one.
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I’ve enjoyed working on various projects, both big and small. I've made many creative friends I can call on for help. I’ve collaborated with lettering experts, musicians for poster designs, and UI/UX designers for product illustrations. I’m happy to join your team temporarily or form my own to complete a project.
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Designing for small screens is challenging. A detailed oil painting can’t be clearly seen at 30mm. For icons, whether big or small, it’s crucial to establish a clear visual style that fits the market and purpose. Often, brands end up with mismatched icons that don’t feel cohesive. At other times, icons may appear generic and uninteresting.
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The last decade has changed the way illustrators are hired thanks to the internet and digital tools. Thinking about the largest companies in our day to day life we realize most of these projects have a need for illustration and they all need to be ownable. Snapchat filters, Facebook stickers, Google's onboarding flows, etc all are wonderful examples of artwork that serves a valuable purpose but sometimes go unnoticed.
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Advertising has changed in the past five years. With high social media usage and web traffic, it offers strong marketing chances. Ads don't have to be dull; some of the best campaigns are fun and engaging on social media.
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The best way for a project to fail is to match great illustrations or designs with poor font choices. Illustrated lettering helps set the right mood and effectively conveys a strong message.
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All these skills focus on what is "appropriate." It's crucial to first understand the situation, then provide a solution, and finally put it into action. I value careful, measured steps. Whether it's selling a
All these skills focus on what is "appropriate." It's crucial to first understand the situation, then provide a solution, and finally put it into action. I value careful, measured steps. Whether it's selling a product, boosting visibility, or simplifying a complex issue, it’s all part of that same process.
VALUES
02. GO OUTSIDE
I try to get away from the computer as much as I can. The best ideas pop into my head midway down a handrail on my skateboard or on a walk outside with the dogs.
01. DETAILS
From a loose thread on a character’s sweater, to the texture and feel of the paper we’re printing coffee bags on, I know the details are what make people connect to a story.
04. ART FIRST
Brands should have an art-first approach focusing on unique stories that are impactful. That is the difference between a wooden collectible and a shitty plaque.
03. FUSION
I’m interested in fusing a wide range of inspiration into my work. An artist with art parents that studied art in college makes boring art.
007. SURPRISES
I push myself to create new work and never repeat. I’m constantly making personal art to influence what I can do for clients.
05. EXPERIENCE
I focus on the whole project. Understanding the goals and empathizing with a user let’s us think of their experience fully.
Ready yet?
I enjoy learning about your projects, talk opportunities, and brand partnerships.
We probably have a lot of work to do, papers to sign, handshakes to do, and deadlines to miss make!
The Studio
I work in Massachusetts with my friends Jeff Guerra and Adam Danielson. We are in a lofty old paper mill with other artists in a network of studios. We’ve designed the space from a blank canvas, perfect for our needs.
30 minutes to 5-6 skateparks we are in a pretty cool spot.
Other than my bedroom when I was 15, the studio was my first interior design project. Now I've had the chance to do a bunch of environemtns for clients.
Kirk, Skully, and BoneHaüs
The studio name is inspired by Bauhaus, the German school of design that gathered artists of varying disciplines.
It reinforces the opportunities I have to create temporary teams of talented friends and bring them under the roof of BoneHaüs.
BoneHaus is the studio of Kirk & Skullboy.
Skully is the pataphysical manifestation of Kirk Wallace. An imaginary friend, a muse, and a reminder to give every project a surprising and unique twist.
Think Calvin & Hobbes but if they ran a small creative studio.
History
2010
Engineering School
I was supposed to be an engineer - I graduated with a degree in computer science and created a website for my capstone project.
2011
Oops
I realized designing the website was my favorite part of the project, not programming the backend. Then, creating the icons... and logo... oops.. should have been a designer.
2012
Programming
I got a job in programming. At night I would learn everything I could about design and share things on tumblr and DeviantArt.
2012
Dribbble
In 2010 I got an invitation to Forrst and later Dribbble and almost cried tears of joy. These were communities I could actually get feedback from incredible designers and improve my skills.
2012
First Designs
I posted a terrible design the first day on Dribbble and got an email the next day asking me to make a poster for a airline beverage company… for money!
2013
Community
At various points, I met some friends through the internet that were pivotal in my growth. Richie Stewart, Josh Lafayette, Chris Piascik were local to the Boston scene.
2013
Collaborations
A young New Zealander named Latham Arnott reached out through skype. We worked on about 30 projects in just a few years became super close friends and business partners.
2014
Creative Director
One day a startup called Wagepoint reached out, we did some freelance icons. I ended up becoming their creative director for three years.
2013
Non Disclosure Agreements
I had to sign my first NDA for a project with Google and thought I was as cool as the Fonzie. I finally started feeling like a real designer. Maybe this was possible after all.
2014
Creative Mornings
I did a Creative Mornings talk about a tattoo I designed when my dad died. Wired published an article about it, too.
2015
Acquisition
I grew Wagepoint from about five employees to 200 and acquisition.
2016
MFA Illustration
I decided to get my masters in illustration and made a short film for my capstone project. ::Sweating emoji::
2016
Fulltime Freelance
I left the job to pursue illustration full time.
2017
Adobe Live Stream
Adobe had me come out to San Francisco and stream for three days about the film. I worked in house with Facebook for a few days while I was out there.
2018+
BoneHaüs
BoneHaüs has been around for 10+ years. Eight of those years have been fully independent.
I’ve taught at schools, spoken at conferences, been interviewed, had galleries, sold out of merch, worked with hundreds of brands, and grown a following based on transparency of my career and work.
I have no idea what I’m doing, but I approach every bit of the business with love, fun, and honesty.