The visual quote I chose to use was from the first stanza of a poem written by Dylan Thomas,

“Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage against the dying of the light.”

For this first design, I chose a background from google images (https://tinyurl.com/mu87sufa) this background appealed to me and fits perfectly with my quote. For my text “RAGE RAGE” was transformed in 3D to attract the most attention to the words in red, also a slight shadow can be seen without the 3D effect behind it, and my typeface was Mr Darcy Medium. For the text, “AGAINST THE DYING OF THE LIGHT…” the typeface that was used would be Herculanum and just as the “RAGE RAGE” text, effects such as shadow and bevel were applied.

For the second design, I went for a simple white on black route to really emphasize the quote in all its glory. The typeface that was used was once again Mr Darcy Medium and the text is positioned the same as the first design but, “RAGE RAGE” isn’t transformed in 3D. Also, no effects are applied.

For the third design, I kept that simple aspect, but instead I added a red to black gradient in the background and for the “RAGE RAGE” text the first “RAGE” is noticeably larger than the second “RAGE” and that’s because I wanted the text to lead you into the rest of the quote, kind of like a staircase. The rest of the text, “AGAINST THE DYING OF THE LIGHT…” is a simple white text with no effects applied, once again using the Mr Darcy Medium typeface.

Gail Anderson (born 1962) is an African American graphic designer, writer, and educator. Gail Anderson’s family migrated to the Bronx, New York from Jamaica. She was the first-generation American, and first-generation college-educated in her family. In her youth, Anderson created Jackson 5 and Partridge Family pretend magazines. As she got older, she began to investigate what was then called “commercial art” as a possible career field. She graduated from the School of Visual Arts with a BFA in 1984, where she was taught by Paula Scher. She joined the faculty at School of Visual Arts MFA, undergraduate, and high school design programs, and has served on the advisory boards for Adobe Partners by Design and the Society of Publication Designers. She currently serves on the board for the Type Directors Club and is a member of the Citizens’ Stamp Advisory Committee for the US Postal Service.

From 2002 through 2010, she served as Creative Director of Design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. Where she worked under the leadership of Drew Hodges, SpotCo’s president, and her classmate from the School of Visual Arts. The following pieces were created in her tenure, and most of the credit for their success goes to the wonderful team of designers she had the pleasure of collaborating with. They included: Darren Cox, Nicky Lindeman, Bashan Aquart, Amanda Spielman, Jeff Rogers, Jessica Disbrow, Sam Eckersley, and Frank Gargiulo.

For over 14 years, she worked at Rolling Stone magazine, serving as designer, deputy art director, and finally, as the magazine’s senior art director. She arrived in the fall of 1987 to work at an enormous drafting table with a Mayline and triangle, and left in the spring of 2002, near-sighted from spending so much time in front of a computer. Almost everything she knows and loves about typography and illustration is the result of those 14 years with Fred Woodward (and before him, Lynn Staley, Ronn Campisi, and Lucy Bartholomay at The Boston Globe).

She has also worked with Steven Heller since 1990, producing books on design, typography, and illustration. They recently completed The Typographic Universe, as well as New Modernist Type, both for Thames & Hudson. Steve is co-founder (with Lita Talarico) of the MFA Designer as Author program at the School of Visual Arts and has co-authored/edited over 160 books on design and popular culture.

Anderson’s work has received awards from major design organizations, including the Society of Publication Designers, the Type Directors Club, The American Institute of Graphic Arts, The Art Directors Club, Graphis, Communication Arts, and Print. In addition, it has also been included in the permanent collections of the Cooper Hewitt Design Museum, the Library of Congress, and the Milton Glaser Design Archives at the School of Visual Arts. Anderson has been featured in magazines that include Computer Arts (UK), designNET (Korea), kAk (Russia), STEP Inside Design, and Graphic Design USA.

Works Cited

“Black (Designer) History: Illustrating Graphic Designer, Creative Director Gail Anderson.” YouTube, uploaded by Robert Bratcher, 18 Nov. 2020, www.youtube.com/watch?v=kArqSXqVqCk.

Rawsthorn, A. (2011, March 20). Design Gets More Diverse. The New York Times.

https://www.nytimes.com/2011/03/21/arts/21iht-DESIGN21.html?pagewanted=all

Anderson, G. A. (n.d.). Gail Anderson. Gailycurl. Retrieved May 19, 2022, from

https://www.gailycurl.com/

SVA Subway Series Hall of Fame: Gail Anderson. (2018, November 15). [Video]. YouTube.

https://www.youtube.com/watch?v=VtKV5Z87byA

Episode 11: AEF Industry Conversation with Gail Anderson. (2019, December 19). [Video].

YouTube. https://www.youtube.com/watch?v=RmLb9EMKO1k

G. (2021, August 1). 13 African American Graphic Designers You Should Know, Part 2.

Laughton Creatves. https://laughtoncreatves.com/13-african-american-graphic-designers-part-2/

Wikipedia contributors. (n.d.). Gail Anderson (graphic designer – Wikipedia. Wikipedia.

Retrieved May 19, 2022, from

https://en.wikipedia.org/wiki/Gail_Anderson_(graphic_designer

Gail Anderson – SVA. (n.d.). School of Visual Arts | SVA | New York City. Retrieved May 19,

2022, from https://sva.edu/faculty/gail-anderson

Pringles is an American brand of stackable potato-based crisps. Originally sold by Procter & Gamble (P&G) in 1968 and marketed as “Pringle’s Newfangled Potato Chips”. P&G is an American multinational consumer goods corporation headquartered in Cincinnati, Ohio, founded in 1837 by William Procter and James Gamble. In 1956, Procter & Gamble assigned a task to chemist Fredric J. Baur: to develop a new kind of potato chips to address consumer complaints about broken, greasy, and stale chips, as well as air in the bags. Baur spent 2 years developing saddle-shaped chips from fried dough and selected a tubular can as the chips’ container. The saddle-shape of Pringles chips is mathematically known as a hyperbolic paraboloid. In the mid-1960s another P&G researcher, Alexander Liepa of Montgomery, Ohio, restarted Baur’s work and succeeded in improving the taste. Although Baur designed the shape of the Pringles chip, Liepa’s name is on the patent. Gene Wolfe, a mechanical engineer and author known for science fiction and fantasy novels, helped develop the machine that cooks them. Pringles was then sold to the current owner, Kellogg’s in 2012. Kellogg’s produces cereal and convenience foods, including crackers and toaster pastries, and markets their products by several well-known brands including Corn Flakes, Rice Krispies, Frosted Flakes, Eggo, Cheez-It, and of course Pringles. Kellogg’s mission statement is “Nourishing families so they can flourish and thrive.”

The original Pringles logo was designed by Arch Drummond in New York 1967. It depicts the brand’s main mascot, baker Julius Pringles. His appearance changed several times,

but the image remained recognizable.

In 1986, Mr. Pringle’s face became rounder, his eyes were more apparent, and his mustache was slightly changed. The apostrophe in “PRINGLE’S” was also dropped. This logo was brought back in 2011 for a series of “Rewind Edition” Pringles cans.

Pringles tweaked its logo almost after a decade. The emblem was positioned diagonally along with receiving a brighter color palette. Mr. Pringles’ rosy cheeks and visible mouth disappeared in late-1996 making the logo look more stylish, neat, and fresh.

Between January and September 2002, the eyebrows were dropped, and a red bow tie was added which added to the fun vibe of the logo and made him more contemporary, plus a new lowercase wordmark was introduced. Mr. Pringles’ hairstyle was also changed. He also gained a spark in his dotted black eyes. This logo is still used on Snack Stacks containers.

In 2009, a more jazzed up version of Mr. Pringles was launched with an updated wordmark and the “i” now dotted with a chip/crisp. The logo got replaced in the United States, Oceania, and parts of Asia in 2020; in Europe in 2021 and in Latin America in 2022. However, it is still used in Canada and parts of Asia.

In December 2020, Pringles unveiled a simplified logo in the United States, Mr. Pringles’ design was simplified with his hair removed, his eyebrows were brough back, the white pupils or the “spark” was removed from the eyes, and the bowtie was minimalized and made sharper. The wordmark from 2009 remains, but the proportion has been slightly tweaked. The logo is often seen on a non-white background. This logo has received generally negative feedback from critics and fans.

An alternate variant of the US 2020 logo with a wordmark instead based on the first three Pringles logos from 1967, 1986, and 1996 with his bowtie removed. Mr. Pringles’ has remained bald, his eyes are beadier, and his eyebrows are more expressive. Pringles’ new look has been created by design studio Jones Knowles Ritchie. The new Pringles logo includes an updated look and new packaging. Pete Matthews, Pringles’ brand design director, mentions, “The intention with the new look is to simplify and modernize the design, giving the brand’s mascot a bold makeover and highlighting the stack ability of the crisps across the range.” The Pringles logo change, according to Della Lawrence, JKR creative director, was done to bring Mr. Julius Pringle to life.

Pringles today are still a trip essential must have for most people and it seems to have always been given the fact the company is still on going for around 54 years. Throughout those years, time was at the essence of the logo. It experienced seven changes, each change being significantly yet also slightly different. Mr. Pringles lost his hair and that sparkle he had in his black eyes. Makes you question how fast anything can switch up and the reason behind it all.

Works Cited

Wikipedia contributors. “Pringles.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Mar. 2022. Web. 31 Mar. 2022.

https://en.wikipedia.org/wiki/Pringles

Wikipedia contributors. “Procter & Gamble.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 24 Mar. 2022. Web. 31 Mar. 2022.

https://en.wikipedia.org/wiki/Procter_%26_Gamble

Wikipedia contributors. “Kellogg’s.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 29 Mar. 2022. Web. 31 Mar. 2022.

https://en.wikipedia.org/wiki/Kellogg%27s

Wong, Henry. “Mr. P Gets a Haircut in “Simplified” Pringles Rebrand.” Design Week, 22 Sept. 2021.

https://www.designweek.co.uk/issues/20-26-september-2021/pringles-rebrand/

“Pringles.” Logopedia, 2009.

https://logos.fandom.com/wiki/Pringles

Jansen, Mike. Pringles Logo: How Mr. Julius Pringles Evolved over the Years. 10 Nov. 2021.

https://designbro.com/blog/inspiration/pringles-logo-evolution/

Guila, Bryan. “Pringles Logo History.” Prezi.com, 16 June 2013. https://prezi.com/qtgu9bhtofyd/pringles-logo-history/