I think it turned out to be a great looking piece for Pivot3. Check it out now!

Rodin Article

Originally uploaded by Abject Gothic

I’m not a grid-guy. I’ve never used a precise grid for layout or design. One reason for this is because I’ve never went to college for what a lot of designers (who have gone to college) refer to as “formal art training”. I never had some creepy old designer hover over me and tell me how to portion out little fields with absolute equality in order to create designs through mathematical exactness. This is a good thing.

As a designer I’ve never been all that interested in rigid displays of organization. More often than not, I feel it’s not the best way to impact the viewer. So, for years I’ve spent my time working outside of the straight lines. I try to approach every design in a new way with a new point of view and it’s been that way since I can remember until recently when I started to experiment with grids on my own.

In the past year I’ve started to look more and more into what grids can offer me as a designer. There’s a real risk with grids to limit yourself to a repetitive layout system that defines your all your designs that implement your grid. I don’t want that, it’s not what I am about. What I am about is forcing the grid to work for me and what I am designing at that moment. To take any number of equally spaced fields and bend them to your will, that’s the kind of stuff that interests me.

What do I lose by twisting the grid layout concept into something more than a way to format columns of text? Nothing, you lose nothing at all. If anything you gain the pros of working both on and off of a grid. Grids give you a strong sense of organization. Grids, in their best forms, let the designer present his visual concepts to the viewer in an easy to read manner.

By working outside of the grid, by breaking many of the lines, you can still impart a sense of visual distress and tension. It’s this visual break in the rules that gets the viewer’s mind working and helps pull them into your message.

For me, grids are here to stay. I look forward to using them, and breaking them, in the future and enjoy it when someone else does the same.

I started off as an illustrator in my early days of art. I always wanted to draw for marvel comics. My friends and I would spend our entire school days in the art room, just drawing different heroes and villains.

The looks and styles of illustration change from year-to-year. Instead of my old graphic novel style of illustration I decided to subject my best model, myself, to a more cartoonish look. It’s nice to pick up a pen every now and then and actually do something with it other than take notes.

Out hiking when we came across this old moss covered, gnarled tree.

I haven’t picked up a paint brush for a while. This is what came out when I finally did.

It’s warm outside, the sprinklers are on and NIN plays in the background.

When I made the logo we were on the show floor with about 12 hours before the show opened and someone remembered, “Hey, we’re going to need a logo for our web cast coverage!”, and I had all of 30 minutes to come up with something so they could integrate it into all the media so I don’t feel too bad that I got the font wrong.

Now that I have a few days before the show opens, however, I figured now would be a good time to update to match NETGEAR’s corporate image a little better.

NETGEAR’s interop booth and design is always very corporate and minimalistic to a large degree.  I enjoy doing looks that are way out there with colors and concepts. For something fun like this I usually feel like you can break the mold a bit when designing the look for the logo, because something that’s supposed to be spoofy and fun should look fun.

With sparks flying and the logo drawing onto the screen with splines and all that jazz this little video stinger would certainly be fun and have a strong visual presence. However, NETGEAR’s Interop booth is pretty serious in it’s look and attitude so something like this would almost certainly be rejected. This logo also has to be used in a flat setting, like print and webpage, and this logo may not translate as well to those mediums.

Instead I sapped some of the colors from their Interop color palette which consisted pretty much of a large and grotesque gradient that swept from a steely blue to a near white blue and then onto a reddish purple. The blue presented the most possibilities for me so I used that as my base color for the background the logo would sit on.

Next I used a bold version of their font, which is Futura, and laid out a very simple logo with the “NG” being full sized and the “TV” being half sized and superscripted.

Not the most visually stunning logo ever, but it reads from a large distance, is easily printable and lets you know at a glance that it has something to do with broadcasting.

There is a video component for these logos to be used on the stage while interviews are given by live ‘anchors’. For the video portion I took the flat logo into my 3D program. I flipped the colors around a bit, making the main portion of the text blue as opposed to the white. The backdrop was given a bit of a gradient to set it apart from the logo a bit better.

With the addition of animated “radio signal” lines this becomes a very nice backdrop on the stage while the booth anchors are busy getting their scoop on.