Weston works fluidly between three-dimensional spaces and two-dimensional surfaces, designing public experiences and private interactions of all scales, from intimate gestures to expansive coordinated experiences and complex brand systems for some of the most well-known companies in the world.

His work is research-oriented, strategy-driven, and thrives on collaboration—developed with multidisciplinary teams of digital visionaries, technology and media strategists, architects, designers, writers, and opinionated makers and creators of all types.

His most recent independent work is focused on developing architecturally-scaled immersive digital experiences. Brand and storytelling spaces translating strategy and purpose into meaningful, real-time experiences—visual and tactile, passive and participatory—connecting technology with humanity, encouraging wonder, and rewarding curiosity.


Weston began his career composing typography (by hand) for pre-Pentagram Paula Scher, then as a designer at the iconic Chermayeff & Geismar developing identities, branding programs and environmental graphics for clients including Knoll, The New School for Social Research, IBM, and Birmingham Museum of Art. Inspired by (and forced to re-evaluate everything he’d learned to-date) the Deconstructivist Architecture show at MoMA and Eye Magazine Issue 3, he left for graduate studies, receiving his MFA from CalArts in 1996. Returning to New York he joined a fledgling interactive group (that doesn’t need to be mentioned here) followed by a dive into broadcast graphics with VH1 and MTV. In 1997 he co-founded Deluxe Design For Work + Leisure, a multi-disciplinary studio formed to work with small cultural and non-profit clients including New York Foundation for the Arts, Alvin Ailey American Dance Theater, The New Festival, The New York Lesbian and Gay Film Festival, The New Victory Theater and Lincoln Center Theater.

He spent the next few years of his career as Creative Director enjoying the dot-com explosion at marchFIRST, got deep (really deep) into ‘brand’ at Ogilvy & Mather’s Brand Integration Group (BIG)—the iconic brand laboratory led by Brian Collins, and finally Wolff Olins (New York). These critically defining years were spent developing coordinated brands for clients including Kodak, AT&T Wireless, DuPont, Sprite, Japan’s NTT DoCoMo, New Museum of Contemporary Art, Gap, and Saks Fifth Avenue.

In 2006 he co-founded Object Collective, a multidisciplinary studio that adopted a pragmatic, bespoke, and strategy driven approach, modeled on his experience with agency and brand consultancy approaches, but executed with smaller fluid teams, for smaller, more nimble clients. Project teams at Object were comprised of leadership from different disciplines including architecture, video and animation design, digital production, brand strategy, interior design, writing, videography, photography, etc. Maintaining a hands-on involvement with all design and creative direction, he developed brands and relationships with forward-thinking clients including Nike, Nokia, NYU Skirball Center, Corcoran Sunshine, Eight Inc, Frank Gehry Partners, Lincoln Center Theater, Signature Theatre, Lowe Counsel and Lowe + Partners.

In 2012 Co-Founded Open Project, a small New York-based collaborative studio where he remains a Partner, designing for paper and screen, on surfaces and in spaces. Projects span ‘traditional’ print and digital design, coordinated 360˚ brand solutions for luxury, cultural, and corporate brands; retail packaging, interactive digital media experiences, public and private cultural spaces and environments. Their work lives in museums, in corporate headquarters, in sales environments, in hand, on shelves, and on the street. Clients include Corcoran Sunshine, Knoll, Columbia University Zucker­man Mind Brain Behavior Institute, The San Francisco Symphony, First Look Media, The Intercept, Target, Up & Up, BlackRock, Warner Music Group, Anbau Enterprises/Morris Adjmi Architects, Hogg Holdings/AA Studio Architects, Citibank, Cisco, iShares, Coach, Lowe Counsel, GlaxoSmithKline, McLaren, Reckitt Benckiser, Warner Music Group. Agency partners and collaborators include AV&C, Collins, Apologue, Ogilvy, MRM//McCann, Publicis.


In addition to his professional work, he has served on the Board of Directors of American Institute of Graphic Arts (AIGA), partnered on the launch of the AIGA Experience Design committee, organizing multiple lectures about design and typography, and experience design. He has taught advanced typography at Pratt Institute and School of Visual Arts (and definitely will again), and regularly serves as a visiting critic at graduate and undergraduate design programs.

He received his BFA in Communication Design from Pratt Institute in 1990, and his MFA in Graphic Design from California Institute of the Arts in 1996. He also won Best Director for a short film he made at School of Visual Arts that nobody cares about but for which he is very proud.


Weston’s work has received numerous awards from the Type Directors Club, AIGA, the Art Directors Club, Graphis, Print, Communication Arts, The One Club, the London International Advertising Awards, American Advertising Awards and the Broadcast Design Association. His work has also appeared in multiple foreign and domestic publications and exhibits and is in the permanent collection of the Cooper Hewitt Smithsonian Design Museum.

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