Let's make something that lasts.
Most of what I make starts with a conversation. Whether you're after a piece for a wall that matters to you, a full identity for an organization you believe in, or something in between — here's how it works, roughly what it costs, and how to start. I take on a limited number of projects at a time, so if what's below sounds right, reach out early.
COMMISSIONS- FINE ART • LITURGICAL ART
Something made for one place in the world.
Some of my favorite work never hangs in a gallery — it's made for one wall, one room, one congregation. A piece for over the mantel. A set of panels for a sanctuary. Something for a space that's tired of stock prints and wants art that actually belongs to it.
If you've never commissioned art before, you're in good company — most people haven't, and it's simpler than it sounds. You don't need to arrive with the finished idea. You need a space, and a feeling you want it to hold. We figure out the rest together.
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For your home — original work made for a specific wall and the life lived around it.
For your sanctuary — liturgical and sacred pieces, single works or multi-panel series. This is some of the work I care about most, and some of the work I'm best known for — the Fellow Citizens panels, the Stations of the Cross series. If your congregation is dreaming about a space, I'd love to be in that conversation.
For your workplace or public space — larger-scale and installation work for offices, lobbies, and shared rooms that want a point of view on the wall.
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Tell me about it. The space, the feeling, roughly the size, roughly the budget. A photo of the wall helps more than you'd think.
I send a proposal. Scale, approach, timeline, and price — all in writing before anything's committed.
Deposit, then we begin. A 50% deposit reserves your spot on my calendar and starts the work. (More on that below.)
Concept sketches. I show you where I'm headed before I commit paint or material to it.
One round of revisions, then I make the thing.
Delivery or installation, and it's yours.
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Every commission scales with size, medium, and complexity — a framed original for a living room and a multi-panel installation for a sanctuary are very different undertakings. Once I understand your space and what you're after, I'll give you a firm number in the proposal before you commit to anything.
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I ask for a 50% non-refundable deposit before the first sketch. It reserves your place, covers the concepting work, and — honestly — it's how we both know this is real. It's also why I don't need to gatekeep with a big number up front: the people who are ready to commission art have no trouble with a deposit, and the people who aren't, opt out on their own.
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You own the physical piece — it's yours to live with, hang, and pass down. I keep the copyright and the right to photograph, exhibit, and show the work in my portfolio. If you need to reproduce the image — a church putting it on bulletins, a website, merch — that's a simple separate license we sort out up front, so there are no surprises later.
ILLUSTRATION
The thing underneath everything else I do.
Before it's a logo or a label or a poster, it's drawing — and illustration is where I'm most myself. It's the work I'd do whether or not anyone was paying me, and some of the pieces I'm proudest of were made with a big brand's name on them: the Mountain Dew work, the Voyager line with Onyx Coffee Lab, the Mountain Time can for New Belgium. A client on the invoice doesn't make it any less mine. It's the same hand that draws the Ozarks full of people calling out, or a cello with a raised fist for a neck.
I take illustration commissions of nearly every kind — packaging and cans, apparel and merch, gig posters, editorial and spot work, murals and large-format pieces, brand illustration and mascots, hand-lettering. If you've got a brand that deserves art with an actual point of view instead of another stock graphic, this is the part I love most.
BRAND & DESIGN
Identity for organizations with something worth believing in
Sixteen years of this has taught me that the logo is the last thing that matters and the first thing everyone asks for. Good identity work starts underneath — with what you actually stand for — and works outward until the mark is inevitable. Below are the three ways most brand projects take shape. Every one starts with a conversation, and every project is scoped and priced to fit what it actually needs.
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The whole thing, built to last: logo and variations, complete brand guidelines, a type system, a color architecture, usage rules, and messaging direction — a document your whole team and every future vendor can build from. This is the level of work behind the identities in my portfolio.
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For organizations that need a strong, coherent mark and the essentials to use it well — logo, core palette, type, and a basic usage sheet — without the full guidelines treatment. A real foundation you can grow into later.
Mission Aligned Rate
I also hold two projects a year at a reduced rate for organizations whose work I believe in — small arts nonprofits, human rights orgs, churches, the people just getting started. If that's you and the floor above is out of reach, tell me about it anyway. I'd rather have the conversation than have you assume the answer.
Ready when you are
Tell me a little about what you have in mind. The more you can share, the better I can tell you whether I'm the right fit — and the faster we can get to the good part.