They fit together like BBQ sauce and a pulled pork sandwich.
When Kim Landrum, a senior lecturer in the Advertising and Public Relations (AdPR) Department at Grady College, reached out to Katie Throne, the founder and owner of Porky Goodness, Athens’ first female-owned BBQ sauce brand, she knew the brand would be a perfect fit for her Integrated AdPR Campaigns capstone class.
In the class, students pair with local brands, such as Porky Goodness, to serve as their agencies for a semester. The idea is that students are able to gain real world experience while they support the advertising and public relations efforts of the brands they pair with.
“I always try to find small business owners or student organizations, because then we’re able to make an investment back in the community and support small business,” said Landrum. “Porky Goodness was just right. Katie had tangible requests that students could meet. It aligned really well for our team.”
Early on in the fall 2022 semester, Throne met with the seven-student team assigned to the Porky Goodness brand. The students interviewed her and asked her about the challenges she was facing. From there, they wrote up a plan.
Throughout the semester, the students took a deep look at the analytics behind Porky Goodness’ social accounts, developed content designed to do well on social, helped Throne shoot cooking videos, put wholesale information on the website, allowing interested retailers to easily submit a request for the Porky Goodness product, gave Throne a few lessons on creating TikTok videos and Instagram Reels, and put together a template for a recurring newsletter, which Throne said has already led to several orders.
“The students listened really well to what I needed done in a short period of time and knocked it out,” said Throne, who started Porky Goodness in March 2021. “At the end of the semester, I was blown away with all that they had completed for me. I hope they learned something from me, but I really learned a lot from them.”
For senior advertising and public relations students, this class is a chance to put what they’ve learned to the test and gain practical experience in their future industry. The value of the class is not lost on the students.
“Working with Porky Goodness has been such a rewarding experience,” said Coley Warren (AB ‘22), a December graduate who was on the Porky Goodness team. “From being able to work with a local client to producing portfolio-quality content, my classmates and I were able to gain real world experience far beyond the classroom setting.”
“Katie was so good about giving the students access and really listening to what they had to say,” added Landrum. “It made the experience as good for the students as it was for her.”
It became clear, throughout the term, just how passionate the students were about working with Throne and the Porky Goodness brand. One student, who drives race cars, put a Porky Goodness decal on his car before an upcoming race, Throne said. Another student, Nina Boone, still works with Throne and the Porky Goodness brand.
“When you’re a little company like we are, you don’t have a lot of money to spend on marketing, photos, graphics and so on,” said Throne. “The students were a tremendous help. I appreciated everything that they did.”
Grady College has converted a space on its first floor into a high-tech podcast studio. The new studio gives students the opportunity to hone their skills in one of the fastest-growing methods of communication.
Featuring advanced sound equipment, the studio is available for both classroom and student use. It is large enough for Grady College professors to teach podcasting lessons in and available for the College’s students to produce podcasts.
“This studio represents the massive audience shift to audio storytelling,” said Charlotte Norsworthy, a part-time instructor in Journalism at Grady College and producer of The Lead Podcast. “More and more, audiences are engaging with stories through the ear, and it is incredibly exciting for Grady to be engaging our students in the latest industry developments. I am thrilled to dive into this space with the students.”
The studio is designed to let up to four students record a live-to-tape podcast together, each with their own microphones and audio monitoring. There is also a sound isolation booth for doing voiceover or single-track narration recording. Students can bring in a laptop, plug in to a high-quality microphone, close the door behind them and have a quiet, clean space to record in.
In the coming months, additions to the space will allow students to record video and seamlessly bring guests in virtually, from outside the room.
“This is no home studio and it’s a far cry from a closet,” said Kim Landrum, a senior lecturer in Advertising who will be using the new studio in the spring for her Podcast Production and Branding course. “Our students will learn production techniques on the same hardware and software they can expect to find in the industry – and in many cases better. This is the real deal.”
The studio’s construction was organized by Grady College’s chief technology officer, Mark Johnson, who is also a senior lecturer in journalism.
At the moment, faculty can request access for their students through Mark Johnson at firstname.lastname@example.org. A scheduling system will become available within the coming months.
‘Tis the season of political messages. They are on every street corner and what seems like every minute of television commercial airtime.
Most political messages also include a political logo: a visual representation of the values, promises and energy the candidate will deliver if elected.
We asked some experts at Grady College what makes an impactful logo and the importance of a memorable logo in political contests. To narrow down the field, we discussed the two logos of the presidential candidates this year—the incumbent, President Donald Trump, and the challenger, Senator Joe Biden.
Those participating in the discussion were:
David Clementson, assistant professor of public relations. Before teaching, Clementson ran several successful political campaigns for Democrats and Republicans. He specializes in political communication research.
Kim Landrum, senior lecturer, advertising and public relations. Landrum teaches courses in graphic communication, messaging strategy and campaigns.
Kristen Smith, senior lecturer, advertising and public relations. Smith teaches courses in introductory and advanced graphic communication and public relations communication.
Joseph Watson, Jr., Carolyn Caudell Tieger Professor of Public Affairs Communication. Watson has more than 20 years of experience in public affairs, campaigns and communications, including serving as a legislative director and counsel for a former U.S. senator. Watson teaches courses about public affairs communications focused on public policy and politics.
John Weatherford, senior lecturer, New Media Institute. Weatherford teaches courses in digital product design and user experience.
Following are the general themes that were discussed.
From a purely visual perspective, the two presidential logos are quite different. The Biden/Harris logo is straightforward and focused, giving almost equal weight to both names. My eye gravitates to the E which is styled like the stripes on the flag. The letters are kerned, or equally spaced, so the overall look is balanced. The Trump/Pence logo lacks the same visual punch due, in part, to the number of elements with two names, a tagline, the election year, star detailing and a stroke. Where does the eye go first? Placed together, the elements don’t have the same finesse as the Biden/Harris logo and the design lacks a visual focus point. The campaign logo for 2016 had significantly more flair with its integrated T&P but it did lack visual clarity and perhaps that is why it was abandoned. Neither logo is particularly inspired but if I had to pick a winner, the Biden/Harris logo is visually stronger. — Kim Landrum
The Trump/Pence logo for 2020 is fine, but it feels a little homemade. There is nothing daring or original in it. I would advise against putting a red box around the words and then adding some stars at the top because it seems rote. But the stranger thing, from a design perspective, is the vast amount of tracking—space between the letters in both men’s names. “Pence” especially looks like something you’d see in an eye exam. There is a message about importance being sent in the size of their names, too. Both names have five letters, but Trump dominates Pence in the logo. By comparison, the type in the Biden/Harris logo is justified—both words are in equal measure on the left and right and even though “Harris” has to be smaller than “Biden” because it has more letters, the names feel like a solid unit and give the impression of an equal team. There is nothing particularly clever or daring about the Biden/Harris logo, either, but that may be part of the point. It looks professional and stable, and the implication is that their ticket will be too. — Kristen Smith
I have always been struck by the absence of a flag or patriotic motif, aside from four small stars at the top in the Trump-Pence logo, but it is important to remember that the current Trump-Pence logo was adopted after an initial design was widely criticized and abandoned by the campaign. The typeface for both is solid as is the use of the red, white, and blue color palette, but the flag motif for the “e” in Biden makes it much more effective in my estimation. Aesthetically, the Trump-Pence logo is just not as attractive. — Joseph Watson, Jr.
The Message is King
From having run successful political campaigns for Democrats and Republicans, I can tell you that I have never put any thought into the color scheme or shapes or font type or any other graphical elements of a candidate’s logo. The only thing that matters, which I learned long ago from one of Dick Morris’s books, is that there must be a message, not just the name and the office and the party. Voters need a reason to vote for you. So, in addition to—and more important than—the candidate’s name should be a slogan or mantra or motto. A succinct message is more effective. For example, Clinton/Gore materials said, “It’s time for a change.” Obama had “Change we can believe in” and “Yes, we can.” Trump took the motto to new heights with the prominent messaging of “Make America great again,” which was also used by Reagan in 1980, Bill Clinton in 1992, and Hillary Clinton in 2008. A logo is worthless without a message giving voters a reason to vote for you. — David Clementson
Comparing the logos isn’t totally fair because the Biden/Harris logo doesn’t have their slogan, “Battle for the soul of the nation” on it. Actually, is that their slogan? It’s at the top of their website. It brings up associations for me with the Battle of Hogwarts—maybe people have other battles that come to mind but the phrase is heavy with struggle and myth and even morality. The Trump/Pence slogan, “Keep America Great” is hard sell this year no matter who you support for president. — Kristen Smith
The Logo Doesn’t Really Matter
Based on the most rigorous and extensive evidence across the social sciences that has been conducted testing on voters’ reactions to electoral campaign stimuli, we can predict undoubtedly that Democrats like the Biden logo and dislike the Trump logo, and Republicans like the Trump logo and dislike the Biden logo. If the color schemes and styles and fonts were altered, their vote choices wouldn’t change. Voters’ likes and dislikes are driven by partisanship and inconsistent attitudes, beliefs, and opinions follow. — David Clementson
Logos in and of themselves really do not impact electoral outcomes. But bad logos that do not reflect a campaign’s brand and serve its objectives and messaging are often indicative of a campaign that is not well executed. Ultimately, you want to select a logo that does no harm to a campaign and does not generate negative coverage or become a story itself as was the case with logos for the Jeb! 2016 campaign, the initial Trump-Pence 2016 logo and the Hillary 2016 logos. Boring is better than a logo that draws negative attention or has to be withdrawn. — Joseph Watson, Jr.
These logos are both perfectly fine and uninteresting as pieces of design. I care about good design as much as nearly anyone, and yet I couldn’t possibly care less about these logos. I find it hard to believe that a single vote will be influenced one way or the other by either logo. — John Weatherford
The fact that the Trump name in the Trump-Pence logo leaves no doubt that this is not a partnership between president and vice-president whereas the closeness in font size between Biden and Harris and the use of the same color in the Biden-Harris logo conveys more parity between the two with the flag motif re-enforcing that Biden is the top of the ticket. — Joseph Watson, Jr.
More Graphics Background (Bonus)
The typeface designer for Decimal, the type used in the Biden/Harris logo, is Jonathan Hoefler along with his team. Hoefler was inspired by vintage watches when he created this typeface. The Obama campaigns used typefaces by Hoefler & Co., also. The Biden/Harris campaign will not stray from whatever style guides have been determined by their design team because that’s what style guides are for—to maintain consistency. By the way, if you haven’t seen the Netflix show Abstract that features him, you should check it out! — Kristen Smith
Being able to translate messages, issues and grand challenges in a clear, educational manner is a vital skill for any graphic designer. In an effort to bring those lessons to life, students from Kim Landrum and Kristen Smith’s Advanced Graphics classes participated in a project “Our Plastic, Our Problem,” visually depicting the problem of plastic trash in the world’s waterways.
According to Smith, students were given the opportunity to “interpret this information any way they want…to educate an audience, persuade an audience, develop messaging or create public service announcements.”
Students first studied the issues leading to plastics in the waterways and were inspired by actual trash that the Office of Sustainability cleaned out of local waterways. Once they decided on an area to focus on, they had their choice of delivering their messages via a poster, infographic, social media campaign, website, gif or three-dimensional art. Almost all the created work focused on the themes of reduce, reuse and recycle.
For graphics student Kellie Stofko, this project reinforced values she currently practices. She created series of posters about reducing consumption that encourage viewers to use metal or paper straws, reusable shopping bags and metal water bottles. “Instead of focusing on recycling, we need to focus on reducing our consumption,” Sofko explained about her messaging. “I think this is something we need to focus on. The problem is so bad.”
The project was inspired by research by Jenna Jambeck, of the College of Engineering, who recently estimated that eight million metric tons of plastic enter the oceans each year.
The project is part of the University of Georgia Spotlight on the Arts celebration, Nov. 1-11, 2018.
A video about the Our Plastic, Our Problem exhibit can be viewed here: