cover designed by adam blazak

I honestly
don’t know
got all of th how we
is accomp
My staff d lis hed.
id a pheno
getting all m e n al job
of this don
together. A e a nd put
nd, might
issue blow I s a y, this
s #1 out o
water. We f th e
’ve got a g
writer, an u e s t
interview w
working p ith a
rofessiona
even two l, and
new staff
members.
This issue
also mark
departure s the
of Jon Bis
myself, as h op and
we’ll be gra
mere days duating
of this bein
published g
. I hope th
iteration o a t th e new
f “the itch
carried on ” w ill be
next year,
I’m lookin a n d, yes,
g at you: C
Christian, re ighton,
and Chris.
sure these A n d I’m
guys will n
some help e ed
when they
be sure to d o, so
find them
campus if o n
you want
email itch.w in, or
estlib@gm
ail.com.
It’s been fu
n, everybo
the read. dy. Enjoy

designed by adam blazak

The time of the semester has come for
our artistic seniors to show us what they
can do in the 2010
senior
SHOW
Article and design by Creighton Hill
josh hoffman
Senior Josh Hoffman submitted six mas-
terful 24x36 chalk pastel pieces. Clearly
Josh has spent a lot of time working with
the pastel medium. His level of skill is
especially apparent in two pieces entitled
“Forever Connected” and “Pray.” These
two pieces were the ones he was most
excited to share with an audience and
the latter of the two took the longest for
him to create. Throughout his college ca-
reer, Josh has created some impressive
graphic design work, but for the senior
show he chose to display mainly hand-
drawn artwork. His reason; “… I like
doing hand drawn illustrations
because they have a different
feel to them than the ones done
on the computer.”
jon bishop
Graphic Design senior Jon Bishop submitted
four of the most unique pieces that I person-
ally have ever seen in an art show gallery.
What makes these pieces so interesting is
that they are actually panels of a comic book
that have been enlarged to 5’9” by 3’6” on
vinyl sheets. The comic is entitled Amnesty
and it promises to be a very exciting adven-
ture for the zombie horror survival genre. For
the gallery Jon is displaying pages 1, 2, and
3 of the book’s first chapter. His original plan
was to display the first chapter in its entirety
but between the school cancelations, the
difficulty he encountered with arranging
photoshoots, and a not so successful plan
to hand draw some of the artwork which he
was forced to abandon in favor of a digitally
artistic approach, he decided to focus mainly
on just the 4 pages. The project took close
to 60 hours to render, not even including
the time taken for photoshoots, writing, and
storyboarding. Clearly, Jon is excited about
making this book a reality and why shouldn’t
he be? As he put it; “ …who wouldn’t
be pumped about a zombie getting
his head blown off in a black and
white blaze of glory?
Samantha
Robinson
Samantha Robinson has added
a woman’s touch to the senior
show with her artwork. She
chose to display 5 separate
pieces that combined together
create an astounding image of
Jesus Christ’s crucifixion. To
add an extra 3 dimensional feel
to her piece she used a projec-
tor to cast clouds across the
paintings.She first created the
background with two different
types of crushed conte mixed
with a matte medium. Then, she
emplored a difficult technique
known as “image transfer” with
water slide decal paper. She
had to pay close attention to
the alignment of every image.
She described the process by
saying; “It was almost like
putting a puzzle together,
but with a rub-on tattoo
instead of structured
pieces. Every crease and
bubble had to be ex-
tracted under each layer
in order for the image to
look as real as possible.”
Jesse lenz
“…no matter what I do,
I want to continue mak-
ing fine art that speaks
to our society.” Graphic
Design senior Jesse Lenz had
this to say about his ambitious
future in the illustration and fine
art fields. From the looks of the
work he is displaying in the gal-
lery, it is clear he intends to stick
to his plan. With over 64 pieces
in his “Monsters and Marilyns”
series and 18 in his portfolio
illustration book entitled “Ocular
Verbum”, it would be an under-
statement to say that Jesse has
been putting in overtime when it
comes to his artwork.
adam blazak
“My work for the senior
show is the only time
I’ve been fully comfort-
able with calling what
I’ve done ‘art,’ and I’m
excited to keep pushing
my skills and ideas well
beyond what I’m already
doing.” That’s what Graphic
Design senior Adam Blazak
told me about his upcoming
work in the senior show gallery.
Adam submitted three pieces
inspired by his enjoyment of
Greek mythology. Each piece is
roughly 30” by 32” and they are
composed of a very impressive
arrangement of art mediums
including encaustic wax, oils,
acrylic, and some of Adam’s
own photography. Adam will be
graduating from the Graphic De-
sign curriculum this year and his
future in the art field is looking
very promising.
 BF: Extreme Art is based on the
Latvian holiday Saint Jonas Festival.
It is celebrated in the night and the
traditions include singing songs and
dancing until the sun sets, telling
tales, searching to find the magic fern
blossom at midnight, jumping over
bonfires, greeting the rising mid-
semester sun and washing our faces
with morning dew. We added mural
painting, workshops, pizza, movies
and drawing models to add to the
excitement
What has been the most extreme
moment in EA night history?
BF: One night a student fell asleep
on the gallery floor at around 3AM.
The other students were building
styrofoam structures. The students
decided to bury her in styrofoam and
spent about 2 hours building what
looked like a styrofoam mountain
over her. When she woke up she was
freaked out.

R emember those “lock-ins’ you went What are some of the activities
Is EA night open to everybody?

to at the YMCA when you were a kid?
Good times right? Well Extreme Art
Night is sort of like that only replace
the games of basketball and dodge-
ball with awesome art workshops,
a marathon of films you never even
knew existed but will never forget, and
group art projects that perfectly display
why other kids on campus might refer
to us as ”those crazy art kids.” Obvi-
ously there’s a lot more to it and a few
things that require more explanation.
That’s why I decided to ask the 8th
year organizer of the event, Professor
Brian Fencl what exactly is Extreme Art
Night?
people can expect this year when BF: EA night is not open to every-
they come to EA night? one. Members of Congress and the
Obama administration are not wel-
BF: We have a great guest named come. Other than that everyone is in-
Chris Yambar coming this year to vited. Wait a second, convicted felons
speak about his work in the field are not welcome and anyone related
of comicbooks, self-promotion and to Rosie O’Donnell is not welcome.
creativity. There will be a workshop
that Chris will conduct from 7-9PM for
anyone that is interested. There will
be food, movies, acoustic jam ses-
sion with faculty and students, mural
repainting and will make pushpin
portraits. Some of the best activities
often happen unexpexctedly. I try and
keep the planning loose and just let
things happen.

Article and design by Creighton Hill


an interview by Jon Bishop
Some of you may be aware of the guest speaker we
had for Extreme Art Night in the beginning of April.
His name was Chris Yambar, an independent comic
book writer, artist and writer for the Simpsons. Chris
gave an amazing speech at the beginning of the
night, filling our heads with hopes, dreams, ambi-
tions, and overall wonderment over the span of a
quick three hours. After that, Adam and I got to sit
down with him for an exclusive interview. Recorded
using the video application on Adam’s camera (the
entire interview features an exciting half-hour video
feed of a Fritos bag) we got to shoot the breeze with
this charismatic artist. Between the frequent jokes
we managed to learn a lot.
JB: Alright, lets start with the basics.
What influenced you as a young artist
who did you look up to?
CY: Everyone, I was really little.
Badum-tchh! The comic artists.
Traditional, old school comics. You’re
talking thirty years of comic making.
I loved Charles Shultz all my life–the
creator of Peanuts– because I felt like
Charlie brown.
AB: What about Jack Kirby and the
marvel guys?
CY: The ‘60s and ‘70s were amazing.
So dynamic. I mean their thumbnails
where [snaps] like this. And kirby’s
been around forever. He’s had three
or four styles in his career. And when
people asked what his influences
were he always said “I had to make a
paycheck.”
JB: Where do you see comic books
going in the future?
CY: Tomorrow.
JB: That’s it then, in a nutshell?
CY: Well, it’s a dying art in America.
And I think its’ because of the spe-
cialty shop. I mean, because of the
specialization they shut down kids
comics and horror. The horror genre
just died. Its all been replaced by
this superhero stuff. That is all these
stores sold. So you’d see these 40-
year old men buying books of other
men in tights. It’s a joke.
JB: Do you think the other genres
that you mentioned are finding their
niche now? Seems like there’s a big
graphic novel boom. And they’re all
being made into movies.
CY: I think Darkhorse is a leader in
that now. They really look for other
opportunities for their comics. Like
Hellboy. I mean, it was cheesy and
ridiculous but it was a ride. I’m a big
fan of serious independent creators
win with bigger licenses. Like the
Watchmen.
[5 minute debate over the watchmen
movie adaptation ensues]
JB: What medium do you prefer and
you use certain mediums for projects?
CY: I’m an acrylics and enamels
man. I hate oil paint, I’m not patient
enough. Some people swear by oil
paint, I swear at it. I knock my work
out. I’ve got a 12-foot wide 6-foot tall
drawing board. I draw my lines, paint
my colors and move on. And acrylic
allows me to do that.
AB: Is there a reason why you stick to
portraiture?
CY: I don’t know. I’m fascinated by
the human face. If you capture it right
you can distill something into the
audience, the viewers. If you think
of our biology, we’re all made with
the same guts, but peoples faces…
some people grow into their faces.
Like kids that just look like they have
a bad streak in them, little bastards,
and you see them 10 years later and
they’re… well, they’re little bastards.
JB: How did you get your start in the
comic book industry?
CY: I was a consumer before a pro-
ducer. Then did some underground
papers. We used to watercolor things
on pages. We’d make 3 or 4 issues a
weekend and sell them at school for
25 cents. By the end of the year we
bought a ton of ice cream sandwiches
and… threw up. But I lived in an age
where you got 32 pages of story.
With some pin ups. Now you need
to go through five stories to get that
amount of story. It’s all advertise-
ments.
JB: So lets talk about Mr. Beat. That’s
how you got your start.
CY: That’s what launched me into
mainstream. Before that it was sci-fi
and underground for me. But Mr.
Beat was an accident. I wanted to
do something I liked, an adventure,
some coffee talk jive, another ad-
venture. And I could pack whatever I
wanted to into [the] Mr. Beat [comic]
and people would comment that they
got bang for their buck. He was my
Mickey Mouse, really.
JB: It seemed like you really respect-
ed when people ended their series.
CY: Some people belabor their point.
If you’re out of story, end it. Or wait
for a sequel to come. League of
Extraordinary Gentlemen, that was
forced. Even the greatest storytell-
ers do it. Frank Miller, for instance. I
loved his work, but the Dark Knight
II, the follow up to Dark Knight Re-
turns. Crap.
CY: It was a money grab. Poorly
crafted. There was nothing there. I
actually went after them publicly. I
understand they bought him like a
whole floor and gave him a bucket
load of money to do it. But he just
crapped all over his fans.
JB: Say there’s a young student at
West Liberty–dastardly and hand-
some–trying to get into the biz. What
advice would you have?
CY: Don’t. Too many people expect
too much at their first round of action.
You suck at first. Your second will be
better. Nobody just falls out of the
sky. Frank Miller started with doing
stuff with Charlton Comics. He didn’t
make anything but he stuck with it.
It’s that tenacity.
Paying for tables [at comic book con-
ventions] too. 300 bucks for a table
plus airfare and hotel and food and a
display and props. It’s crazy. Buttons,
merchandise, hats. You’re going to
leave with a loss your first ten shows.
If you want to do this as a career
just get out there. Work shit jobs, be
dedicated. Approach your novels like
a rock star. Don’t have a Plan B, know
you’re going to succeed.

For those who don’t know, guerrilla advertising (or marketing) is an elaborate
scheme to get publicity. In a more technical sense, it is an unconventional
marketing ploy intended to get maximum results from minimal resources. This
strategy has been used for many years in an effort to separate a product,
event, etc. from the massive amounts of common advertisements that the
public witnesses everyday. For some companies, this cheap and cost
effective method of advertising has even become their primary marketing
strategy.
Guerilla marketing tactics have been implemented in all levels of advertising,
and they range from the very small and subtle to the large and extreme,
including everything in between. Time and again, it has proven to be an
asset in today’s competitive business market. Successful campaigns rely on
the efficiency of the message and its power to strike a chord with its
audience while distinguishing itself from the competition.
Many people may have experience with guerilla advertising on a daily basis, yet
don’t even realize it. One of the latest buzzwords in the industry in “viral market-
ing,” and it’s becoming more and more prevalent as social networking and
services like Youtube and Vimeo continue to grow.
Of course, the main objective is to “go viral.” Companies and individuals are
looking to for their message to spread quickly to as many people as possible. Their
aim is for you to see their video and forward it on to everyone you know, like so
many cat/kitten videos that plague the Internet.
Teaser websites, webisodes, blogs, cartoons, games, and anything else people
can upload online are all used by the viral marketing “machine” to build hype
among its audience. For example, to promote The Dark Knight, an entire series of
websites were built for Gotham City’s travel agency, rail service, and fictional
political candidates that visitors could eventually register to vote for in a mock
election.
The viral strategy has also been advantageous for those promoting themselves or
a project as opposed to a product. The band OK Go became an internet
sensation and incredibly increased their popularity with homemade music videos
of synchronized dance routines in their backyard and, more famously, on
treadmills.
Similarly, careers have been launched from viral campaigns, such as comedian
Bo Burnham. What started out as a humorous song sent to his older brother soon
progressed to a series of videos of him singing similar songs. Bo eventual became
the youngest comedian to have his own Comedy Central special, and even had
a minor role in the feature film Funny People.
With so many opportunities and outlets that the internet provides, it’s easy to see
that anyone and everyone can become a guerilla marketing mastermind as long
as they’re creative and not afraid to get themselves out there.
Six Examples of Guerilla Advertisement
1. The Stickerbomb
1. Commonly used by bands and graffiti artists, stickerbombing is a cheap,
easy way to get publicity. This method usually involves an impoverished twenty-
some year-old slapping a sticker or two on public property as he or she walks by.
Trashcans, street lights, doors, walls, and hydrants are usually the targeted venues.
2. Grafitti
1. A little more involved, graffiti can range in size and even in medium. The
result, however, is the same: an advertisement that takes a hell of a lot longer to
clean up than a sticker. This method, again, is favored by artists, but businesses
and companies also walk down this road. After, of course, renting public space to
do so.
3. Leave Behind/Teaser
1. This tactic involves significantly more money than the previous two. It
usually requires the implementation of several manufactured “ads,” placed in
advantageous locations. This is used only by the boldest of independent artists,
considering the cost and risk, and is favored by larger companies, organizations
and corporations.
4. Billboards
1. While buying billboard space isn’t the edgiest way to grab somebody’s
attention, unique treatment of billboards and advertisement space can increase
how effective that space is. Legally, only companies that can afford the ad space
(and then some) do this.
5. Guerilla Ad Campaign: Theatrics
1. While Crazy Ernie is able to dress up in a clown costume and run down the
street screaming about his carpet barn slashing prices so low they’re laughable,
the Theatrics tactic works astoundingly well with large corporations and organiza-
tions. The best example is the Truth anti-tobacco campaign, which uses dozens to
thousands of actors to get its point across.
6. Guerilla Ad Campaign: Candid Camera
1. This is almost 100% oriented towards groups with money, as it requires
television ad space. What it boils down to is a spokesperson or actor surprising
regular people with their product or information about their product. Jack in the
Box, a fast food chain, did exactly that. It featured Jack, a foam-headed clown in
a business suit, harassing “ordinary” burger-joints via drive-thru speaker.
designed by adam blazak

To be frank, the thing that I love most

about the London Olympic logo is that
it’s not trying to BS anyone. Every other
Olympic logo I’ve seen in recent years
all have the same message: “Look
at our history and tradition!” It’s like
a bunch of washed up high school
athletes trying to one-up the others’
tales of glory days. However, England,
in this scenario, turns to the rest of
them and says, “Yeah, well my son is a
starting quarterback in the NFL.”

And that’s the difference. It’s not about

what England has done, but what
England is doing. They’re innovating
ak
s. adam blaz and pushing the envelope. They’re
jon bishop v not the stiff, uptight redcoats we’ve all
read in textbooks; they’re outlandish,
aggressive, unique, and driven. I
lived in London for two months and
Take a good hard look at the London experienced it first-hand. Watch a
Olympic logo. Did you have an epileptic British movie without Hugh Grant or
seizure? Because several people in Jude Law and you’ll see what I’m
Great Britain did during a commercial talking about.
for the Olympic games featuring this
gem of a 1990’s throwback. Fellow It would have been easy to slap together
critics of this symbol have referred to a design of Big Ben (the clock tower, not
it as “a distorted swastika” and “Lisa the quarterback), Westminster Abbey,
Simpson performing fellatio.” or a dozen other famous landmarks;
but that’d be just another touristy
Inappropriate sexual innuendo aside, history lesson.
this logo is pretty haggard. The world-
class athletes competing in the Olympic The London Olympic logo may seem
games deserve a better emblem to a bit crass to some, but at least it’s a
stand under than something a toddler representation of the country’s modern
could have made in Illustrator. The culture.
bright colors are supposed to appeal
to the young people of the world but, Now when was the last time an Olympic
honestly, I think the Olympic committee logo did that? Personally, I find it a
could have settled on something that refreshing alternative.
didn’t look like it was stolen from the
cover of my first grade Trapper-Keeper.

2012 will be here sooner than you know it; and, no, that’s not
meant to incite panic like so many 2012 doomsday “predictions.”
You wouldn’t know it, though, considering the some of the
things that unsatisfied Britons are saying about London’s 2012
Olympic logo (shown right).
But, is it really as bad as people are making it out to be, or
is it an abomination of design sense? Our two Olympic-quality
debaters sound off in a debate that only comes around once
every four years.
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 Movies and TV in
3D?! The future is
here! Or is it? We finally
spill our guts on th
giving our opinions e is sue,
on the current tren
where we think it’ d and
s going.

The 3D movement is obviously

I think America has embraced the 3D
revolution. The cost for a 3D movie
has raised a lot of eyebrows though.
Even worse, how much would a 3D
television cost, and what size of
television you would have to buy?
I think that as the 3D experience
becomes more popular, the ticket
price for theaters will increase with
the new technology.
Another downfall of 3D movies and
television is that you have to wear
goofy looking glasses. Most people
develop headaches, or buy the
glasses and never use them again.
Overall, I think 3D movies in theaters
are cool to a certain point, and 3D
TV would be cool if it wasn’t so
expensive!
3D movies aren’t going anywhere
anytime soon. The newest technology
has been described as the biggest
advancement in cinema since color.
Just think about how huge that is.
I’m not sure about 3D TV, though.
My eyes quite literally caught fire
during the ending credits of Avatar,
and I honestly couldn’t take dealing
with that on a consistent basis. On
top of that, the last thing I want to
see is Glenn Beck emerge from my
television while I’m channel surfing.
3D TV and movies. Where’s it going?
Not sure. Do I like it? I could care
less. But as far as movies and
Hollywood go, I feel it’s a way to
get more money while the prices for
admission continue to go up. As for
TV, I could care less. I’m happy with
regular and HDTV. I feel like it’s just
companies trying to pinch us for
more money.
Have you seen the new Whiskas cat
food commercial in 3D? Because
I have, and let me tell you what: I
was enthralled. Seriously though,
tons of movies are coming out with
3D options, Visio and Samsung are
making 3D flat screen televisions.
Hell, there was even a 3D commercial
segment during the Super Bowl; I
can only see this trend catching on.
At least until 80% of our nation’s
moviegoers have to take advantage
of our new nationalized heath care
system after losing their depth
perception.
unstoppable but I don’t think it will
be as popular as its admirers may
hope. Some people can’t even truly
enjoy 3D imagery due to eyesight
conditions not to mention those
who just plain don’t like it. I do think
that 3D films certainly can add extra
excitement to the right films. The
success of Avatar can’t be dismissed,
and the more recent children/family
movies are sure to be a 3D hit with
young audiences.
As for any genres other than action
and adventure, I don’t see 3D
versions being as extraordinary. I
mean, imagine The Notebook in 3D.
Probably not a good idea. It seems
kind of inevitable though with the
invention of “3D TV.”

Chris Lovell Adam Blazak Christian Townes Jon Bishop Creighton Hill

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