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Everything posted by SermonOfMockery

  1. i think you should put together a really impressive printed piece and accompanying DVD. send that out to studios, and follow up with email/phone calls. also, i don't think you have to choose between paid work for mediocre shops and interning at good ones. you have the skills and connections to get paid work at A-list companies in my opinion- or at the very least, B+/A- level ones (i won't name names for fear of offending anyone, but you know who i mean). don't underestimate yourself. you might think there's a lot of people out there that can design as well as you can, but the truth is, there isn't. shoot for the stars, man... you've got the goods.
  2. there are some ROKET tags up by my parents' house in lynnwood that are still running (on the fence of the drive-in movie theater off of the 128th exit off I-5). they're probably from like 94... and you know what? they still look fucking sick to me. another funny thing... i wear my backpack in a certain way (choked up really high on my back) because that's how seed/roket wore it in high school and i always thought it looked so cool ha ha. 14 years later and i'm still doing it. he also always had really good posture, and i stopped slouching because of him... and we weren't even friends.
  3. i actually have a whole bunch of those AOD zines, there's some great stuff in there. i've know EGO for about 10 years, great guy. lake city had a ton of not so well known but pretty decent writers in the 90s. yeah i've known Chase for a while too. he's an amazing photographer and a great guy. you should take him out to lunch some time and pick his brain. the guy is a genius at self-promotion. i've learned sooooooo much from him over the years. ARMY OF DOGS!
  4. well, nothing is stopping you from conducting your own contest. lots of people ask, but nobody DOES it, which is usually the most important part of things like this.
  5. yeah dude, i grew up in snohomish county... i went to high school with TRED, ROKET/SEED, and some other BTM guys and i'm good friends with some of the AOD dudes. seattle was totally happening back in the 90s- SOBER, WERL, PACER, etc. LFC, AOD, and US were sick crews. OFA were super up in the 90s but i wouldn't say they were the coolest guys. i used to run into a couple of those guys (not naming names) in the late 90s when i lived in the U district, they weren't that fun. super sick bombers though. after that all the california dudes (and chick) like JABER and ESKI and all those other DTC/KYT kids moved up. i wasn't too into them as people either, but they were good writers. those W2R kids like GRAVE were really good, i liked their style a lot. i come through town about once or twice a year now, it's totally dead. really sad to see after how great it was in the 90s.
  6. what i meant was, i've done logos for $50. on the other hand, landor got something like $5 million for the BP identity. point is, this is a very broad question that can't be answered without more details.
  7. between $50 and $10 million that's a smartass answer, but what it comes down to is a. how much value it will add for the client b. how long it will take you to do and most importantly c. how much money the client has
  8. well, i grew up on the west coast and didn't get into graffiti until like 92/93, so well after the train era. none of that old stuff ever did anything for me. i got into it during the beginning of the whole tagbanger explosion of the early 90s when skaters and punk rockers started writing. the whole subway art thing had zero relevance to me... i was into crews like US, BTM, OFA, CBS, etc- just rowdy suburban skater kids that wanted to destroy shit. i'm not into hip hop or anything like that.
  9. too tired/lazy to type much, but this is really good- from the same guy that did Scratch, which was really good too. Infamy is awesome because it includes some writers that never get covered, including Toomer and the rest of TKO, as well as brief appearances from GK and Revok. also has bits on Saber, Enem, Jase, and a few other folks. i could do without the stuff about Claw, because she is not very good and is more or less just a novelty. Earsnot was cool. i figured he was some dorky white art student, but he seemed like a pretty pissed off dude. would also like to see something exclusively about LA graffiti, it's really been the forefront of graf for the past 10-12 years, but it doesn't get enough coverage if you cask me. http://www.infamythemovie.com/ watch the trailer or something
  10. great stuff!! really nice use of color and texture, i love it. no more interning for you... you did some great work for Stardust- that should carry a lot of weight, plus you're a great designer. go for it.
  11. nice work dude. i would like to see a little bit more texture or something in there... some element of personal style or detail... something to make it feel a little less computer-generated, you know? to me, that's what takes work like this that's already A level and makes it A+.
  12. i agree completely. one of the best pieces of advice i ever got was "the kind of work you put out is the kind you'll get more of." i decided about 5 years ago that i wanted to do edgier work, but i didn't have any in my portfolio. i spent a few hours every day jamming on personal stuff after work, on the weekends, etc, and put some stuff together. i shopped that around, and eventually got people to pay me to do more of the same. if you want to transition into doing a different kind of work, make some personal projects. they could just be 5 second animations, whatever. just jam on them, then eventually you'll have enough to make a reel out of the best parts- if it's only 30 or 45 seconds, that's fine, as long as it's good.
  13. wow, that frame looks amazing! very painterly, i'm impressed! 20 seconds a frame is kind of brutal, but if you only have to do it once for a short length of footage, it's manageable. nice work!
  14. the client's expectations are going to be so high on this that i can't imagine it's going to turn out in a way that's good for you. run. run fast. don't look back.
  15. i'd say using that song is not the best choice in general, but it will for sure speak to the right people. like me for example. i like to work with people who aren't afraid to polarize other people and keep it real. if i saw this reel, i'd definitely give you a call. on the other hand, dave chappelle has extensively documented what can happen when we keep it real: unemployment, lost friends, even jail. the choice is yours. personally, i'd tone it down a bit, but it's up to you. it's a roll of the dice.
  16. this whole format is about as played out as all the "barry says" knock offs. the originals were good, the copies... not so much.
  17. yeah, there are a lot of threads on this subject. i came from a similar background. as you can see from my reel, i am far from the master of animation, but what i've learned is that the hard part is thinking in terms of time rather than "pages." a lot of print people's early motion work will be what someone smarter than me called "moving posters"- static compositions that kind of fade and reveal into place, but really have no inherent motion. i don't know if i'm being very clear on that... i'd suggest looking at some of the early work from Brand New School, Buck and Justin Harder. all three of those represent work that, to me, is very graphic and type-based. they'll probably "make sense" to you more than, for example, psyop or another shop that does a lot of character animation and VFX-like work. just my $.02
  18. does anyone mind if i make a Cinepak joke?
  19. it would take a nostradamus-like sage to predict the answer!
  20. if you can find older We Work For Them / mike young / designgraphik stuff, that's quality too. tDR, buro destruct, etc. are just a somewhat youthful take on swiss modernism. if that's too edgy for them, i don't know what to say... modernist typography has been around for almost 100 years. show them some el lissitzky shit from 1914 or whatever. better yet, just make it blue and center it. sounds like that's what "they" want.
  21. i try not to follow current events, but i'm going to make an effort to watch this
  22. well, very few markets can be accurately modeled by a classic supply and demand curve... maybe certain commodities like gravel or whatever, but even those are often affected by tariffs, subsidies, and so forth. my point is that The Mill seems to be able to find clients who think their rate is reasonable- and therefore, it is reasonable. either that, or they'll be forced to lower their rates. it's spooky how markets work out like that... as if guided by AN INVISIBLE HAND!
  23. buro destruct and tDR were the kings of that stuff in the 90s and both have a few books available... i havent really seen much of it in a while.
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