Recently by Robert Perino

Sarah Garcea: Graphic Images

I love love love the opening sequence for Dexter on Showtime. The new season just started up and while watching the other day, I was like, I do not tire of this opening. I really like the graphic quality of the images, how you don't entirely know what it is at first and then it all makes sense. I lean towards very graphic images in my work so this really speaks to me. http://www.youtube.com/watch?v=cgo57OBKFOA

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What's Next?

OK. I officially feel like a dinosaur. As a print designer I am worried about the future, and I'm sure I'm not alone. I'm not worried so much of it going away because I don't think it's going to. But as to how it is going to change and evolve.

Recently I started to look into Flash. Why flash? Well it seems to be the thing that everyone has on the tip of their tongue. Everybody is looking for Flash designers. So in self preservation I started looking in to it. What it does? How to use it? I am pretty clueless when it comes to these things. I started looking into classes and books and demos. Free trial downloads, tutorials, and best use and awards. After all if I'm going to try and learn I want to know what I'm shooting for.
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Amy Berkley: From A Photo Editor's Perspective

Mitchell Feinberg's still-life is a dream and with this series of images he makes familiar designer goods interesting and surprising. I am a big fan of white on white and a muted palate.

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Persepolis

I finally Netflix-ed Persepolis, Marjane Satrapi's moving autobiographical graphic novel turned animated film. Some of the night scenes outside with the tanks and the marches as well as the scene of Persepolis' family going down the stairs of their building towards the basement, with their expressionist shadows, were reminiscent of the illustrator David Cowles' work; the sharp angled silhouettes against the charcoal textured background. The entire movie is hand drawn, giving each line so much character and personality, and mostly done in black and white. It's nice to be reminded of the power of a stripped down color palette and amazing to know that in this computer generated era, there is still work being done in the old fashioned way.

Alice Alves, Deputy Art Director Fortune

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