October '20

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A P P A R E L D E C O R A T I N G 4 8 G R A P H I C S P R O O C T O B E R 2 0 2 0 G R A P H I C S - P R O. C O M S O F T W A R E T O S U B S T R A T E | L O N W I N T E R S THE PELICAN BRIEF LAYOUT SETUP FOR MULTIPLE USES G enerations have grown up with Looney Tunes cartoons, watch- ing the antics of the Warner Bros. characters. There was something about the level of humor that drifted above the juvenile expectations of children. Before moviegoers saw a main feature, these cartoons' satirical humor was directed at adults, not children. Cartoon characters have been used in commercial applications for hundreds of years. Some of the early newspapers, as far back as the American Revolution, utilized cartooning for advertising and politics in a whimsical tone. There was a certain maturity to the style. It wasn't necessarily cute. It had an edge for the adult mind. Bugs and Daffy could be a bit obnoxious—the jokes and antics you might expect from your uncle or a college buddy. A client approached us with this fa- miliar theme: a cartoon character that would be a logo and advertising for an establishment on the beach. It was a bar and grill environment to satisfy one's hunger, relax in, take in some salt air, and of course, have a drink (or two or three). That last part is the overtone in how the art was conceived. DESIGN APPEAL This customer specified a drunk pelican as the focal point. Throw in some aquatic icons, a sunset, and some whimsical type styling, and these ingredients make for a fun and appealing design. The design would be used for many purposes, sig- nage being one, and was a consideration for the compositional layout. We began with a rough layout in pencil to block in the structure for what would become the final image. This allowed us to rearrange the ele- ments, structure, and relationships for proportion. The pelican would be the largest element and getting him cen- trally located was first. The rest of the design could flow around that. We re- duced the word perch as it made the bottom way too heavy. We added the quick type set up in Adobe Illustrator. Since this pelican had to be drunk, he needed the look and expression of in- ebriation. The classic swirling ellipses offset around and above the head with a few bubbly pops for the dizzying effect did the trick. The eyes are the window to the soul (they say) but when drunk, the win- dows are half closed. We moved one of the pupils to the side a bit for humor. An old pier post with some rope slung The Corletts' header type solution was pretty simple. A script font was chosen for that personal feel. (All images courtesy Lon Winters) In Illustrator, we made brushes to simulate an inked look with thick and thin line weights. Using the Ellipse tool, we drug a proportional circle, then using the Free Transform tool, we squeezed it from top to bottom and selected that object. We drug that into the Brushes pal- ette under the Window menu where we chose our brush shapes.

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