Friday, March 25, 2011
Tuesday, March 22, 2011
New Project Deadlines for Semester
Wednesday, March 23rd: Work in class on Kinetic Typography. Must have some type moving on screen. Jason Dooley, Alumni to visit along with GSU Reporter/Writer and Photographer from GSU for MODA Article.
Thursday, March 24th: MODA Night 6-8pm for you.
Monday, March 28th: Work in class on Kinetic Typography
Wednesday, March 30th: Pre-Critique on Kinetic Typography. Work in Progress. Everyone will show something in class.
Monday, April 4th: Finish Work in Class on Kinetic Typography.
Wednesday, April 6th: Critique Showing of Kinetic Typography. Must post to vimeo or Youtube as part of completion of project.
Monday, April 11th: Work in class on Film Titles.
Wednesday, April 13th: Work in class on Film Titles.
Monday, April 18th: Pre-Critique on Film Title Treatment in class. Everyone must show a work in progress.
Wednesday, April 20th: Finishing up work on Film Titles in Class.
Monday, April 25th: Final Critique and Showing of Film Titles.
A DVD of all the work completed during the semester must be turned in for final semester grade. No DVD, no Grade.
(Film Posters (2 Posters), MODA (all Mac files and final Quicktime),Film Title files and output Quicktime movie.)
Thursday, March 24th: MODA Night 6-8pm for you.
Monday, March 28th: Work in class on Kinetic Typography
Wednesday, March 30th: Pre-Critique on Kinetic Typography. Work in Progress. Everyone will show something in class.
Monday, April 4th: Finish Work in Class on Kinetic Typography.
Wednesday, April 6th: Critique Showing of Kinetic Typography. Must post to vimeo or Youtube as part of completion of project.
Monday, April 11th: Work in class on Film Titles.
Wednesday, April 13th: Work in class on Film Titles.
Monday, April 18th: Pre-Critique on Film Title Treatment in class. Everyone must show a work in progress.
Wednesday, April 20th: Finishing up work on Film Titles in Class.
Monday, April 25th: Final Critique and Showing of Film Titles.
A DVD of all the work completed during the semester must be turned in for final semester grade. No DVD, no Grade.
(Film Posters (2 Posters), MODA (all Mac files and final Quicktime),Film Title files and output Quicktime movie.)
Sunday, March 20, 2011
MODA Museum Visit on Sunday: A Preview
I got the chance to visit the new MODA museum today, Sunday, around 2pm and it was quite the scene on Peachtree Street... as there were over a hundred motorcycles parked along the street along with the food vendors and visitors pouring out onto the sidewalk from the new museum. They were giving free Ducati rides to anyone brave enough to jump on the back of a bike. Great energy and lots of fun. I loved that all this was happening in the shadow of the High Museum across the street.
Once I entered the new MODA gallery I met Brenda Galina, the Executive Director, and she took me on a personal tour of the new facility bragging about the videos and the print and collateral work created exclusively by GSU Designers. I was impressed with the museum as we moved throughout the gallery spaces where all the Italian Motorbikes were located.
In one gallery three videos that Katia Lord produced were all playing simultaneously on the gallery walls. One video that Katia produced that included typography really stood out...it was front and center on the wall. Yes, I know everyone was there to see the Italian Bikes, but I was there to celebrate your videos and print work...your creativity.
Brenda Galina told me the plan was to change the videos out from time to time for variety. Depending on what day you visit the videos might be different. Details are still being worked out during the museums first weekend opening.It was great to see firsthand all the creative work each of you created. I didn't realize that MODA is only second in the country as a design museum to that of Cooper Hewitt in NYC. Not bad, eh?
Not many students have work being shown in a museum. Hello? Reality check!
The video monitors throughout played a lot of informational graphics for the museum and their upcoming exhibitions which I think were created by Primal Screen. The T-shirts and the other collateral printed materials were created by senior designer Shivani Kapoor. These images were everywhere.
In the larger, more open gallery space the video created by Tiffany Forrester and Adam Bueb was playing along with the music. It really set the mood for all the visitors mulling around the gallery space. Fantastic.
For me it was one of those defining moments that educators like myself live for as we get to celebrate the achievements of our students. These are defining moments as each of you move from student to professional designer. I don't take any of this lightly because I know of all the hard work and dedication each of you put into your work and it showed in the new MODA museum.
You'll see on Thursday when we all visit the new MODA together.
Check out the Museum of Design Atlanta on Facebook
Opening Night at MODA on Saturday Night complete with a Full moon.
Looks like they are using a lot of Shivani's designs (Tshirt/Poster) and still looking for any sign of the videos you all did for them. I did get an email from Joe stating that he would like to compile some of your videos into one sometime in the next few weeks so stay tuned. So many times an exhibition will start and then they'll "resolve" the details in the days ahead. Here are some photos courtesy of MODA facebook.
Lots and lots of photos here for you to see the museum before Thursday.
Article courtesy Howard Pousner, The Atlanta Journal-Constitution
Design museum moves forward
By Howard Pousner
The Atlanta Journal-Constitution
In recent months, as construction dust flew around the Museum of Design Atlanta’s storefront space on Peachtree Street in Midtown, not coincidentally across the road from the High Museum of Art, folks peeked inside wondering what the place was going to be.
Informed that it was the future home of Atlanta’s design museum, the curious almost all responded, “I didn’t even know we had one.”
Yes, we do — since 2003, in fact, when the Atlanta International Museum of Art & Design metamorphosed into MODA, dropping the global art aspect that had been its main thrust to focus on design. It became the only museum in the Southeast dedicated exclusively to the study and exhibition of that topic.
MODA organized or hosted a steady stream of significant exhibits, on everything from the modernist architecture of Hungarian-born Marcel Breuer to the animation of Atlanta-based Cartoon Network, that drew praise from critics and in-the-know patrons but a paltry trickle of visitors.
When she switched from board member to executive director three years ago, Brenda Galina said it “took, like, one second” for her to determine that the museum’s hard-to-find location — with gallery space on two floors of Peachtree Center’s Marquis Two tower downtown (next to the Marriott Marquis hotel) — was a serious issue.
“We were down there really dying, and I said, ‘OK, either we step this up or we close the museum,’” Galina recalled. “You can’t keep holding on when nobody knows you’re here.”
Well, with its opening today on Atlanta’s most famous thoroughfare, across the street from the Woodruff Arts Center and near other Midtown cultural powers, MODA will be suddenly hard to miss. It hopes to transform from a barely hanging in there shoestring entity into an essential institution that not only represents, but rallies, the city’s growing force of design professionals.
“A rebirth or renaissance” is how MODA board President Bruce McEvoy, an architect and associate principal of Perkins+Will, refers to the museum’s new post at Peachtree and 16th streets.
“This is the exact type of location we’d always talked about,” he said. “Not only are we in the cultural corridor of Atlanta, but we also have this fantastic pedestrian traffic and storefront presence now, which was always a dream of the museum.”
McEvoy and Perkins+Will — which had purchased the six-story building for its 220-person Atlanta office, renovated its top four floors and moved in late last year — had more than a little to do with realizing that dream.
Perkins+Will not only contributed the design of the museum space, converting a street-level surface parking lot underneath the Atlanta-Fulton County Public Library’s Peachtree branch (which remains), but ponied up $1.5 million for the transformation.
MODA will operate rent free for three years and then will pay a graduating fee for several more years before its lease rises to market rate. As it gets on firmer footing, it’s expected to begin to pay back part of the $1.5 million, too.
“They have given us a grace period to get ourselves together, and I think that’s absolutely right,” Galina said. “If we can’t get ourselves together by year four, we shouldn’t be here.”
The executive director believes MODA can eclipse the 10,000 annual attendance downtown in the first month in Midtown.
She takes as a positive sign that a “$9 for Design” promotion, launched last year after the move was announced, brought in 450 new members, more than doubling the existing ranks of annual supporters.
McEvoy is optimistic that additional foundation and private funding will follow. “When the community sees the shows we bring to the city and the gift that MODA is providing, I don’t think there will be any question about the level of support and commitment,” he said. “We’ve heard a lot of people say, ‘We want to see you on your feet, we want to see you prove yourself and then, absolutely, we’re with you.’”
Perkins+Will decided it wanted to be literally with MODA in Midtown after McEvoy proposed the idea to firm president Phil Harrison, another design museum board member. The architecture firm had been in the neighborhood for more than three decades, occupying a converted Midtown house that had been expanded several times and then leasing an additional floor in the Earthlink headquarters across Peachtree.
The architects knew that the street-level parking beneath the building and the horseshoe-shaped drop-off driveway, both favoring commuters over life on the sidewalk, had to go.
“It’s not what we’re about as a firm,” McEvoy said. The general idea was to replace it with something “that could become an asset to the city.”
Different prospects were pondered before McEvoy proposed a new home for MODA, a notion Harrison quickly embraced.
Giving MODA a new lease on life was “walking the talk,” McEvoy said. “We’re not just telling our clients to [give to the community]. We’re doing it first.”
Atlanta attorney Robert Edge, who heads the Loridans Foundation, which has granted MODA prior operating support, gives kudos to the architecture firm. While Edge said he can’t predict the museum’s future support, he added, “It is a good thing to have a resource like MODA available as part of our community’s cultural offerings. Its chances of survival should increase markedly with its move to a nice facility in the vicinity of the High.”
The 9,000-square-foot space is bright and open, spacious and sleek, emphasizing exposed concrete, energy efficiency and tall ceilings — 12 feet high in the first gallery and, down a wide central corridor, 25 feet in a viewing space built out from the back of the building. Floated ceilings, or “clouds,” hide lighting, audio and the video projection equipment that will help interpret exhibits and make them less static.
With its doubled gallery space, MODA, which does not have a permanent collection, should no longer have to turn away major touring shows. The museum “should give any curator coming down the road the flexibility to tell whatever story they’d like to tell,” McEvoy said, “or set up whatever conversation they’d like to set up.”
The inaugural show is “Passione Italiana: Design of the Italian Motorcycle,” featuring 11 masterworks of Italian motorcycle design — by makers including MV Agusta, Ducati, Bimota and Moto Morini — loaned from the Barber Vintage Motorsports Museum in Leeds, Ala., outside Birmingham. The show will explore the ingenuity and technological advancement expressed in Italian motorbike design, with interpretive stations placing that in the larger context of fashion, industrial and furniture design.
Galina said future exhibits will approach design from the broadest definition. “I want to [bring] things new to Atlanta as much as possible. Honestly, anything is design. The crazier the idea, the better we like it.”
MODA’s across-the-street neighbor, the High Museum, is also quite keen on design. As part of its ongoing collaboration with the Museum of Modern Art, the High will open the 150-piece show “Modern by Design” on June 4, focusing on MoMA’s 20th century design collection-building and taste-making. In conjunction with that exhibit, the High will present works by seven artists represented in its own 2,200-piece decorative arts and design collection.
MODA officials have met with Woodruff Arts Center President and CEO Joseph Bankoff and High Director Michael Shapiro about the possibility of shared programming and audiences, and came away encouraged.
“When the opportunity arises, hopefully we’ll be able to work together,” Galina said.
McEvoy believes the two institutions can be a “catalyst” to raise appreciation in Atlanta for all sorts of design — graphic design, fashion, architecture, interior design, industrial design and more.
“If Atlanta is going to be the city we all know it can be, culturally, I think it has to catch up with some of its competitors,” he said. “With MODA having its rebirth, it can join the ranks of some of these great Atlanta institutions like the High that really contribute to the city’s momentum.”
The fact is that MODA, the little design museum that barely had a present, now has designs on a brighter future.
Looks like they are using a lot of Shivani's designs (Tshirt/Poster) and still looking for any sign of the videos you all did for them. I did get an email from Joe stating that he would like to compile some of your videos into one sometime in the next few weeks so stay tuned. So many times an exhibition will start and then they'll "resolve" the details in the days ahead. Here are some photos courtesy of MODA facebook.
Lots and lots of photos here for you to see the museum before Thursday.
Article courtesy Howard Pousner, The Atlanta Journal-Constitution
Design museum moves forward
By Howard Pousner
The Atlanta Journal-Constitution
In recent months, as construction dust flew around the Museum of Design Atlanta’s storefront space on Peachtree Street in Midtown, not coincidentally across the road from the High Museum of Art, folks peeked inside wondering what the place was going to be.
Informed that it was the future home of Atlanta’s design museum, the curious almost all responded, “I didn’t even know we had one.”
Yes, we do — since 2003, in fact, when the Atlanta International Museum of Art & Design metamorphosed into MODA, dropping the global art aspect that had been its main thrust to focus on design. It became the only museum in the Southeast dedicated exclusively to the study and exhibition of that topic.
MODA organized or hosted a steady stream of significant exhibits, on everything from the modernist architecture of Hungarian-born Marcel Breuer to the animation of Atlanta-based Cartoon Network, that drew praise from critics and in-the-know patrons but a paltry trickle of visitors.
When she switched from board member to executive director three years ago, Brenda Galina said it “took, like, one second” for her to determine that the museum’s hard-to-find location — with gallery space on two floors of Peachtree Center’s Marquis Two tower downtown (next to the Marriott Marquis hotel) — was a serious issue.
“We were down there really dying, and I said, ‘OK, either we step this up or we close the museum,’” Galina recalled. “You can’t keep holding on when nobody knows you’re here.”
Well, with its opening today on Atlanta’s most famous thoroughfare, across the street from the Woodruff Arts Center and near other Midtown cultural powers, MODA will be suddenly hard to miss. It hopes to transform from a barely hanging in there shoestring entity into an essential institution that not only represents, but rallies, the city’s growing force of design professionals.
“A rebirth or renaissance” is how MODA board President Bruce McEvoy, an architect and associate principal of Perkins+Will, refers to the museum’s new post at Peachtree and 16th streets.
“This is the exact type of location we’d always talked about,” he said. “Not only are we in the cultural corridor of Atlanta, but we also have this fantastic pedestrian traffic and storefront presence now, which was always a dream of the museum.”
McEvoy and Perkins+Will — which had purchased the six-story building for its 220-person Atlanta office, renovated its top four floors and moved in late last year — had more than a little to do with realizing that dream.
Perkins+Will not only contributed the design of the museum space, converting a street-level surface parking lot underneath the Atlanta-Fulton County Public Library’s Peachtree branch (which remains), but ponied up $1.5 million for the transformation.
MODA will operate rent free for three years and then will pay a graduating fee for several more years before its lease rises to market rate. As it gets on firmer footing, it’s expected to begin to pay back part of the $1.5 million, too.
“They have given us a grace period to get ourselves together, and I think that’s absolutely right,” Galina said. “If we can’t get ourselves together by year four, we shouldn’t be here.”
The executive director believes MODA can eclipse the 10,000 annual attendance downtown in the first month in Midtown.
She takes as a positive sign that a “$9 for Design” promotion, launched last year after the move was announced, brought in 450 new members, more than doubling the existing ranks of annual supporters.
McEvoy is optimistic that additional foundation and private funding will follow. “When the community sees the shows we bring to the city and the gift that MODA is providing, I don’t think there will be any question about the level of support and commitment,” he said. “We’ve heard a lot of people say, ‘We want to see you on your feet, we want to see you prove yourself and then, absolutely, we’re with you.’”
Perkins+Will decided it wanted to be literally with MODA in Midtown after McEvoy proposed the idea to firm president Phil Harrison, another design museum board member. The architecture firm had been in the neighborhood for more than three decades, occupying a converted Midtown house that had been expanded several times and then leasing an additional floor in the Earthlink headquarters across Peachtree.
The architects knew that the street-level parking beneath the building and the horseshoe-shaped drop-off driveway, both favoring commuters over life on the sidewalk, had to go.
“It’s not what we’re about as a firm,” McEvoy said. The general idea was to replace it with something “that could become an asset to the city.”
Different prospects were pondered before McEvoy proposed a new home for MODA, a notion Harrison quickly embraced.
Giving MODA a new lease on life was “walking the talk,” McEvoy said. “We’re not just telling our clients to [give to the community]. We’re doing it first.”
Atlanta attorney Robert Edge, who heads the Loridans Foundation, which has granted MODA prior operating support, gives kudos to the architecture firm. While Edge said he can’t predict the museum’s future support, he added, “It is a good thing to have a resource like MODA available as part of our community’s cultural offerings. Its chances of survival should increase markedly with its move to a nice facility in the vicinity of the High.”
The 9,000-square-foot space is bright and open, spacious and sleek, emphasizing exposed concrete, energy efficiency and tall ceilings — 12 feet high in the first gallery and, down a wide central corridor, 25 feet in a viewing space built out from the back of the building. Floated ceilings, or “clouds,” hide lighting, audio and the video projection equipment that will help interpret exhibits and make them less static.
With its doubled gallery space, MODA, which does not have a permanent collection, should no longer have to turn away major touring shows. The museum “should give any curator coming down the road the flexibility to tell whatever story they’d like to tell,” McEvoy said, “or set up whatever conversation they’d like to set up.”
The inaugural show is “Passione Italiana: Design of the Italian Motorcycle,” featuring 11 masterworks of Italian motorcycle design — by makers including MV Agusta, Ducati, Bimota and Moto Morini — loaned from the Barber Vintage Motorsports Museum in Leeds, Ala., outside Birmingham. The show will explore the ingenuity and technological advancement expressed in Italian motorbike design, with interpretive stations placing that in the larger context of fashion, industrial and furniture design.
Galina said future exhibits will approach design from the broadest definition. “I want to [bring] things new to Atlanta as much as possible. Honestly, anything is design. The crazier the idea, the better we like it.”
MODA’s across-the-street neighbor, the High Museum, is also quite keen on design. As part of its ongoing collaboration with the Museum of Modern Art, the High will open the 150-piece show “Modern by Design” on June 4, focusing on MoMA’s 20th century design collection-building and taste-making. In conjunction with that exhibit, the High will present works by seven artists represented in its own 2,200-piece decorative arts and design collection.
MODA officials have met with Woodruff Arts Center President and CEO Joseph Bankoff and High Director Michael Shapiro about the possibility of shared programming and audiences, and came away encouraged.
“When the opportunity arises, hopefully we’ll be able to work together,” Galina said.
McEvoy believes the two institutions can be a “catalyst” to raise appreciation in Atlanta for all sorts of design — graphic design, fashion, architecture, interior design, industrial design and more.
“If Atlanta is going to be the city we all know it can be, culturally, I think it has to catch up with some of its competitors,” he said. “With MODA having its rebirth, it can join the ranks of some of these great Atlanta institutions like the High that really contribute to the city’s momentum.”
The fact is that MODA, the little design museum that barely had a present, now has designs on a brighter future.
Saturday, March 19, 2011
The Tree of Life Trailer
Amazingly haunting like Terence Malick's film "Days of Heaven."
If you don't know this movie, check it out. You won't be disappointed.
In Class on Monday 3/21 and Wednesday 3/23
FYI: Tres Swygert will be in class on monday for about an hour to go over some things with you about the kinetic typography project. Also, Jason Dooley, who graduated last spring will be in town this next week (from NYC) and I've invited him to stop by class on Wednesday to talk about how he works in AE with kinetic typography which is what he is doing now in NYC full time. He has some great insights as well....plus he can also tell you about his Film Title "Ocean's Eleven" that he created last year and won several awards for doing. Keep working!
The Art of the Title
Hey, check this site out as you head towards the Film Title project (hopefully) as the last project for the semester. It's a great reference. Saif had found it as well and forwarded it to me just as I was about to put it up on the blog. Enjoy!
www.artofthetitle.com
www.artofthetitle.com
Thursday, March 17, 2011
Monday, March 14, 2011
Kinetic Tutorial (Thanks Saif)
http://ae.tutsplus.com/tutorials/motion-graphics/design-rhythmic-motion-typography-in-after-effects/
End Result of the Tutorial:
Fly In type:
http://www.youtube.com/watch?v=jwAK94h7h6k
More tutorial at:
www.aetuts.com
End Result of the Tutorial:
Fly In type:
http://www.youtube.com/watch?v=jwAK94h7h6k
More tutorial at:
www.aetuts.com
Ripping Audio (and Video) for Kinetic Typography
http://www.macupdate.com/app/mac/14414/mactheripper
http://www.vidtomp3.com/
http://www.iskysoft-for-mac.info/adv.aspx?s=dvd-ripper&gclid=CKPz3sC0vacCFQet7Qodwl3RgQ
www.listentoyoutube.com (converts anything on Youtube to an mp3 audio file)
http://www.downloadhelper.net/welcome.php?version=4.8.4
http://www.vidtomp3.com/
http://www.iskysoft-for-mac.info/adv.aspx?s=dvd-ripper&gclid=CKPz3sC0vacCFQet7Qodwl3RgQ
www.listentoyoutube.com (converts anything on Youtube to an mp3 audio file)
http://www.downloadhelper.net/welcome.php?version=4.8.4
Friday, March 11, 2011
The MODA Video Project: Epilogue
I wanted to reiterate some things we discussed in class this past Wednesday as everyone was turning in work for the MODA project which each of you worked so beautifully on during the first 5 weeks of class. Its been thrilling for me to watch you work through the creative stages of this real project with a client. From your visits to the Museum in Alabama to storyboarding your concepts, to learning how to film and learn the software to edit and create the final output. More happened in these past 5 weeks than most that happens in a full semester of work. You were present and you were accounted for and it seemed that you were really excited throughout. What more could a professor wish for?
Your strength collectively as well as independently is that you are fearless and will jump into a project with enthusiasm and passion. The work demonstrates such and I'm proud to be a part of your creative journey. I know many of you wanted the process to be smoother and the directions more precise. It wasn't and you dealt with it and held your own. Take heart.
The reality of working on this project is exactly that-it's real and happening in real time. It was literally a project YOU were involved in from the ground up. You visited the museum during its construction and now through its completion when the doors open on their Inaugural Exhibition on Saturday March 19th. You were a part of its Inaugural exhibition and you got to see (the good and the bad) how a museum exhibition really comes to fruition regarding all the logistics, the organization, the details, the inconsistencies, and even the confusion of preparing for an exhibition. Plan as you go.
What's interesting about this project is that you have been working with a very well respected and celebrated non-profit organization that gets its funding from its contributors and benefactors and sponsors. All very important aspects of a non-profit organization such as MODA. "Looking professional" is key to getting future funding which is the lifeblood for a museum. Your participation in creating these videos are helping MODA have a future. You are a donor for this museum now because you donated work to their future success as an integral part of the Atlanta community. The art community is stronger because of you and your creativity.
You are now officially a design citizen and should be proud.
You make MODA look good because of the high caliber of work each of you created for this exhibition.
There is no guarantee that they will use your videos but you met the deadlines and did so with great flair and professionalism. You did what you set forth to do...plus you have some killer pieces for your own portofolios.
You had to serve two clients in many aspects of this project.
You were working for the curator of the exhibition "Passione Italian" Exhibition, Joe Remling; your work also needed to satisfy the Executive Director of MODA, Brenda Galina, who is responsible for keeping the level of professional work up to a certain standard that she is used to seeing in her museum. If she doesn't like the work, it will not be shown. As curator for MODA's inaugural exhibition I can only imagine the kind of stress Joe must be under to get his exhibition completed...under budget and in time for the opening...but Joe is a professional and has the talent to pull all those individuals together in helping him problem-solve what he needs to get it done. A great Art Director or Creative Director is sometimes an "air traffic controller" when it comes to directing those around him. It all comes down to building a relationship with others whom you can trust. Trust is key.
More importantly, we are doing the same thing in the classroom. Everyone is part of this effort in the creation of this Inaugural Exhibition. Phillip Webb has been gracious in assisting each of you throughout by scheduling additional lab time for you to work in the CMC over the break...along with the help of Saif and others. (Thanks Tiffany for your insight regarding how to output the final DVDs.
So much of what we do as creative individuals is improvise. That's just another word for problem-solving and thinking on your feet.
It means being gracious to a client when they tell you what they want and then change their minds.
It means rolling with the punches (instead of throwing a few punches) when the client moves the deadlines up or asks you to work during your weekend or asks you to stay late. BTW, each of you did all this without complaint.
It means being patient with the creative process and allowing it unfold while still being in control of it. Spontaneity is really a great gift when it's harnessed.
Although the end result of the project might be beautiful and win you awards or recognition, it is the creative process of learning more about ourselves as artist that is the greatest gift.
We all earn our "creative stripes" in projects with clients, good or bad.
Learn to really embrace the good projects that are without too many bumps because those are so rare. Trust me.
It means being versatile and staying focused on your vision no matter what. If you loose control of your vision or those who you are working with then it's difficult to regain the momentum and proceed successfully. Don't point fingers or blame others, instead step up and take the lead to finish the project. At the end of the day what matters most is getting the job done for the client. If the client sees that you are nervous, then they will get nervous. You don't want a nervous client hoovering around you questioning every decision. Always look like you're in control even though you might not be in control.
You leave a great impression on the client and others when you don't get rattled. When you stay on point. When you work through the process and get it done.
The client will remember you for another project in the days ahead. Others around you will remember that as well.
When each of you graduate and go out and become these phenomenal artisans and designers you might have the chance to hire some of your colleagues that are sitting right next to you right now. Who would you hire based on their work ethics and respect for their work and the discipline? Seriously, who would you choose to start a design company with from your group? Someone might be a great designer but has a terrible attitude or is consistently late. I would rather work with someone who is humble about their amazing talent than work alongside of someone who thinks they are a "diva." That status fades quickly and others just don't have the time to give them the praise they need. Usually a "Diva Status" simply means they are letting others do the heavy creative lifting and then hijacking all the praise. Trust me.
For each of you right now, you should be observing the others around you. Making note to who loves what they do and does it without calling attention on themselves. Credibility and Integrity in what you do is how we are judged as designers and artist.
I never wanted to work around anyone who was a "crazymaker" on the job. This is the person that "The Artist Way" defines as someone who is most happy when they are making everyone else around them "crazy." They bring up the level of stress, create dysfunction, try to instigate situations between other workers and lastly, they are usually the weakest link in the team. They are certainly the most insecure person on the team. Stay away from those individuals because they will suck the very soul out of your creativity. Simply excuse yourself from their presence and move on.
I enjoyed getting the opportunity to watch each of you work collectively and independently with the client. I feel like it is my role as an educator and designer to put your work in front of others for feedback and real life experience. The competition is really high now for those who graduate from the art schools.
If I can perhaps give you a unique opportunity to work with a client that another art student at another school didn't experience then I feel like I've raised the bar for not only you but for your work to be seen by professionals... and it will show when you seek employment in the future. Employers will say to you "Wow, you did this while you were in school? I never had that chance." I kid you not. It happens.
Also, you should know that these clients I go out and find for you don't come easy. I work very hard behind the scenes at not only trying to establish working relationships with new clients but maintaining relationships with some of the older clients I've had students work with over the years. I'm always on the look out for you in hopes it will inspire you to greatness. Of course, I can't do that alone. I depend on your creative spirit.
Each time I put a class of designers like yourself on the front line with a client I am also putting myself on the front line. My reputation and my entire history as an educator and designer is called into question should it not be successful. Luckily that has never happened because I wouldn't subject myself to that if I didn't have faith in my students. You.
Don't loose your passion or curiosity or energy or sense of humor about being creative. It needs to last you a lifetime.
It doesn't surprise me one bit that your work will be showing directly across the street from The High Museum of Art. It makes sense. Kudos on a project well done.
Illustration Competition!
www.richardsolomon.com/breakthrough/rules.htm
A NOTE FROM THE FOUNDER OF RICHARD SOLOMON ARTISTS' REPRESENTATIVE
I started my Company, Richard Solomon Artists’ Representative LLC over 20 years ago with a vision to form a group of artists from all parts of the globe who are great problem solvers and would work collaboratively with art directors, each having a unique signature style. The Company is now known as a go-to agency for some of the best traditional, digital, and cutting-edge art solutions.
Today, we would like to announce the First Annual Break Through Illustration Contest for New Artists.
Here is what we believe makes this Contest unique: It is not an academic exercise, or an undertaking by artists for artists. It is a chance to connect young aspiring artists or artists with limited professional experience with the people who actually commission art. We would like to put our twenty-plus years of experience as an artists’ representative to call upon our many industry contacts to get the Contest Winner’s work in front of industry professionals.
The Winner of this Contest will be featured online on one or more of our websites, and the Company will sponsor a round trip from the Winner’s home to New York City to introduce him or her to art directors and artists in the New York City metropolitan area for portfolio reviews of the Winner’s work. The Winner will also be provided with hotel accommodations in the New York City Metropolitan area and ground transportation, and our Company’s staff will endeavor to act as a guide to the world of illustration in New York. The Winner will also receive a commemorative award and a $1000 cash prize.
Tuesday, March 8, 2011
Conan's Typography
This Kinetic Typography project was created from dialogue from Conan O'Brien's final episode of The Tonight Show on NBC. In this dialogue he describes his feelings about NBC and the situation at hand. His personality exudes positivity and humor and this dialogue describes his character very well. Even through the hardships of leaving NBC he promotes hard work and kindness.
Conan O'Brien Kinetic Typography from Jacob Gilbreath on Vimeo.
Special Invitation to the film "Source Code" on Monday Night
Our class has been invited to a special screening of "Source Code" with Jake Gyllenhaal and Michelle Monaghan on Monday March 14th at 7:30 at Atlantic Station. The Director will be present at the screening and I hear Jake and Michelle will be there too. The screening starts at 7:30p but you should plan to arrive earlier so you can get a seat.
If you wish to go you must send an email to the address below and include your first and last name and number of tickets (2 per person.)
ATLANTASCREENINGRSVP@GMAIL.COM
You deserve a night out and a free movie for all the hard work you did on the MODA project. See you there!
Wednesday, March 2, 2011
Beautifully choregraphed with art, music and style
Extended Edit: NEVER SATISFIED from The Upthink Lab on Vimeo.
Play it fullscreen and crank up the music.
Thought you'd like to see this beautiful video created by Nev McDuffie who graduated last year from GSU in Design. He also designed this year's GSU Art Department Tshirts.
However, this is without a doubt one of his most beautifully resonating pieces of work.
Editing, music and content all came together!
Thanks Nev for letting me post this!
Congrats!
Typographical Animation=Kinetic Typography Project
Project Two:
Typographical Animation (otherwise known as the Kinetic Typography Project.)
Designers must create a typographic animation using the audio from another resource and following that audio with interesting type (typefaces) in motion. You can create literal images only with type and no illustrations, photographs, video or video still can be used in this project. The majority of this project should be typography. You can also include dingbats,images but keep them at a minimum.
The entire length of this animated project should be no shorter than 1 minute in length.
Audio can come from sources the designer chooses and the subject matter is also up to the designer.
The key to a successful typographical animation is to allow the choice of your audio to be dramatic, comedic, startling,
smart and clever. That choice in the beginning sets up the entire success of the project when it comes to also visually following that
audio. Allow the typographical imagery to change scale and even color or typefaces that might further examine the content of the
audio. Think about changing the perspective of the typeface as it moves across the screen. Let the typeface move slowly or fast or fly in from behind the viewer or appear suddenly on the screen.
Storyboard: You might wish to create a storyboard first to organize your thoughts prior to beginning the project.
The software that is most commonly used in this project is After Effects.
Everyone will have ample time to learn the software that will be needed for this project. There will be demonstrations in class by others who are competent in this type of moving typographical project.
There are also tutorials on Lynda.com as well as classes at The Digital Aquarium at GSU to name a few resources.
DISCLAIMER:
Please be aware that these animations will be shown in class and at other venues and should not be offensive to intended viewers.
These will probably end up in your portfolio or on-line blogs and you do not want to create controversy even before you graduate or get hired. Don’t always go for shock value. Stay focused on where you want to end up at the end of this undergraduate work.
3 Weeks total time for project.
Chris Silich created this very professional kinetic typography piece for this class in 2008 and it still holds up to scrutiny. I believe it is the project that secured Chris his current job at Primal Screen. www.primalscreen.com
Below is very theatrical and well executed project by Chris Silich:
Other Examples:
Typographical Animation (otherwise known as the Kinetic Typography Project.)
Designers must create a typographic animation using the audio from another resource and following that audio with interesting type (typefaces) in motion. You can create literal images only with type and no illustrations, photographs, video or video still can be used in this project. The majority of this project should be typography. You can also include dingbats,images but keep them at a minimum.
The entire length of this animated project should be no shorter than 1 minute in length.
Audio can come from sources the designer chooses and the subject matter is also up to the designer.
The key to a successful typographical animation is to allow the choice of your audio to be dramatic, comedic, startling,
smart and clever. That choice in the beginning sets up the entire success of the project when it comes to also visually following that
audio. Allow the typographical imagery to change scale and even color or typefaces that might further examine the content of the
audio. Think about changing the perspective of the typeface as it moves across the screen. Let the typeface move slowly or fast or fly in from behind the viewer or appear suddenly on the screen.
Storyboard: You might wish to create a storyboard first to organize your thoughts prior to beginning the project.
The software that is most commonly used in this project is After Effects.
Everyone will have ample time to learn the software that will be needed for this project. There will be demonstrations in class by others who are competent in this type of moving typographical project.
There are also tutorials on Lynda.com as well as classes at The Digital Aquarium at GSU to name a few resources.
DISCLAIMER:
Please be aware that these animations will be shown in class and at other venues and should not be offensive to intended viewers.
These will probably end up in your portfolio or on-line blogs and you do not want to create controversy even before you graduate or get hired. Don’t always go for shock value. Stay focused on where you want to end up at the end of this undergraduate work.
3 Weeks total time for project.
Chris Silich created this very professional kinetic typography piece for this class in 2008 and it still holds up to scrutiny. I believe it is the project that secured Chris his current job at Primal Screen. www.primalscreen.com
Below is very theatrical and well executed project by Chris Silich:
Other Examples:
Thursday, February 24, 2011
Last Address
A simple yet powerful video which once again illustrates just how important a concept can be to an artist. These artist were gone to soon.
“Keith Haring, Robert Mapplethorpe, Norman René, Peter Hujar, Ethyl Eichelberger, Felix Gonzalez-Torres, Cookie Mueller, Klaus Nomi….the list of New York artists who died of AIDS over the last 30 years is countless, and the loss immeasurable.”
“Keith Haring, Robert Mapplethorpe, Norman René, Peter Hujar, Ethyl Eichelberger, Felix Gonzalez-Torres, Cookie Mueller, Klaus Nomi….the list of New York artists who died of AIDS over the last 30 years is countless, and the loss immeasurable.”
Wednesday, February 23, 2011
After Spring Break 2011
Over the Break I would suggest you start choosing your audio for the next project which is the Kinetic Typography Project. Again, you still have your Lynda.com accounts until the end of March so refer to them when needed for this project.
Choosing your audio (whether you record it or whether you pull it from another resource is up to each of you.) Please keep it clean. These are projects that more than likely will end up in your portfolios or be seen by others so be aware of the content.
Go ahead and put up some animated typography work from others on your blogs so we can begin discussing them when we return from Spring Break 2011.
Continue and finish up your MODA projects so we can send all of them to Joe for inclusion in their Inaugural Exhibition at MODA on Peachtree.
Choosing your audio (whether you record it or whether you pull it from another resource is up to each of you.) Please keep it clean. These are projects that more than likely will end up in your portfolios or be seen by others so be aware of the content.
Go ahead and put up some animated typography work from others on your blogs so we can begin discussing them when we return from Spring Break 2011.
Continue and finish up your MODA projects so we can send all of them to Joe for inclusion in their Inaugural Exhibition at MODA on Peachtree.
Monday, February 21, 2011
2011 Juried Student Art Exhibition
Everyone in my classes are required to enter something into this exhibition.
Take note of the deadlines and the requirements.
Take note of the deadlines and the requirements.
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