|"When we seek to discover the best in others, we somehow bring out the best in ourselves." ~William Arthur Ward|
Most everyone can agree that nine years is a long time. In nine years, we experience two presidential terms, two cycles of students on campus, and who knows how many winter and summer Olympic Games. That’s how long Phil McIntyre, CEO of The Brand Gallery and PGM Artists, has offered summer internships exclusively to Denison University students. In 2012, the latest McIntyre mentees—Brooke Donovan ’13, Tyler Mitchell ’13, Lizzie Kunkle ’14, and Morgan Janes ’13 (shown here perched atop company headquarters) — were exposed to all things advertising and marketing.
McIntyre compares his companies’ internship to the rigor of special forces training. He said the Brand Gallery and PGM Artists intern program throws aspiring business people into the deep end and holds their heads down. The program is designed to be “a win-win situation” for the interns and the companies; McIntyre tailors the internship to eachstudent’s interests within the field by giving him or her valuable projects in that area.
Donovan, a communication major and Spanish minor from Westport, Connecticut, recognized several similarities between the structure of McIntyre’s companies and Denison. She thought both environments were equally intimate, challenging and well-rounded. Her duties included research, writing and working with social media. Additionally, she capitalized on her knowledge of the Spanish language and culture to offer insight into Hispanic media during her internship.
Kunkle has a specific career goal and saw McIntyre’s internship as an important step in fulfilling that dream. She plans to work in the film industry, specifically post-production and editing. As a cinema major from Pittsburgh, Kunkle was attracted to this internship because she wanted to use her film editing skills in a professional setting. And that she did.
Among her other duties, Kunkle was responsible for most of the filming and editing of a video that announced The Brand Gallery’s new offices. She also edited and produced a video that introduced the 2012 summer interns (you can watch both videos at the bottom of this page). Kunkle enjoyed the opportunity, and described her internship experience as a comprehensive one.
McIntyre fully understands the value of a liberal arts education as well as the benefits of Denison connections. During his time at Denison, McIntyre was a cinema major, lacrosse player and Sigma Chi .He, too, completed a summer internship with Marty Jones ’86, working as a production assistant on the feature film Waxwork II: Lost in Time.
Now, as the head of his own operation, he finds that Denison students are attractive internship and job applicants because they “define a liberal arts education.” He understands the qualities Denison instills in its students and wishes to surround himself with those people. This is one of the major reasons why The Brand Gallery and PGM Artists opportunity is extended exclusively to Denison students each summer.
After completing The Brand Gallery and PGM Artists internship, both Kunkle and Donovan have a clearer picture of their futures. Kunkle’s experience reinforced her desire to become a film editor, and Donovan is more confident in her decision to enter the communication field.
The benefits of The Brand Gallery and PGM Artists internship extend beyond the program’s 10 weeks. During the internship, McIntyre introduces the interns to his friends in the business to expand the students’ professional network.
This networking is enabling Kunkle to start the job search as a college junior and she has been in frequent contact with McIntyre since the end of her internship.
Over the course of the internship, Donovan said that McIntyre emphasized one major life lesson: “If you’re willing to learn and you’re willing to work hard, you’ll go far.”
Read more of their first-hand accounts here.
Video feature of the Brand Gallery/PGM Artists’ new offices:
produced by Lizzie Kunkle
If you are interested in a summer internship opportunity, please request to join DULink, or email email@example.com for more information.
Lightning strikes twice for multi-screen branding agency The Brand Gallery, as the designer of ION Television’s current on-air look has delivered a ‘rebrand 2.0’ for the 80 million home entertainment network whose lead programs include: ‘Leverage,’ ‘Flash Point,’ ‘House,’ ‘Psyche’ and ‘Criminal Minds.’
“ION’s branding team, led by Russell Frederickson, creative director, senior vice president, and Chris Addeo, senior director, marketing, were pleased with the performance of the on-air look we designed for them in 2010 but wanted to refresh the look to reflect the network’s steady growth,” said McIntyre, who with partner and chief creative officer Iain Greenway, co-founded The Brand Gallery (2005) in Greenwich Village and moved to Greenwich, CT in 2010. “The ION Television ‘rebrand 2.0’ is a tactical approach for the network, which is always moving forward and adding exciting new programming,” said McIntrye.
McIntyre and Greenway supervised an expansive team of PGM Artists who contributed to the comprehensive ION Television update from their newly renovated, hi-tech loft-style building, situated in a private campus-like setting.
“Key to the creative process is how we handled ION’s mandate to elevate the network’s previous look, while accomplishing some important brand objectives,” added McIntyre, whose agency’s recent credits include on-air identities for UnivIsion, Televisa Deportes Network, and YouToo, “Logos, promo tags, bugs, are always in motion. We’ve gone from 2D to 3D, or as ION likes to say, to ‘2.0,” noted McIntyre.
“The new look builds on ION Television’s original ‘unfolding’ page design system, but ramps it up by introducing a three-dimensional architecture system in which rotating blocks present brand content, a new typeface (Gotham), and more vibrant brand colors, which together heighten the impact considerably,” said Greenway, whose CV includes 12 years as an award-winning BBC creative director. “We delivered a comprehensive toolkit comprised of hundreds of individual components that unifies the ION Television identity across a multi-screen world of Cable TV, the Internet, smart phones and tablets,” he said.
While the new program IDs maintain a visual connection to the previous two-dimensional unfolding block system, the ION Television content is now promoted in a three-dimensional environment where content elements rotate and flex around each other in architectural space. “The ION network package IDs embody the architectural feel of screen space,” said Greenway, “allowing us to create the appearance of physical spaces in which to showcase talent, programming and sponsors. There’s an infinite number of ways to accomplish that – pulling shapes back, moving panels forward, dropping or rotating them, etc., like a constantly moving stage set. Essentially the viewer enters the event, always getting the brand payoff in conjunction with program information. We’ve created a totally flexible environment that enables ION’s designers to interchange shows, messaging, and logos as they desire.”
The Brand Gallery also provided ION a comprehensive toolkit to enable its designers to maintain a consistent brand look throughout its system included promotional materials and designs for website interfaces, animated web banners, posters, billboards, and even corporate stationery. “It was important to provide viewers a feeling of familiarity whatever screen one accesses. The ION Television brand flexes and works in all of its environments, maintaining a reflective quality, an inherently subtle dimensional feeling,” added Greenway.
The flexibility of the logo enables it to work in many formats, shapes and scales, to be productive without causing design roadblocks. “This ability makes it easy to create print pieces with consistent branding, ” added Greenway. “If it’s logical, simple and makes sense, it will be used. And, hopefully it will be fun!” said Greenway.
Creative Design Execution: Thank You, a PGM Artists company
Music: Rob Kahn, Mixology, a PGM Artists company
Still Big but No Longer East, League May Sell Its Name
The Big East Conference that will emerge from a punishing course of realignment will soon have a new name.
It certainly needs one. The made-over Big East will reflect little of its Eastern roots, its history or its rivalries.
Realignment has so thoroughly upset the conference that, by 2014, only one of its founding colleges, Connecticut, will be left — unless it relocates by then. The conference is negotiating to sell its 34-year-old name to the seven defecting Catholic universities — St. John’s, Seton Hall, Marquette, DePaul, Georgetown, Villanova and Providence — that are creating their own basketball conference. The cost of the name will be based, in large part, on how valuable Big East history is, and how badly the Catholic colleges crave it.
An established name for a new, basketball-based conference would be a valuable asset. “The reason there’s even a discussion at all points to the fact that there’s equity in the name,” said Phil McIntyre, chief executive of The Brand Gallery, which develops branding and promotional strategies. “And the Big East is entitled to money for its name: it was arguably one of the big power conferences.” The price to be paid by the Catholic colleges will most likely be based on how much money they leave behind in pools of revenue that include exit fees from departing universities, entry fees from new members and cash earned for games played in the N.C.A.A. men’s basketball tournament. From 2006 to 2011, the conference amassed $17.7 million from those units, according to the N.C.A.A., which would not say how much of that money was earned by the seven departing universities. A deal on the name could be announced in a few weeks.
And then a new task will begin for the Big East: finding a name that embraces the geographic hodgepodge that the conference has become in its scramble to maintain its viability, if not its former stature. Mike Aresco, the Big East commissioner, has a challenge not faced by his brethren in other conferences that have undergone some changes. He declined to comment. The Big Ten kept its name as it grew to 12 universities. The Pacific-10 became the Pacific-12 without worrying that Colorado and Utah were even farther from the ocean than Arizona State. The Big 12 shrank to 10 universities, but that did not prompt a name change. For a Big East by another name, questions abound. Will “Big” remain part of it? With multiple regions in a remade conference that do not add up to national scope, what, if anything, about the universities will the name try to convey?
And, of course, something as amorphous as Conference USA is already taken. “The geographic element has been turned on its head,” McIntyre said. “You don’t want to be overly committed to the intrinsic DNA of the schools remaining and those who would potentially join because they change. You don’t want to limit the evergreen nature that every brand builder wants to build into this exercise. You want the name to be impenetrable to change.”
The corporate world has witnessed the type of name-changing that the Big East will face. Datsun became Nissan. Esso morphed into Exxon. Andersen Consulting turned into Accenture. The World Wrestling Federation turned into World Wrestling Entertainment. And the N.B.A.’s New Orleans Hornets will soon be rechristened the Pelicans.
Once upon a time, the Big East made perfect sense when the athletic directors of Providence, St. John’s, Georgetown, Syracuse, Seton Hall, Boston College and Connecticut gathered in 1979 to form the conference. “One of the great misnomers about the name of the Big East, which has been written through the years, is that Dave and I hired a P.R. agency and it came up with the name,” said Mike Tranghese, a former Big East commissioner, referring to Dave Gavitt, the conference’s first commissioner. That September, he said, “we met with the track coaches who recommended the Big East name.” He added: “I like the name. It’s recognizable to fans and it’s a marketing tool. But the name means more to the basketball group because of the history of the league. I think the Catholic schools could use it.”
The decision by the Catholic seven to bolt, this year or next, was a big addition to the news of other universities relocating: Pitt, Syracuse and Louisville chose to join the Atlantic Coast Conference (where Notre Dame is also headed for all sports except football); Rutgers opted go to the Big Ten; and West Virginia has joined the Big 12. Miami, Boston College and Virginia Tech left for the A.C.C. a decade ago. Meanwhile, there are myriad regional flavors in the universities that will join the conference: Central Florida, Houston, Memphis, Southern Methodist, Tulane, East Carolina (football only, for now) and Navy (football only). They will join the universities that remain: Connecticut, Cincinnati, Temple and South Florida. A 12th member is expected to be added. Those colleges will almost certainly play for a conference that is not called the Big East.
A version of this article appeared in print on February 28, 2013, on page B19 of the New York edition with the headline: Still Big but No Longer East, League May Sell Its Name. By RICHARD SANDOMIR Published: February 27, 2013