Doodles from Daily Drabbles

Post: http://ryanreallysketches.tumblr.com/post/152224890954/project-1b-advert-sequence-see-black-lives-matter

Constructive Critique Model

1. Response: I really appreciated the in-depth thought that was given while Ryan was doing the entire project. I liked how the image turned out where it is aesthetically pleasing as well as captivating.
2. Description: There are a total of three images. In each image, there is a human figure, as the focus, where a gun is aimed at him/her. Like glass, a part of the face is shattered. The background is 2 thirds black. 
3. Analysis & Interpretation: Starting from the background, using the rule of thirds, the two-thirds of black makes the one-third of white stand out more. Strategically, Ryan places the human figure at that area to allow the focal point to stand out. Paralleling the white area where the face is supposedly blown off by the gun with the background, there is a sense of rhythm to the image. The lips that are cut into pieces signifies a kind of silence as well as if words are made up of glass- easily shattered. The black and white tone to the image also brings us back to how "black lives matter".
4. Evaluation & Judgment: The combination of the black lives on the background makes the image interesting and gets the message across. His message: The act of deleting mouths is symbolic for erasure – that through the killing of black lives, accompanies the erasure of stories. By deconstructing mouths, likening it to an object as the bullet passes through it, the advertisement communicates the mindlessness of killing black lives, and hence, invites the viewer to interrogate the full extent of police brutality, and racial inequality. I particularly like the idea of the erasure as it shows so much more than just the "erasure of stories". It also shows the fragility of life and how easy words can destroy people. Perhaps, the image of the gun and the human hand does not fit with the image but overall, the advert gets the message across.

TITLE OF ADVERT SERIES

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Negative Space

Lines

Observations/ Thoughts:

Personally, I felt that this looks the simplest out of the three adverts that I have done. This is less of mysterious but more of fantasy. Therefore, while I was doing the drafts for this drawing, I decided to draw the negative spaces of the animals on the tracing paper instead of tracing all the details of the animal. I felt that by doing that it will give rise to a more mysterious feel as if you know but yet you don't know. 

I played around with the placing of the sketches on the image and I realised that it looks slightly better when the animals seem to be coming out of the paper instead of just floating around (perhaps it could be due to the fact that I did not cut the animals to shape). 

However, this advert seemed to be more of a storybook advertisement instead of being a cafe's. Since the cafe have storybook readings for the kids, i feel that this advert still kinda works (albeit slightly forced). Similar to the first advert, the bright and vivid colours of the logo does not fit in with the image totally (although it probably would have if my printer had the inks the print the correct colours). 

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This advert has a similar concept from 1A: Graphic Illustration as I got this inspiration from there. Sticking same to the mysterious feel, I liked how this is somewhat a continuous from the previous advert. It's as if the animals are now on an adventure through this rain forest and they found a sanctuary (time portal). I like how the silhouettes of the animals feel perfectly into the time portal entrance. 

However, I felt that the animals can be slightly smaller to make the entire image look more natural and refined. Furthermore, I am kinda tilted that I did not manage to glue the silhouettes properly as well. The animals looked slightly like they were floating, sort of. 

I really liked how the logo fit into the this advert perfectly. The cool green background recedes and allows the warm green and the warm colours from the logo to stand out. 

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Brand Research

Rainforest Cafe

a wild place to shop and eat

About:

Located in the heart of the West End at Piccadilly Circus since 1997, Rainforest Cafe is designed as an exotic jungle that recreates the sights and sounds of the Amazon rainforest. 
This spectacular dining experience enables guests to enjoy great food and drinks whilst the unique jungle surroundings are brought to life with the help of stunning special effects and lifelike animatronics.  

Be amazed as all around you there are tropical showers, cascading waterfalls and periodic thunderstorms. Prepare to be delighted as you explore the whole restaurant and get close to the magnificent rainforest animals, including elephants, jaguars, crocodiles, gorillas, mechanical butterflies and orangutans. 

Great for all the family, Rainforest Cafe has an extensive menu of American and International cuisine catering for both adults and children. Food on offer includes steaks, burgers, pasta and salads as well as delicious desserts. 

- http://www.therainforestcafe.co.uk/home/about-us

Each Rainforest Cafe restaurant is designed to depict some features of a tropical rainforest, including plant growth; mist; waterfalls; and figures of rainforest animals, including elephants, frogs, gorillas, jaguars, tigers, and tropical birds. Most locations also have themed exteriors as well as interiors. The Rainforest Cafe in Disney Springs (formerly Downtown Disney), Orlando, is located under a large artificial volcano which erupts during the simulated thunderstorms. Others, such as the locations in Atlantic City; Anaheim; and Niagara Falls, New York; have the appearance of ancient jungle ruins, namely Palenque. Mall locations usually have waterfalls and simulated plant growth outside of them, visible to those who pass in the mall. Nearly all locations have a 'wishing pond', usually with an animatronic crocodile, where guests are invited to toss coins, aiming for the crocodile's mouth. 

The restaurants are partitioned into several rooms by means of rain curtains that fall into basins running along the tops of partition walls and booths and aquatic tanks. Most locations have two tanks connected, but at the Walt Disney World locations, three tanks are connected. One portion of most locations includes a bar located underneath an enormous mushroom. The chain is known for its characteristic bar stools, made to resemble the legs of animals, designed and sculpted by the artist Glenn Carter. There is usually a star ceiling in the middle of the restaurant, which are designed and manufactured by Fiber Optic Systems Inc, located in Whitehouse Station, New Jersey.
-https://en.wikipedia.org/wiki/Rainforest_Cafe

Company History:

Rainforest Cafe, Inc. owns, operates, and licenses large, high-volume, themed restaurants/retail shops under the name "Rainforest Cafe--A Wild Place To Shop and Eat." The company has received industry recognition for its family-oriented restaurant and themed entertainment achievements. The retail area included in each unit offers items ranging from cooking sauces and personal accessories to children's toys and clothing. A majority of the merchandise carries the Rainforest Cafe brand name. The restaurants are located in the United States and abroad.

Creative Urge Drives Founding in 1994

Steven Schussler demonstrated his marketing flair in a number of undertakings prior to the creation of the Rainforest Cafe. Boxed in a crate, he had himself delivered to the general manager of a Miami radio station in a successful ploy for a sales job. After a stint in electronic media marketing in his hometown of New York City, he established a vintage jukebox retail shop. The venture led to the development of JukeBox Saturday Night, a chain of eight restaurant/nightclubs, including one in Minneapolis. But when interest in the 50s-style concept faded in the late 1980s, business fell off. He was forced into bankruptcy in 1991.

But the idea man already had another plan in the works. In 1989 Schussler transformed his suburban Minneapolis home into a prototype for a rainforest motif restaurant. Erick Schonfeld wrote in a 1996 Fortune magazine article, "Three years ago, Steven Schussler was headed for either restaurant heaven or the psychiatric ward."

Parrots, 150-pound tortoises, and a baboon were among the animals that at one time or another lived among the artificial waterfalls, greenery, and huge fish tanks that filled his home. But that was not the half of it--he spent more than half a million dollars in developing a simulation of the sensory experience of the rainforest.

Schussler pitched the concept to a stream of potential investors, including Lyle Berman, a successful casino developer and former leather retailer. Although he repeatedly declined to invest, Berman eventually hired Schussler to develop a restaurant for Grand Casinos, Inc. Backers gained during his work with Grand Casinos plus a favourable lease with the Mall of America in Bloomington, Minnesota, finally brought Berman aboard.

The Rainforest Cafe was incorporated in February 1994; Berman led the private stock placement that allowed Schussler to bring his dream into reality. The doors opened for business in October 1994. Within a week the wait for a table was as much as three hours.

Going Public: 1995

Just six months later the Rainforest Cafe made its initial public offering (IPO). The IPO consisted of one share of common stock with a warrant to purchase one additional share. The company raised $9.5 million from the IPO and an additional $14.2 million from the warrants. The newly issued stock climbed from its asking price of $6 to the mid-teens by October, when a second, a larger restaurant opened in the Woodfield Mall in suburban Chicago.

Martin O'Dowd came on board in May 1995 to guide the store expansion. The new president and chief operation officer were a veteran of the industry, having served as director of food and beverage services with Holiday Inn Worldwide and as the store manager for the Hard Rock Cafe. Berman continued in his capacity as chairman and CEO. Schussler held a position as executive vice-president.

The Mall of America unit earned $10 million in 1995; operating margins were 23 percent for the second half of the year. The restaurant, expanded three times since opening, seated 295 customers. "The appeal is really in the space, which was designed to wow children and those adults with a child-like worldview. It has live birds, bright fish tanks, and mechanical animals. Every 25 minutes, the lights dim, and a rain storm sweeps through the place. Nothing on the menu is particularly noteworthy (the most popular dish is called Rasta Pasta, a white sauce dish with chicken and spinach), but the plates are full and the service is brisk," wrote Lee Schafer in an October 1995 Corporate Report Minnesota article.

A secondary common stock offering brought in $73.7 million in January 1996 to fuel expansion. Rainforest stock was trading in the $45 to $50 range in June of 1996, about the time a third store, again in suburban Chicago, began operation. Jennifer Waters, in June 1996 Minneapolis/St. Paul CityBusiness wrote, "To be sure, the pricey stock is based on some pretty high expectations, many analysts said."

Expansion Accelerates: 1996

Expectations for Rainforest Cafe were elevated by the sites for new restaurants. A new unit was set to open at Walt Disney World Resort in Orlando, Florida, and a second 500-seat unit was being planned for the new Animal Kingdom opening in Epcot Center in 1998. Both were expected to do well in the high-profile areas. Other heavy-traffic sites on tap included the Trump Taj Mahal Casino and Hotel in Atlantic City and the Stratosphere in Las Vegas. More regional mall sites also were staged to open.

Some analysts thought an even greater earnings potential lay on the retail side of the store. About a quarter of sales already came from the cafes' adjacent retail areas. A line of proprietary animal characters was in the works to help heighten brand identification. Analyst Rob Nicoski said in the Waters article, "The Rainforest theme is a good one for kids, and once they start developing Disney-like characters for that side of the business, there will be an opportunity."

The family-oriented Rainforest Cafe operated in a restaurant industry segment dominated by businesses catering to adults, such as the Hard Rock Cafe, which reached the quarter century mark in 1996. Rainforest Cafe liquor sales, for example, were comparatively low. Passersby in the malls could watch the daily on-site educational presentations, which included resident parrots, and an outreach program conducted in schools and for other community groups focused on vanishing habitats and wildlife.

Rainforest Cafe, like the other theme restaurants, drew a horde of customers with the promise of entertainment. Planet Hollywood's Disney store was pulling in more than $40 million a year. Altogether, the restaurant niche reported an estimated half billion dollars a year in sales and was expected to climb to $5 billion by the year 2000, according to a 1996 Star Tribune article by Ann Merrill.

Capitalising on the strength of the market, the Rainforest Cafe made another secondary stock offering, in September 1996, and raised an additional $96 million. Four new restaurants opened during the year, including the Disney unit. But two sites were scratched. One of them was in the struggling Stratosphere Tower--Berman held a 42 percent interest in the Las Vegas casino-hotel complex.

The first stand-alone site was planned for downtown Chicago in an entertainment district already home to Planet Hollywood, the Hard Rock Cafe, and Rock 'n' Roll McDonald's. But the locale presented the company with some new problems. The Rainforest Cafe had relied on a "tag-and-release" system that allowed customers to shop or sightsee to ameliorate long waits for a table. The system was less conducive for the downtown location.

Revenue for 1996 was $48.7 million, more than triple the previous year. Net income was $5.9 million. In addition to racking up earnings and profits, the company brought in awards from various industry groups: Retailer of the Year Award from the National Retailer Federation, an Outstanding Achievement award from the Themed Entertainment Association, and a winner of Nation's Restaurant News 1997 Hot Concepts.

Growing Pains: 1997

Although the Rainforest Cafe began the year with strong sales and operating margins, some glitches had appeared on the screen. Another large project stalled, this time, the Trump Taj Mahal. A $1.9 million write-off was taken to cover that development and the previously scratched Stratosphere unit. In May, President and Chief Operating Officer Martin O'Dowd resigned, citing personal reasons. When he came on board analysts had touted his arrival as crucial to the future growth of the business. Two months later the company's largest institutional investor, Putnam Investments Inc. of Boston, dropped its holdings from nearly 13 percent to just less than two percent.

In spite of the difficulties, expansion continued. By the end of the year, 13 domestic restaurants were in operation. The company opened seven during the year, including one at the MGM Grand Hotel in Las Vegas. The first international sites also opened, one each in London, Cancun, and Mexico City.

Rainforest stock dropped 40 percent when the company announced in early 1998 that fourth-quarter earnings would fall short of expectations. The three units that had been open more than 18 months were down by 11 percent compared with the previous year's fourth quarter earnings. A number of class action lawsuits were filed against the company, claiming management had known of but not reported in a timely manner a declining trend in sales figures while selling their own stock at the higher price. The company withdrew plans for a proposed public offering of convertible subordinated stock.

But overall net income and revenue doubled for the year. Revenues were $108 million and net income amounted to $12 million. The original Mall of America store increased sales by three percent on the year. And the Disney World unit was among one of the nation's busiest restaurants, with sales of $33 million, according to a January 1998 Twin Cities Business Monthly article. The company expected to proceed with its plans for 13 to 15 new restaurants in 1998. Costs ranged from $7 million for a mall-based unit to $16.5 million for a major tourist site.

Rainforest Cafe was not alone in its earnings woes in 1997. Publicly traded Planet Hollywood stock nose-dived when they reported fourth quarter losses of $44 million. The company had opened more than 30 outlets during the year. "Fueled by the faddish success of just a handful of outlets, theme restaurant chains have a history of pursuing breakneck expansion plans. For a while, all the new openings create strong earnings momentum. In most cases, though, customer fascination wears off, repeat business disappears, and market saturation dooms further growth," wrote Nelson D. Schwartz in a March 1998 Fortune magazine article. Unlike Planet Hollywood, with only 16 outlets, the Rainforest Cafe still had room to grow.

In May 1998, Kenneth Brimmer, involved in the financial aspects of the business since the development stage, was named the president. He had served in that capacity on an interim basis since O'Dowd's departure. Stock price continued to remain well off its peak. "It has yet to rebound much, despite a generally strong financial performance. Rainforest's stock price likely is being influenced by negative news from others in the segment, too," Ann Merrill wrote in a June 1998 Star Tribune article.

Magazine Research

Lucky Peach

Borne of a collaboration between Momofuku's David Chang, food writer Peter Meehan, and the McSweeney's team, Lucky Peach is without a doubt the hottest thing in food journalism today, leveraging its unique position to buck the trends of current journalism and embrace long-form writing and acid-trip design. Handing over the reigns to the chef as writers and commentators is a symbolic power shift in the food-writing, but the magazine also manages to pull in luminaries of traditional media—from Ruth Reichl to Anthony Bourdain—and give them a new platform. The magazine is quirky, smart, and impulsively readable. Issues focus on a singular theme—from Chinatown to The Apocalypse—and showcases art, photos, essays, and insanely advanced recipes from some very recognizable names.