the children kids blog is up

I’ve talked on here some about Children Kids, but now there’s another forum for that. Introducing: Children Kids, the blog. Spread it around. ~!

update… nyc

I’m heading to New York in the morning to attend the One Show this Tuesday. A piece that I worked on last year is up for a pencil—more on that after the event. Last week, the same piece—the opening credits to the Fourth Typophile Film Festival—won a silver cube at the Art Director’s Club. Bardhi, Ashley, and Matthew were there to receive that award. I honestly don’t fully understand exactly what these recognitions mean, but I hear it’s something to be proud of.
For a higher-res version of the video, click here (and wait for download):


Anyways…
In preparation I put together a little portfolio book to show around. I’ll post some more images of it in the near future, but for now just this sheet, pre-cut, of some of the personal work I’ve done with the New Orleans Hornets brand:


There’s a million other things I could post, but I’ll keep it brief and leave some stuff to talk about during the week. For now, I’ll just leave you with this cool shot from my last stay in the Big Apple.

portfolio

Finally finished a rough book of my stuff. Here are a few samples. Check out the rest here.

new orleans hornets

Perhaps one of my favorite projects that I undertook during school was a rebrand of the New Orleans Hornets. I’ve been working on it for well over a year (with huge gaps of time between productivity, for sure… but over a year, nonetheless). I just barely finished this jersey mock. I thought I’d share. Hopefully I’ll have more to share soon—as in, less than a year from now.

children kids…

This is Zack, of the Chilren Kids.
Get familiar with him. More to come later.
You may recognize some of the “graffiti” on the lockers from this book—a local favorite for scrap collectors.

Hendrik Werkman

Back in college—my first year in the design program at BYU—I discovered Hendrik Werkman. I totally and completely fell in love with his work. At the time I was working on a project in class where we were designing a trilogy book jackets. I was doing mine on Kurt Vonnegut’s Slaughterhouse Five, Breakfast of Champions, and Slapstick. Something about Werkman’s prints and Vonnegut’s disjointed, (black-) humorous writing style seemed to me to be the perfect marriage of art and literature. So I sampled some of Werkman’s prints to produce these:


I was extremely proud of these pieces. I felt that I had really nailed the look I was conceptually hoping for. And then someone brought up the point of plagiarism. They questioned whether my use of Werkman’s prints was ethical. I argued that it was, that it was like being an art director and hiring an illustrator (that line is often fuzzy as a student). For the most part, I altered or added to everything I found, and on the back covers I attempted my own Werkman-styled illustrations. They turned out ok.
Looking back now, though—and realizing that Hendrik Werkman’s work was not some diamond in the rough that I thought I discovered, but rather an extremely influential designer in European Avant Garde design—I do feel that using his prints as I did may not have been the right thing to do. Maybe not as much on an ethical level because I wasn’t attempting to cut corners on the project or trying to pass someone else’s work off as my own. But, something about it doesn’t sit so well with me now. I should have played with wood blocks and ink of my own.
At any rate. That’s the story. I love Hendrik Werkman’s prints. I love Kurt Vonnegut’s books. And I really like the pieces that I coordinated. Vonnegut and Werkman make a good couple.

Kinda took the day off today, recovering from a few late nights working on the Provo Care brochure and posters. Sam called me up and told me that Jared Benson from Punchut/Typophile was coming to BYU to speak and asked if I wanted to go with. I did. Gladly. Jared talked a lot about starting a studio as a relatively recent grad (3 years) and what he did to lead up to that point. He talked about some of the philosophies that shaped his current studio—Punchcut. He shared so much valuable information, but two things in particular stood out to me:

1) He talked about context. “Context is Key” he said. And then this really got me—He said, instead of thinking of a TV as a “TV” that they call it a “Large Format Display” and just like that the context is altered in a way that allows you to think outside the typical paradigm of the television. Things that one might shy away from doing with a TV may be perfectly suited for the Large Format Display. I thought that was really cool.
2) He said his studio is founded on the concept of “Life Balance.” Isn’t that the Holy Grail that all us designers search for? Obviously that includes going home at night, enjoying weekends, etc. But also he brought that line of thinking into the office by initiating the frequent office party, setting aside half days to carry out office-wide projects or go bowling or hold a Rock Band contest. He said that he strives to make his/their downtime as constructive as their uptime, just like—get this, this is brilliant—positive/negative space in design. Bam!

After all that, the slideshow, the Q&A, and everything, he showed this years Typophile Film Festival. Last year I had the… privilege? obligation? terror? joy? of working on the opening credits to that film festival with my BFA class. I’ve posted about this a fair amount on my other blog, so I’ll cut it short here, but I do want to say this: I am really proud of this project. It is so far from perfect. Parts of it I watch and cringe. I know where we cut corners and I know where we didn’t. And I still watch it and think: If we could have just had another week… But, all in all, I watch it and am very proud. It was a huge project to undertake with a group who had never done anything like it before. We struggled immensely and in the end there were only about 7 of us left out of the original 15 that began working on it. Micah did an incredible job on the music. It took us like 17 tries before we nailed it, but we nailed it. It is perfect. And to bring this full circle and back to Jared Benson, he said today—when he showed the Typophile Film Festival Reel—that this piece was one of the most successful pieces in the four years that the Film Festival had run. He said every time people laugh and cry and applaud and rave about it. There are over 14,000 views of it on youTube (web version) and it’s only been shown publicly 4 times. Not bad.
Anways, here is the film (hi-res, 41mb):


(my roles in the piece: art director, music director, and animator of a few of the scenes)

provo care center posters

16x20 posters to accompany the brochures. They’re printing as I write this and look amazing. Hope the brochures turn out.
Part of my step-by-step on designing projects without a budget in two days should include: “Delivering product to client without having a chance to see a test print or feel the paper…” Scary. Thank goodness the poster’s at least look good.*

*ps: there’s a printer smudge on the top of the color poster. bummer. :)

film is not dead v2.0

Recently I’ve been working on updating the design for the official “Film is Not Dead” webpage—the webpage for the workshop by Jon Canlas. Jon’s great to work for which is good because in the next couple months we’re working on unveiling his completely revamped identity and brand. exciting.
He’s a great client because he comes to you with an idea—“I just need a simple website, an about page, a gallery”—and when you pitch the idea of a 36-page online, magazine-style, flash site with pages and pages of stories, details, captions, and insights for a wedding photography workshop in Hawaii, he jumps on the idea with enough energy and enthusiasm to see it through the setbacks and on to completion. (Same story on the “Film is Not Dead” workbook... images to come soon.)

Here are some screen shots from the site… mostly chapter spreads, it seems:

provo care center

suzie—my wife, bless her heart—volunteered me to do some design for the non-profit organization that she works for. and, really, even though the circumstances of the project have been poor at best, i’ve really enjoyed the opportunity to work on this.

(how to design a brochure in about a day with no budget)

first
i get a call last thursday evening just before i’m heading home for the day asking me to work on the project. i say yes. they say it needs to be done and printed by wednesday (tomorrow).

then
i get copy friday morning. i browse it over and decide to do a photo shoot with my friend leo. problem is, he can’t shoot until saturday—which means no prints until monday. i call print shops until i find one that offers a deadline later than yesterday.

so
monday we scan the film and the photos turn out great. i meet up with sienna, we brainstorm how to throw it together. we work on some titles, content themes, etc and spruce up the copy. the rest of the day we work on laying out the brochure.

and now
it’s 4am and i’ve sent it off to be printed.

soon
we will celebrate.... knock on wood.