I have been drawn to art since elementary school. About third grade, my knack for creative expression was noted and fostered by mentors such as Doris Miller (then head of the Kalamazoo Public School Art Department), and later Ric Todd (a dedicated high school instructor), among others. Scholarships for weekend drawing and painting classes at the Kalamazoo Art Center would lead me to interests in various disciplines. During my senior year of high school, I received the Rhode Island School of Design Book Award for outstanding art students.
Chicago became my home in the late '80s, as I pursued study in the fashion design field at the International Academy of Merchandising and Design. Later, I followed many of my Academy instructors who began teaching for Columbia College's design program. There, I received my B.F.A in Graphic Design, cum laude. Along the way, I completed a web design certificate program at Truman College. I was also an active steering committee member for this school's web club.
My objective is to embrace the relationship between art nd technology, combining various creative outlets to produce new and innovative ideas and solutions through design.
Photo by Andrey-Set of Beat-Fly-Crew, St. Petersberg, Russia
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Many people will pay for a web address and then hold on to it until they find a web designer/programmer. This is perfectly fine, but be sure to get your web hosting from that SAME source. To understand how the process works, think of a web hosting service as a landlord and your designer/programmer as a construction company. You want to build a “house” on one of the landlord’s “lots.” The “address” is important, only because it helps visitors to find the house, but without the lot to build upon, you’re just wandering around carrying blueprints and a “Home, Sweet Home” placard. You need a place to “park” and establish residence. The Web is “land, stretching out so far and wide,” to borrow a Green Acres reference. Where will you take up residence?
How do you know when something has become bigger than life? My answer is 'when it continues on, long after it has ended.' Marketing plays a large role in the life span of a concept. After all, popular culture is just a collection of successfully marketed elements that are accepted for a time by society at large. Often, the marketing cycle dictates that oversaturation of a product will eventually lead to its demise. Keeping something afloat for as long as possible takes a skillful amount of manipulation and speculation. The investment must pay out before opportunities have evaporated.
Red Earth: A Malian Journey by Dee Dee Bridgewater
Free-ranging melodies are accented with the syncopation of various percussion instruments, as images of trickling waters, tropical safaris, colorful fabric wraps and a sea of multicolored skin tones are painted on a virtual canvas. An expanse of red earth can be seen adjacent to the River Niger, the sun fixed intensely in the afternoon sky. No matter the point of origin, transporting to this distant locale and warm climate is made possible by the musicality of Dee Dee Bridgewater's Red Earth: A Malian Journey.
While restocking my bar for the past holiday season, the cashier asked if I had tried the New Amsterdam brand of gin. I admit I had seen it on the shelf in passing, but never got around to trying it. Later, I did buy a bottle to sample. I like gin, but I found New Amsterdam's to be low on juniper (why I like gin) and high in citrus. While I'm not a big fan of the contents, I absolutely LOVE the bottle.
I was working on a booklet-style brochure that featured full page photographic images to compliment the copy on the facing pages. I searched a library of stock photography looking for images that were slightly abstracted by being close-up, detailed cropped shots to enhance the generalized concepts they would evoke in the viewer's imagination.
Double Navel, 1947
Photographer Minor Martin White was born in Minneapolis, Minnesota on July 9, 1908 and died in Cambridge, MA on June 24, 1976. His photographic foray started in 1937, though he had been a childhood hobbyist upon receiving a box Brownie camera from his late grandfather. He graduated to a 35 mm Argus camera around this time, and through publications he was inspired by the work of Berenice Abbott, Ansel Adams, Alfred Stieglitz and Edward Weston. He would later meet many of these people and establish friendships and working relationships with them.
Today’s visual trend in design is simplicity. Light-colored backgrounds and fields of flat color have put two-dimensional rendering at the top of the charts. Even collage-type composition with minimal shadows and shading are marrying 2 and 3D elements into basic idea representation.
While I’m not knocking the pursuit of trends, I like to capture the current mood of style in a way that can be timeless, while still stamping the results with a definite place in the artistic timeline. There will be a time when the fashions of today become nostalgic markers of bygone ideas, but the work can still represent the the rationale behind the design choices.
Not to be a brag, but I am an integral part of the establishment of the Chicago leg of the community that was made famous in the cult-classic Paris is Burning. This documentary explored the underpinnings of a community that developed as a direct result of intentionally keeping people of color out of arts society. When creative people are marginalized and deprived of opportunity to participate in the exchange of talents and ideas, they always create their own arenas. That’s how you ended up with things like the Chit’lin Circuit, where black people were relegated to a separate performance schedule from white performers. Don’t forget that some of our iconic entertainers such as Sammy Davis, Jr., Lena Horne, Eartha Kitt, etc. were not allowed to stay in the very hotels they performed.
Out of this community, society at large has been duly influenced by modes of speak, dance, fashion and philosophy. One such creation was the evolution of a dance first known as Presentation, then Performance, then Pop Dip and Spin and eventually in the late 80s as Vogue. It now falls under the umbrella of Hip Hop and Street Jazz.
Madonna, doing what she is best at--exploiting trends--introduced a trivialized, watered-down version of a dance she “discovered” while slumming in the New York nightlife of the early 80s. “Strike a pose, there’s nothing to it.” Um, sorry, Madonna, but there is “plenty” to be attributed to the ability of combining the movements of theater and vaudeville, martial arts, pantomime, yoga, gymnastics and the exaggerated, avant-garde model poses of the 60s (think Veruschka in the movie Blow Up) into one, seamless improvisation to the incessant beat of Classic Disco and House Music. Putting your hands on your hips and puckering your lips does not a voguer make.
Imagine my surprise when I was solicited to give a workshop on the history and techniques of Vogueing halfway around the world in St. Petersburg, Russia. I met some of the most gracious and loving people, ever. I am now thoroughly convinced that world peace will be achieved through the arts.
In this brand identity excercise, I took on a mock-challenge of resurrecting a defunct company. The twist would be to create a new manifestation as far away from the original as possible, stripping away any entrenched connotations and associations.
I resurrected Enron… as a local neighborhood flower shop! Enron is remembered for raping the life savings, 401ks and other financial lifeboats of hard working Americans, during the economy of greed in the 90s. In my vision, it is humbled by priding itself in environmentally-conscious deliveries with a vintage postal delivery bike. I had fun creating the logo, trying to evoke creativity, freshness and the local neighborhood mom-and-pop feel.
© 2002-2015 Aaron P. Brown. All rights reserved.