Tyler_Cam_blog-convo

HERE

TYPE DOMINANT

TYPONLY_print_stack_send.mov from Cameron Perry on Vimeo.

TYPE AND IMAGE MIX

print_stack_send.mov from Cameron Perry on Vimeo.

BRAZIL!

EL TOPO!

tiender butttyons

TO TOM

STILL FRAME VIDEO

LAMENTO

LAMENTO from Cameron Perry on Vimeo.

mad men: AGUA DE BEBER

embedded file requested off.

I believe the series of clips from this film is a really helpful example of non-linear narrative. I am also directly influenced by the predicament that are presented to the characters in this scene. Invisible forces may not be controlling my actions but they certainly do invite themselves into the involuntary thought. It is difficult to compartmentalize these predicaments.

I CHOOSE YOU POSTER NUMBER 1!

poster number 1_ Designed by Wild Plakken (wild pasting), a design group that exclusively accepts and denies commissions based on the clients ideological viewpoint. Apparently at some point this included even the clients viewpoints on their repressive ideological state apparatus or judicial government; the leader of the group was one originally known for wild pasting (or illegal Bill posting) was brought to jail many times by local authoritarians.

Unlike its "hard werken" socially initiated peers, Wild Plakken definately has a definite social and political agenda. The Issues often covered include racism, women's rights, gay right's etc. Clients include trade unions, left wing political parties, women's rights organizations, museums and performing arts groups.

This posters active APPEAL modes_ ETHOS- the design group chooses the clients solely on this credibility and representation.

PATHOS- its perspectives it presents are nothing short of emotional response and intent.

and LOGOS- the juxtapositions and comparisons of the different parties involved are the only true definitions of the subject. A deductive reasoning and rhetorical logic brings people to the intended conclusion.

Poster#2_the cranbrook poster definitely has an ETHOS and LOGOS modes of APPEAL. Cranbrook (being a very famous school) is nothing short of a CREDIBLE art school. In being a credible art school, it is subject to stereotypes of the "art school scene", including left wing political parties and special interest groups (liberals want to speak for the oppressed other). This particular Poster designed by Katherine Macoy is a collage of student work interlaced with polemic oppositions and a communications-theory diagram. This gives the poster an aesthetic of transparency and purity of the student mind body.

its appeal groups include anyone associated and beneficiary to a school or clan of thought such as that of Cranbrook. This would indirectly be appealing to both parents and grandparents of college students around the world and directly appeal to the students and teachers, creating a new discourse.

POSTER#3_ Designed and produced by TOKENOBU IGURASHI. His content is the infinite, His appeal is the individual and the whole, and his modes of appeal include credibility (god, artists, various creative beings of and for the universe), emotion (feeling small feeling big), and logic (comparing the ellipses and other forms of scale manipulation to create illusions).

Like the previous poster, when choosing the modes of production Igurashi had to consider his audience which happened to be minds associated with the thought of young age. This opens up many windows of appeal since the audience is so open to debate and rhetoric. The creative scene truly believes the only beauty is struggle as MANERETTI put it once or twice.

THE #POSTERS

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THE POEM BOOK TITLE

The cover will consist of these elements which will overlap the spine, so you are looking at an unfolded version of the sleeve

INTERESTING

this is a nice online reference for elements of book design

the go there button

this site helped me obtain very simple and very quiet information regarding the current project.

Running Heads and Folios

Running heads: A running head is a short phrase or headline repeated at the top of the text page. These help the reader identify where he or she is in your book. The left-hand (even-numbered) running head generally repeats the chapter title; the right-hand (odd-numbered) running head generally repeats the last main heading on that page. If the heading is too long to fit in the allotted running head space, use an abbreviated version of the heading. Set in bold, 9 point type, either all caps or cap/lowercase style.

Folios (page numbers): Set the folios in 9 point bold.

Position: The placement of the running head and the space below to text must be consistent. On left-hand pages the folio should align with the left margin and the running head with the right margin. On right-hand pages the running head should align with the left margin and the folio with the right margin. Allow 1-1/2 lines of space between the running head and the following text, table, illustration, etc. Do not allow additional space if the page begins with a heading, table, illustration, or any element that would normally have additional space above it in running text. Chapter-opening pages, part titles, and front matter opening pages do not have running heads. These pages have drop folios. Position drop folios 1 line below the bottom of the last line of type.