Visual Dialogue’s move from Ann Arbor to Boston (with co-founder Paul Montie) was funded by this college football player of the year award sponsored by Domino’s Pizza. In addition to putting sculpture skills to use, this design was also an intro to trademark law—thanks to Domino’s lawyers.

Our first music package design happened—as these things do—because the boyfriend of a friend from college was in the band. Chucklehead (on their EnuffaMyButt record label) was a fun party band with quite a following on the East Coast. I didn’t have much to work with for the images, so I got a lot of practice on the newly introduced—and still magical—Photoshop. (One of my favorite shows was when they opened for the Village People. Yes, those Village People.)

When Dance Month posters popped up along Mass Ave., we knew the long, cold, gray winter was finally over. For 12 years we collaborated with different photographers each year to create the posters announcing Dance Month in Cambridge, with the Dance Complex in Central Square as the epicenter.

Years before she became in impresario in New York City, Cynthia Von Buhler was an illustrator, performance artist, and mistress of ceremonies living in a purple Victorian house in Allston. At the height of the AIDS crisis she brought together local bands and leading illustrators to produce a CD to raise money for AIDS Action. We designed the “Soon” album featuring a photo of Cynthia (of course) on the cover.

Moving to Boston without knowing anyone, one of the first orders of business was to hire some friends. We hired illustrator Polly Becker (recommended by Scott Nash at Corey McPherson Nash) for a book cover and later created branding and promotional materials for her. I’m proud to say that after all these years later we remain collaborators, neighbors, and friends.

The Ad Club of Boston came to us to create the catalogue for the Hatch Awards which represent “creative excellence” in advertising. But we quickly realized their previous awards books were neither “creative” nor “excellent.” Playing with the print form, we injected design ideas both big and small, including the edge-printed message to folks who entered work that year: “congratulations” or “sorry—try again!”

When Susan Battista, a market research consultant and strategist who had worked with some of Boston’s biggest companies and agencies, came to us needing branding for her new start up, neither of us could foresee what it would lead to. We eventually merged businesses—and lives. (Sorry we can’t link to one of the most eye-popping sites we ever created—it was done in Flash. Remember Flash?)

In creating the viewbook for what is now Lesley University College of Art & Design, we tapped the top photo students to visually tell the story of the school from a student perspective—warts and all. The end result: applications doubled.

Fast Company magazine helped define the zeitgeist of a new way of thinking about business. Working with creative director (and magazine design guru) Pat Mitchell, we translated the spirit of the magazine—along with its best artwork and ideas—into a handy, printed calendar. (Remember those?)

Working one-on-one with one of the world’s greatest living architects was an inspiring experience. I told Moshe I remember as a kid making a pilgrimage with my dad, who was also an architect, to see his Habitat in Montreal (which he designed at the age of 26). Moshe said he went the other way to see Mies van der Rohe’s Lafayette Park in Detroit where I grew up.

Why don’t scholars get the same recognition as celebrities in our culture? To help right this imbalance, our goal with the redesign of the Harvard’s Graduate School of Arts & Sciences alumni magazine was to give students and faculty—and their work—the attention they deserve through compelling photography, illustration, and design.

After working with Folkways for over 20 years, being honored with a stroll down the red carpet as a Grammy nominee is a surreal experience. When they say “The Grammy goes to…” and you hear your name, you make your way to the stage, and Kacey Musgraves hands you a gold gramophone—that takes it to the next level.

Situated in one of the most unusual locations imaginable for a park, Underground sits below the I-93 highway leading in and out of Boston. While it includes an unexpectedly beautiful park by Landing Studio and a visual playground of street art, our branding entry mural and wayfinding stripes bring eyes (and feet) into it.

When the National Park Service had to move out of their Faneuil Hall location due to construction, they asked us to transform a basement cubicle farm into a welcoming visitor center. And who better than a giant smiling park ranger to get attention and invite people into the newly created space?

We seem to be on a roll branding “squares”—including Union Square, Station Square, and even the restaurant chain Tavern in the Square. After spending 30 years frequenting Central Square, we wanted to develop an expressive look for the area that works today and into the future.