Saturday, December 5, 2009
Santa
What's the deal with the fat, jolly SOB in the red suit, huge beard and leather boots? Funny how a good concept and strong design can change the world. The Coke Santa.
Friday, December 4, 2009
Design Hell Comic
Maybe it's just me, but I can really relate to this freelance experience: http://theoatmeal.com/comics/design_hell
Thursday, December 3, 2009
Poster work
I have rough scaled-down posters tonight for class that include movie images but I'm seriously leaning towards not using movie images at all. After the Caddyshack debacle, and spending countless hours searching for print-worthy images, I want to have more fun with this in terms of creativity and not relying on photos from the movies. I sketched some thumbnails last night that I hope to put into rough-print for tonight.
ONE OTHER NOTE...
I know Bobby sent the link to brands of the world for the AFI vector logo, but a search for "AFI" only pulls up the band AFI, and a more detailed search doesn't bring up anything. Has anyone found this?
Chris
ONE OTHER NOTE...
I know Bobby sent the link to brands of the world for the AFI vector logo, but a search for "AFI" only pulls up the band AFI, and a more detailed search doesn't bring up anything. Has anyone found this?
Chris
Wednesday, December 2, 2009
Progress
Sounds like everyone's been making progress on their projects over the break. I would have liked to get more done on Project 3, but there's still two more weeks left, right? Anyway... I've been distracted by my thesis ideas and have started to explore some ideas with Amy and Julie Simon. I am curious to get some outside opinions. So I thought I would post my ideas here. To start my plan is to do a documentary, and I am shooting for either a half hour or a full hour depending on which idea I choose to go with. They are:
The Comics Code:
The Comics Code, established in 1954, came out of congressional hearings on Juvenile Delinquency, which focused much of its attention on comic books and their affects on children. The hearings were initiated in large part based on the research of Fredric Wertham. In his book Seduction of the Innocent, Wertham claimed that comics were linked to juvenile crime and sexual deviancy. The code was a concession made by the Comics Magazine Association of America to self-police the content of comic books. Through interviews with publishers and creators, I would like to discuss the affect the Comics Code and Wertham’s research had on the comic book industry. My sense is that the Code and public outcry against comics as a result of Seduction of the Innocent stigmatized the medium for nearly forty years. Traditional superhero comics were sanitized so they only appealed to children, and the industry was so stifled by the extent of the Code’s censorship that creating literary work was nearly impossible. Comics that did not conform to the Code were pushed underground and became even more subversive and received very limited distribution. Since the late eighties, the Code’s influence has waned particularly with the success of literary works geared toward more adult audiences (including the work of Alan Moore, Art Spiegelman, and Frank Miller). The industry is beginning to put the legacy of the Code behind it, finally gaining legitimacy with the national media, community libraries, and educators.
Or the Big Boyz Bail Bonds Brand:
A few years ago Baltimore-based Big Boyz Bail Bonds began a brand campaign focused solely on ad specialties, most notably their now ubiquitous pink and yellow pens. Nearly half a million pens are distributed throughout the city to bars, restaurants, and convenience stores. The pens have become an instantly recognizable icon of Baltimore life. I would like to document this phenomenon, recount the history of the company as well as the pens, and explore the validity of this as a marketing strategy. I am also interested in expanding the discussion to what this icon says about Baltimore. My hypothesis being that Baltimore has come to accept and even embrace its bad boy image, which has been affirmed by its portrayal in film and television, and the novelty of the Big Boyz pens is just further evidence of that.
The Comics Code:
The Comics Code, established in 1954, came out of congressional hearings on Juvenile Delinquency, which focused much of its attention on comic books and their affects on children. The hearings were initiated in large part based on the research of Fredric Wertham. In his book Seduction of the Innocent, Wertham claimed that comics were linked to juvenile crime and sexual deviancy. The code was a concession made by the Comics Magazine Association of America to self-police the content of comic books. Through interviews with publishers and creators, I would like to discuss the affect the Comics Code and Wertham’s research had on the comic book industry. My sense is that the Code and public outcry against comics as a result of Seduction of the Innocent stigmatized the medium for nearly forty years. Traditional superhero comics were sanitized so they only appealed to children, and the industry was so stifled by the extent of the Code’s censorship that creating literary work was nearly impossible. Comics that did not conform to the Code were pushed underground and became even more subversive and received very limited distribution. Since the late eighties, the Code’s influence has waned particularly with the success of literary works geared toward more adult audiences (including the work of Alan Moore, Art Spiegelman, and Frank Miller). The industry is beginning to put the legacy of the Code behind it, finally gaining legitimacy with the national media, community libraries, and educators.
Or the Big Boyz Bail Bonds Brand:
A few years ago Baltimore-based Big Boyz Bail Bonds began a brand campaign focused solely on ad specialties, most notably their now ubiquitous pink and yellow pens. Nearly half a million pens are distributed throughout the city to bars, restaurants, and convenience stores. The pens have become an instantly recognizable icon of Baltimore life. I would like to document this phenomenon, recount the history of the company as well as the pens, and explore the validity of this as a marketing strategy. I am also interested in expanding the discussion to what this icon says about Baltimore. My hypothesis being that Baltimore has come to accept and even embrace its bad boy image, which has been affirmed by its portrayal in film and television, and the novelty of the Big Boyz pens is just further evidence of that.
Tuesday, December 1, 2009
Tweaking Away
I spent most of the Thanksgiving holiday working on Project Two and I think it is finally coming together. My pepper spread has come full circle, from peppers to major peppers and back again. I have also worked and re-worked my second spread, which is about dinning out in Manhattan's West Village. Let me know what you think and if there is any way to improve it. Thanks!
Network
As the semester winds down and we may never have the pleasure of each others company on a weekly bases again, I suggest you to socially network online with me. Some of you already have joined me on LinkedIn or Twitter, but there is great benefit to networking on these things and you should be a part of the madness. Besides, on sites like LinkedIn, you get to control what people find about you on the magical interwebs. (Make sure you keep your Facebook or Myspace on private so no pictures of you beer bonging Natty Light last weekend show up when the hiring manager searches for you). You can also make a free profile & portfolio on Coroflot that can be linked to from your LinkedIn profile. You can also write & receive references on LinkedIn, which could really help in your job search (once people start hiring again).
If you would like:
Twitter: youknowbobbyg
LinedIn: Robert Gillespie
You should also join your local AIGA chapter. I have met great contacts and have landed some great freelance work via AIGA & the events they sponsor. Almost every design firm & agency hires people by recommendation or by already knowing you, get out there and make yourself known. You will at least know me if you go to the Baltimore events.
If you would like:
Twitter: youknowbobbyg
LinedIn: Robert Gillespie
You should also join your local AIGA chapter. I have met great contacts and have landed some great freelance work via AIGA & the events they sponsor. Almost every design firm & agency hires people by recommendation or by already knowing you, get out there and make yourself known. You will at least know me if you go to the Baltimore events.
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