This nearly-two-hour podcast is the very ultimate in Superbowl TV Commercial recaps. All the best, none of the rest. Our panel of six experts (including Design Princess Ashley McFeely, Show Friends Aaron Stubbe and Joe Sparano, and Steve “Aren’t I Too Famous For This Yet?” RDQlus Gordon) cut through nine categories of awesomeness to bring you the very best of the best of the best of Superbowl Ads. Listen in to see how we picked winners (and runners up) for the following categories:
- “Best” Use of a Celebrity or Athlete
- Best Nutshot or Nutshot-Like Behavior
- Worst Use of 3 Million Dollars
- Best Movie Trailer
- Best Use of Sexy to Sell an Unsexy Product or Service
- Character You Would Most Like to Party With
- Best Series
- Best Ad, Serious
- Best Ad, Comedy
Back in the studio once more! Donovan and I welcome special show-friend Joe Sparano via Oxide Design and, since they are taking on Logo and Letterhead 12 from Rockport publishing (download the free-ass entry form here), we take some time to talk about the relevancy of letterheads — once the bastion of identity design projects — in the modern world of digital communication. We also introduce a few new segments to the show, including What Are You Designing and the What’s New What’s Update.
We’re back in business over here.
Having 100 comics is awesome because big, round numbers are awesome. Also because reaching that milestone in under a year feels pretty neat, to boot. Thinking of 100 different comics makes me feel like they’ve got some weight, and maybe that’s why I’m trying out some character-based comedy of late. Time will tell if that pays off, but rest assured you haven’t seen the end of this particular tangent.
By my count, the other longest-running graphic-design webcomic, which has been at it for a few years I believe, will be eclipsed in sheer volume in a number of weeks. This is my way of saying I’m the shit over here, and recognize.
The first comics in this series pain me to both view and read, and I know that’s half the fun of watching any artist over time. Looking at early Peanuts and Garfield strips, or Calvin and Hobbes to a lesser extent, is always fun and charming, seeing where character started visually and comparing them to where they end up. The webcomics version of this is Penny Arcade, whose early strips look like a monkey drew them when compared to their radiant current form. Of course, there’s ten years of difference there, and thousands of strips to grow as an artist. In my neck of the woods, Newton’s nose eventually overpowered his face, and –as some assert– portions of other characters came to overpower other portions. Such is evolution. Hopefully Rob thinks I’m getting better at drawing black people, too.
Looking back, I’m happiest with the camping excursion and our foray into detective fiction, Force Justify, aside from the random gag here or there. Then of course, there’s other’s I’d just as soon forget exist. I have to believe other cartoonists feel the same way, but that’s one of the benefits to this. There’s really no endless iterating of ideas. You do a strip, it’s done, you move on and you do the next one. So when one turd pops out, there’s always a chance the next one can be solid gold.
Admittedly, most end up in the middle. Thanks for everything,
Here, for your viewing pleasure, is every nightmare I had last night.
Don’t forget to tune in to Voice America Business today to listen to Design Matters, and call in with questions!