collisionwork: (sign)
Today, I have nothing I HAVE to do for the shows. So after some needed Art intake, I'm going to be walking all over the West, Center, and East Villages, Lower East Side, and Tribeca putting cards for the shows at as many Indie Theatres (and rep movie houses, given the noir appeal of WGW/WGW) as I can.

I've made up a list of 23 venues to card - some of them will wind up not being open, or not permitting cards from outside venues right now, and I'll find other places to hit along the way, so maybe 25 places total.


So, first I have to go over to Duane Reade and buy a bag of strong rubber bands.

Then, I go get the boxes of cards for The Necropolis Series and Hobo out of the van, sit down, and make up 25 packets of 20 cards each for each show, and band them (NB: As someone who has run a few theatres, it is POINTLESS and ANNOYING to leave any more than 20 cards at a time at any venue -- they will get knocked to the floor, spread all over the place, mostly not get picked up, and ultimately will wind up in the trash -- put out 20, check back a week later, if some have been taken, fill out the pile to 20 again, no more - for spaces with large display racks - eg; The Kraine - you can maybe spring for 2 piles of 20).

Then I bag the packets up (and this is going to be a damned heavy carry, unfortunately . . . 1,000 cards? half of them oversized 8.5x5.5" ones? . . .oy . . .). Go shower, shave, and get clean -- I have a need to feel nice today. Blue contacts and fake teeth in, too. Maybe if it's nice enough, I'll even wear my straw boater in my perambulations (Berit's still out cold, or she might dissuade me from walking out the door with that hat on by calling me a "fop").

Subway to MoMA, check the heavy bag, spend as much goddamn time as I like and need in there to feel right again. See every damn thing in there that I can until I can't see anything right anymore.

Then, subway to the Village, start on Vandam.

And then, a couple hours of walking -- from Bank, Commerce, Christopher and whatever to Ave. A, Suffolk and whatever to Church and Franklin, and then subway home.


So this is the day off. It's a nice one.

collisionwork: (mark rothko)
Lots of emails back and forth between Berit and I as she finalized the postcard.


I'm very happy with how it turned out. I won't post another version of the front, but the final version - which may be the same as the last version I linked to, I'm not sure, is HERE.


Here's the final for the back:


Ian W. Hill's Hamlet - postcard back


4x6". Glossy on both sides. Let's see how fast we get them. Unfortunately, it'll probably be Monday . . .

collisionwork: (goya)
Now in Maine.


I'm getting caught up on tons of emails I missed getting the last two days, and Berit is sending me revisions of the card front and back to check out.


She's fixed the card front a bit from its appearance in my last post, making the text less "computery," and it can be seen HERE.

She's been working on the card back now, and it's a pain with all the text and stuff that needs to go on there, but she's working it out. I'll post that once we have a finished version, as I should have done with the front (I was just excited to see it and share it).


Here's another version of the "card front" image, framed differently to be used for promotional purposes, etc.:


Hamlet Promo Image

Publicity

Jun. 6th, 2007 07:53 am
collisionwork: (philip guston)
I'm about to drive off to Maine to get my teeth taken care of - accompanied today by Aaron Baker, Ian W. Hill's Hamlet actor and friend for 24 years, who was going to New Hampshire near I-95 himself and could use a lift.


Rehearsal last night until 10.30 pm, then work at The Brick. Got home at midnight.

Only rehearsed Act I - getting late, and it didn't feel worth it to keep everyone especially late. Scattered energies (including my own, I guess).


Berit stayed up most of the night working on the postcard for the show so we could send it out today. Here's what we have now:


HAMLET postcard #1


I'm sure I bore people saying it, but I do have to keep remarking on how amazing it is to me, with this show that I've been considering for 18 years and working on (and least textually, off-and-on) for 15 years, to see ideas I've had bouncing around in my head for so long actually coming to fruition. I had the idea for the design of this card sometime around 1994, and here it is, pretty much as I've always imagined it (except I always saw my head more at an angle, and the fire and text levels are more recent additions to the fantasy).


I don't think Berit has the back done yet, so I'll have some notes for her when she's up about typography. Usually, with something like this, I have the design, Berit accomplishes it with her mad Photoshop skillz, then I go in and do the type layout and processing, as I'm very critical of that -- from 4th to 9th grades, I went to a school with a working print shop where you could take "Print" as an elective; I spent years putting movable type into composing sticks and eventually working my way up to linotype machines.

With this trip north I won't be able to do the type myself, so before I fell asleep I wrote out what info needed to go on the card, and where, and in what typeface (Bank Gothic). Now as I look, it needs some filters on that title there, but I wouldn't know what until I played with it. Something to take away the computer-sharpness a bit. I'll call Berit from the road (she's quite out now) and mention it (if she hasn't read this already).


Okay, Aaron's arrived - we should be out the door soon. Next time in Portland.

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