I provide legal counsel in the areas of intellectual property, entertainment, internet and technology, corporate, and business law, with a focus on providing transactional support to empower creative individuals, creative businesses, and new entrepreneurs.

Worked closely with Clinic Director to ensure quality representation for filmmakers, artists, and creative nonprofits. Researched and wrote legal memoranda on intellectual property issues such as fair use, licensing, and right of publicity in films, books, and artworks. Researched and edited papers on software patents following Alice v. CLS Bank and on copyright issues affecting university professors. Wrote talking points to support Clinic Director’s appearance at Copyright Office’s DMCA Section 1201 Study roundtable. Coordinated with outside counsel to assist filmmakers with filing FOIA requests.

In mid-2005, I established Tokyo Farm, a boutique creative services practice providing a wide range of identity, product, print and interactive design and development services to the youth marketing, casual lifestyle, action sports and music and entertainment industries. Tokyo Farm executed projects for large brands, such as AEG Live and Live Nation, as well as smaller, more experimental clients like MIT Media Lab Director Joi Ito and Viennese art collective monochrom. As a sole proprietor, I managed every aspect of the business, including new business development, project management, creative execution, production trafficking, vendor and contractor management and accounting.

As Assistant Art Director for Hard Rock, I was responsible for designing, specifying and producing the extensive variety of products and collateral needed to conduct the day-to-day operations of a world-famous resort and casino property, as well as the quirky side projects of its wealthy and eccentric owner. In addition to designing gambling chips, gaming tables, signage, advertising, print collateral, identities, custom vehicle paint, apparel and souvenirs, I helped to build a modern art department from the ground up, establishing vendor relationships, building resource libraries and developing and refining trafficking policies where previously there was mostly just chaos.

I was a team leader for the creative services department of House of Blues, a large music entertainment company with a well-recognized brand and operations across North America. I brought my design expertise to bear on a wide variety of print and interactive projects, including identity systems, corporate communications, advertising, event and tour promotion, music packaging, motion graphics and retail products and packaging. In addition, I provided support and brand supervision for designers operating at a local level in other regions of the U.S.

At Creative Intelligence, I designed captivating corporate and social communication for a cutting-edge studio specializing in event branding. I took jobs from concept through press check and beyond, on budgets ranging from pocket change to the GDP of a small country. These projects spanned a wide range of media, from identities to invitations to web sites to handmade photo albums. I worked with a broad spectrum of both corporate and nonprofit clients including Disney, DreamWorks SKG, BMG Entertainment, Turner Network Television, The 50th Annual Emmy Awards, Motorola and Rhino Records. Our work was featured frequently in print (How Magazine, The Wall Street Journal) and on television (CNN, The Today Show, Entertainment Tonight). At the same time, I provided all of the IT support for the studio’s 15-person LAN. This included transitioning the office from dial-up internet access to business-class broadband, domain registration and configuration, installation and maintenance of software, running cables, configuring telecommunications and networking hardware and software, evaluating resource requirements, making recommendations regarding planning and growth and answering 4,000 questions a day while still turning out high-quality design projects on time.