itch issue2 april 2010

8/9/2019 Itch Issue2 April 2010

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over designed by adam blazak


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de


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Graphic Design senior Jon Bishop submittedfour of the most unique pieces that I person-ally have ever seen in an art show gallery.What makes these pieces so interesting isthat they are actually panels of a comic bookthat have been enlarged to 59 by 36 onvinyl sheets. The comic is entitled Amnestyand it promises to be a very exciting adven-ture for the zombie horror survival genre. Forthe gallery Jon is displaying pages 1, 2, and3 of the books rst chapter. His original planwas to display the rst chapter in its entiretybut between the school cancelations, thedifculty he encountered with arrangingphotoshoots, and a not so successful planto hand draw some of the artwork which hewas forced to abandon in favor of a digitallyartistic approach, he decided to focus mainlyon just the 4 pages. The project took close

to 60 hours to render, not even includingthe time taken for photoshoots, writing, andstoryboarding. Clearly, Jon is excited aboutmaking this book a reality and why shouldnt

he be? As he put it; who wouldntbe pumped about a zombie getting

his head blown off in a black andwhite blaze of glory?

Samantha Robinson has addeda womans touch to the seniorshow with her artwork. Shechose to display 5 separatepieces that combined togethercreate an astounding image ofJesus Christs crucixion. Toadd an extra 3 dimensional feelto her piece she used a projec-tor to cast clouds across thepaintings.She rst created thebackground with two differenttypes of crushed conte mixedwith a matte medium. Then, sheemplored a difcult techniqueknown as image transfer withwater slide decal paper. Shehad to pay close attention tothe alignment of every image.

She described the process bysaying; It was almost likeputting a puzzle together,

but with a rub-on tattooinstead of structured

pieces. Every crease andbubble had to be ex-tracted under each layer

in order for the image tolook as real as possible.

no matter what I do,

I want to continue mak-ing fne art that speaksto our society. GraphicDesign senior Jesse Lenz hadthis to say about his ambitiousfuture in the illustration and neart elds. From the looks of thework he is displaying in the gal-lery, it is clear he intends to stickto his plan. With over 64 piecesin his Monsters and Marilynsseries and 18 in his portfolioillustration book entitled OcularVerbum, it would be an under-statement to say that Jesse hasbeen putting in overtime when itcomes to his artwork.

My workshow is t

Ive beenable withIve done

excited tmy skillsbeyond w

doing. TDesign sentold me abowork in the Adam subminspired byGreek mythroughly 30composed arrangemeincluding enacrylic, andown photoggraduating sign curricufuture in thevery promis

Senior Josh Hoffman submitted six mas-terful 24x36 chalk pastel pieces. ClearlyJosh has spent a lot of time working withthe pastel medium. His level of skill isespecially apparent in two pieces entitledForever Connected and Pr ay. Thesetwo pieces were the ones he was mostexcited to share with an audience andthe latter of the two took the longest forhim to create. Throughout his college ca-reer, Josh has created some impressivegraphic design work, but for the seniorshow he chose to display mainly hand-

drawn artwork. His reason; I like

doing hand drawn illustrationsbecause they have a differentfeel to them than the ones done

on the computer.

senior

SHOW

josh hoffman jonbishop SamanthaRobinson Jesse lenz adam

The time of the semester has come forour artistic seniors to show us what theycan do in the 2010

Article and design by Creighton Hill


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Remember those lock-ins you wentto at the YMCA when you were a kid?Good times right? Well Extreme ArtNight is sort of like that only replacethe games of basketball and dodge-ball with awesome art workshops,a marathon of lms you never evenknew existed but will never forget, andgroup art projects that perfectly displaywhy other kids on campus might referto us as those crazy art kids. Obvi-ously theres a lot more to it and a fewthings that require more explanation.Thats why I decided to ask the 8thyear organizer of the event, ProfessorBrian Fencl what exactly is Extreme Art

Night?

BF: Extreme Art is based on theLatvian holiday Saint Jonas Festival.It is celebrated in the night and thetraditions include singing songs anddancing until the sun sets, tellingtales, searching to nd the magic fern

blossom at midnight, jumping overbonres, greeting the rising mid-semester sun and washing our faceswith morning dew. We added muralpainting, workshops, pizza, moviesand drawing models to add to theexcitement

What are some of the activitiespeople can expect this year whenthey come to EA night?

BF: We have a great guest namedChris Yambar coming this year tospeak about his work in the eldof comicbooks, self-promotion andcreativity. There will be a workshopthat Chris will conduct from 7-9PM foranyone that is interested. There willbe food, movies, acoustic jam ses-sion with faculty and students, muralrepainting and will make pushpinportraits. Some of the best activitiesoften happen unexpexctedly. I try and

keep the planning loose and just letthings happen.

What has been the most extrememoment in EA night history?

BF: One night a student fell asleepon the gallery oor at around 3AM.The other students were building

styrofoam structures. The studentsdecided to bury her in styrofoam andspent about 2 hours building whatlooked like a styrofoam mountainover her. When she woke up she wasfreaked out.

Is EA night open to everybody?

BF: EA night is not open to every-one. Members of Congress and theObama administration are not wel-come. Other than that everyone is in-vited. Wait a second, convicted felonsare not welcome and anyone relatedto Rosie ODonnell is not welcome.

Article and design by Creighton Hill


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Some of you may be aware of the guest speaker wehad for Extreme Art Night in the beginning of April.His name was Chris Yambar, an independent comicbook writer, artist and writer for the Simpsons. Chrisgave an amazing speech at the beginning of thenight, lling our heads with hopes, dreams, ambi-tions, and overall wonderment over the span of aquick three hours. After that, Adam and I got to sitdown with him for an exclusive interview. Recordedusing the video application on Adams camera (theentire interview features an exciting half-hour videofeed of a Fritos bag) we got to shoot the breeze withthis charismatic artist. Between the frequent jokeswe managed to learn a lot.

JB: Alright, lets start with the basics.What inuenced you as a young artistwho did you look up to?

JB: Where do you see comic booksgoing in the future?

JB: What medium do you prefer andyou use certain mediums for projects?

JB: Say theres a West Libertydastsometrying to geadvice would you

JB: So lets talk about Mr. Beat. Thatshow you got your start.

JB: How did you get your start in thecomic book industry?

JB: It seemed like you really respect-ed when people ended their series.

JB: Do you think the other genresthat you mentioned are nding theirniche now? Seems like theres a biggraphic novel boom. And theyre allbeing made into movies.

JB: Thats it then, in a nutshell?

AB: What about Jack Kirby and themarvel guys?

AB: Is there a reason why you stick toportraiture?

CY:Everyone, I was really little.Badum-tchh! The comic artists.Traditional, old school comics. Youretalking thirty years of comic making.I loved Charles Shultz all my lifethecreator of Peanuts because I felt likeCharlie brown.

CY:Tomorrow.

[5 minute debate over the watchmenmovie adaptation ensues]

CY:The 60s and 70s were amazing.So dynamic. I mean their thumbnailswhere [snaps] like this. And kirbysbeen around forever. Hes had threeor four styles in his career. And whenpeople asked what his inuenceswere he always said I had to make apaycheck.

CY:Well, its a dying art in America.

And I think its because of the spe-cialty shop. I mean, because of thespecialization they shut down kidscomics and horror. The horror genre

just died. Its all been replaced bythis superhero stuff. That is all thesestores sold. So youd see these 40-year old men buying books of othermen in tights. Its a joke.

CY:I think Darkhorse is a leader inthat now. They really look for otheropportunities for their comics. LikeHellboy. I mean, it was cheesy andridiculous but it was a ride. Im a bigfan of serious independent creatorswin with bigger licenses. Like theWatchmen.

CY:Im an acrylics and enamelsman. I hate oil paint, Im not patientenough. Some people swear by oilpaint, I swear at it. I knock my workout. Ive got a 12-foot wide 6-foot talldrawing board. I draw my lines, paintmy colors and move on. And acrylicallows me to do that.

CY:I dont know. Im fascinated bythe human face. If you capture it rightyou can distill something into theaudience, the viewers. If you thinkof our biology, were all made withthe same guts, but peoples facessome people grow into their faces.Like kids that just look like they havea bad streak in them, little bastards,and you see them 10 years later andtheyre well, theyre little bastards.

CY:Thats what launched me intomainstream. Before that it was sci-and underground for me. But Mr.Beat was an accident. I wanted todo something I liked, an adventure,

some coffee talk jive, another ad-venture. And I could pack whatever Iwanted to into [the] Mr. Beat [comic]and people would comment that theygot bang for their buck. He was myMickey Mouse, really.

CY:Dont. Too matoo much at their You suck at rst. better. Nobody jussky. Frank Miller sstuff with Charltomake anything buIts that tenacity.

Paying for tables ventions] too. 300plus airfare and hdisplay and propsmerchandise, hatleave with a loss yIf you want to do

just get out therededicated. Approaa rock star. Dont youre going to su

CY:I was a consumer before a pro-ducer. Then did some undergroundpapers. We used to watercolor thingson pages. Wed make 3 or 4 issues aweekend and sell them at school for25 cents. By the end of the year webought a ton of ice cream sandwichesand threw up. But I lived in an agewhere you got 32 pages of story.With some pin ups. Now you needto go through ve stories to get thatamount of story. Its all advertise-ments.

CY:Some people belabor their point.If youre out of story, end it. Or waitfor a sequel to come. League ofExtraordinary Gentlemen, that wasforced. Even the greatest storytell-ers do it. Frank Miller, for instance. Iloved his work, but the Dark KnightII, the follow up to Dark Knight Re-turns. Crap.

CY:It was a monecrafted. There waactually went afteunderstand they bwhole oor and gaload of money to crapped all over h

an interview by Jon Bishop


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Many people may have experience with guerilla advertising on a dont even realize it. One of the latest buzzwords in the industry ining, and its becoming more and more prevalent as social netwo

services like Youtube and Vimeo continue to grow.

Of course, the main objective is to go viral. Companies and ind

looking to for their message to spread quickly to as many peopleaim is for you to see their video and forward it on to everyone youmany cat/kitten videos that plague the Internet.

Teaser websites, webisodes, blogs, cartoons, games, and anythingcan upload online are all used by the viral marketing machine tamong its audience. For example, to promote The D ark Knight, anwebsites were built for Gotham Citys travel agency, rail service, a

political candidates that visitors could eventually register to vote felection.

The viral strategy has also been advantageous for those promotin

a project as opposed to a product. The band OK Go became ansensation and incredibly increased their popularity with homemadof synchronized dance routines in their backyard and, more famotreadmills.

Similarly, careers have been launched from vi ral campaigns, suchBo Burnham. What started out as a humorous song sent to his olde

progressed to a series of videos of him singing similar songs. Bo evthe youngest comedian to have his own Comedy Central speciaa minor role in the feature film Funny People.

With so many opportunities and outlets that the internet provides,that anyone and everyone can become a guerilla marketing maas theyre creative and not afraid to get themselves out there.

For those who dont know, guerrilla advertising (or marketing) is an elaboratescheme to get publicity. In a more technical sense, it is an unconventional

marketing ploy intended to get maximum results from minimal resources. Thisstrategy has been used for many years in an effort to separate a product,event, etc. from the massive amounts of common advertisements that thepublic witnesses everyday. For some companies, this cheap and cost

effective method of advertising has even become their primary marketingstrategy.

Guerilla marketing tactics have been implemented in all l evels of advertising,and they range from the very small and subtle to the large and extreme,including everything in between. Time and again, it has proven to be anasset in todays competitive business market. Successful campaigns rely on

the efficiency of the message and its power to strike a chord with itsaudience while distinguishing itself from the competition.

Six Examples of Guerilla Advertisement

1. The Stickerbomb1. Commonly used by bands and graffiti artists, stickerbomb

easy way to get publicity. This method usually involves an impovesome year-old slapping a sticker or two on public property as he

Trashcans, street lights, doors, walls, and hydrants are usually the t

2. Grafitti1. A little more involved, graffiti can range in size and even i

result, however, is the same: an advertisement that takes a hell ofclean up than a sticker. This method, again, is favored by artists, band companies also walk down this road. After, of course, rentingdo so.

3. Leave Behind/Teaser

1. This tactic involves significantly more money than the prev

usually requires the implementation of several manufactured adadvantageous locations. This is used only by the boldest of indepconsidering the cost and risk, and is favored by larger companiesand corporations.

4. Billboards

1. While buying billboard space isnt the edgiest way to grabattention, unique treatment of billboards and advertisement spac

how effective that space is. L egally, only companies that can aff(and then some) do this.

5. Guerilla Ad Campaign: Theatrics

1. While Crazy Ernie is able to dress up in a clown costume astreet screaming about his carpet barn slashing prices so low thethe Theatrics tactic works astoundingly well with large corporatiotions. The best example is the Truth anti-tobacco campaign, whic

thousands of actors to get its point across.

6. Guerilla Ad Campaign: Candid Camera

1. This is almost 100% oriented towards groups with money, atelevision ad space. What it boils down to is a spokesperson or acregular people with their product or information about their proBox, a fast food chain, did exactly that. It featured Jack, a foam-

a business suit, harassing ordinary burger-joints via drive-thru spe


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2012 will be here sooner than you know it; and, no, thats not

meant to incite panic like so many 2012 doomsday predictions.

You wouldnt know it, though, considering the some of the

things that unsatised Britons are saying about Londons 2012

Olympic logo (shown right).

But, is it really as bad as people are making it out to be, or

is it an abomination of design sense? Our two Olympic-quality

debaters sound off in a debate that only comes around once

every four years.

To be frank, the thing that I love mo

about the London Olympic logo is th

its not trying to BS anyone. Every othe

Olympic logo Ive seen in recent yea

all have the same message: Loo

at our history and tradition! Its lik

a bunch of washed up high schoo

athletes trying to one-up the others

tales of glory days. However, England

in this scenario, turns to the rest o

them and says, Yeah, well my son is

starting quarterback in the NFL.

And thats the difference. Its not abou

what England has done, but wha

England is doing. Theyre innovatin

and pushing the envelope. Theyr

not the stiff, uptight redcoats weve a

read in textbooks; theyre outlandish

aggressive, unique, and driven.

lived in London for two months anexperienced it rst-hand. Watch

British movie without Hugh Grant o

Jude Law and youll see what I

talking about.

It would have been

a design of Big Ben

the quarterback),

or a dozen other

but thatd be ju

history lesson.

The London Olym

a bit crass to som

representation of t

culture.

Now when was the

logo did that? P

refreshing alternat

Take a good hard look at the London

Olympic logo. Did you have an epileptic

seizure? Because several people in

Great Britain did during a commercial

for the Olympic games featuring this

gem of a 1990s throwback. Fellow

critics of this symbol have referred to

it as a distorted swastika and Lisa

Simpson performing fellatio.

Inappropriate sexual innuendo aside,

this logo is pretty haggard. The world-

class athletes competing in the Olympic

games deserve a better emblem to

stand under than something a toddler

could have made in Illustrator. The

bright colors are supposed to appeal

to the young people of the world but,

honestly, I think the Olympic committee

could have settled on something that

didnt look like it was stolen from the

cover of my rst grade Trapper-Keeper.

jonbishopvs.adamblaz

ak

d by adam blazak


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I think America has embraced the 3D

revolution. The cost for a 3D movie

has raised a lot of eyebrows though.

Even worse, how much would a 3D

television cost, and what size of

television you would have to buy?

I think that as the 3D experience

becomes more popular, the ticket

price for theaters will increase with

the new technology.

Another downfall of 3D movies and

television is that you have to wear

goofy looking glasses. Most people

develop headaches, or buy the

glasses and never use them again.

Overall, I think 3D movies in theaters

are cool to a certain point, and 3D

TV would be cool if it wasnt so

expensive!

The 3D move

unstoppable bu

be as popular a

hope. Some peoenjoy 3D image

conditions not

who just plain d

that 3D lms ce

excitement to

success of Avata

and the more re

movies are sure

young audiences

As for any genr

and adventure

versions being

mean, imagine T

Probably not a

kind of inevitab

invention of 3D

3D TV and movies. Wheres it going?

Not sure. Do I like it? I could care

less. But as far as movies and

Hollywood go, I feel its a way to

get more money while the prices for

admission continue to go up. As for

TV, I could care less. Im happy with

regular and HDTV. I feel like its just

companies trying to pinch us for

more money.

Have you seen the new Whiskas cat

food commercial in 3D? Because

I have, and let me tell you what: I

was enthralled. Seriously though,

tons of movies are coming out with3D options, Visio and Samsung are

making 3D at screen televisions.

Hell, there was even a 3D commercial

segment during the Super Bowl; I

can only see this trend catching on.

At least until 80% of our nations

moviegoers have to take advantage

of our new nationalized heath care

system after losing their depth

perception.

3D movies arent going anywhere

anytime soon. The newest technology

has been described as the biggest

advancement in cinema since color.

Just think about how huge that is.

Im not sure about 3D TV, though.

My eyes quite literally caught re

during the ending credits of Avatar,

and I honestly couldnt take dealing

with that on a consistent basis. On

top of that, the last thing I want to

see is Glenn Beck emerge from my

television while Im channel surng.

Chris Lovell Christian Townes Jon BishopAdam Blazak

MoviesandTV in 3D?!The futuhere!Orisit?Wespillourgutsogivingouropinionsonthecurrenwherewethinkitsgoing.

designed by adam blazak


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itch issue2 april 2010

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