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Contact Info:CLIFTNBRETT[AT]GMAIL[DOT]COMWWW.ANATOMYMAGAZINE.COM919-381-7212

WHO I AMTable of Contents

I know, icebreakers are awkward, but heck, sometimes you just have to power through them. A little bit about myself.

WHAT I DOA little bit of information on what I do, how I apply these skills and how I can bring them to your business.

MY WORKWant a taste of my work? No problem! Take a look at my design work by looking at it in the flesh.

CONTACT!So you want to get started? Take a look at this page to see my hourly rates, con-tact information, and specific information regarding potential future business.

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HELLO! I am Clifton Brett. I am a graphic designer. I am twenty-two years old.

I LIKE:SNOWBOARDINGTRAVELINGFASHIONDUBSTEP SHOWSWRITING

I started designing at around the same time that I started snowboarding: Between the ages of eight and nine. Finding a need to augment my

continuously-growing HTML skills at the time, I found a distinct importance in learning programs such as Photoshop to help deliver more aesthetic principles to my work. As a child, I spent time cod-ing and designing many webpages, developing my skills to the point where I was offering lessons in as early as the seventh grade. Later, these skills would be of service to my magazine publishing company, Corpus Media. What I am saying is that, though I am very young, acquiring these skills re-quired for me to completely nerd out during what some would describe “the happiest days of our lives.” Clearly, however, I came out okay.

But of what use is this information to you? Firstly, it is to suggest that despite my age, it remains important to not judge any book by its cover. After all, I am young, but even so, I am a designer with over thirteen years of experience. With that being said, how can I help you today?

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WHAT I DOIn a certain sense, you could say that I am a Jack-

of-All-Trades: I am currently working towards my BA in English at The University of North Caro-

lina at Chapel Hill. I publish a digital men’s fashion magazine to over 50,000 souls peppered across the United States. Simultaneously, I interview national and world-renowned artists, and I make work out of garnering the serious attention, and sometimes business, of global brands.

The secret, however, is really not all that enig-matic. In all, what good business wants is one thing: That above all else, you come correct. I later learned that my skills were well honed because my design sense was putting me in front of big players across a diverse array of industries. I realized in these mo-ments that I had something special, something that hearkened the attention even of corporate giants. What I do, is deliver this very same design sense to your business.

I HAVE USED MYKNOWLEDGE OF THESE

PROGRAMS:Photoshop

FlashDreamweaver

InDesignIllustrator

TO CREATE THESE SKILLS:Blog Design

(Blogger & WordPress)Logo Design

Magazine Design (Print & Digital)Flier & Pamphlet Design

Album ArtworkBrand Development and Identity

Creative DirectionPress Kit Design

Advertisement Design (Print)Photography

THIS IS WHAT I CAN OUTSOURCE TO ENHANCE

MY SKILLS:Photography (Outsourced)

Models, Stylists, Etc.CMS Design

Printing ServicesHosting Services

WHERE I FIT INYou have a great idea that is accompanied by a

great vision. However, you need it to look and be delivered a certain way. You don’t want just

any run-of-the-mill graphic professional, you want someone who is skilled and up with the times. You want someone who can deliver quality, edge, and affordability. You want someone who, well, gets it. Putting together a visual presence is a sensitive process. It requires more than just an ability to ef-fectively navigate professional-grade software. It requires what I call, the oculus, or creative eye, to ef-fectively articulate a client’s vision. This extends to not just putting a page together, but understand-ing things like the psychology of font faces, the im-portance of textures, a grasp of color theory, and a spirit of innovation.

This is where I come in. Ideas, concepts, and vi-sions are my forte. You want edge? Got it. Class? Got it. Professionalism? Got it. Good.

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MY WORK:Much of my work has been characterized by my involvement with the mens fashion publication that I produce, Anatomy Magazine. My role with this publication has historically been as the editor-in-chief, working with some twenty-five writers to put together our editions. In the context of design, however, I have put together all of them almost entirely alone. I believe that including these editions is the most viable way for you to obtain a grasp of my aesthetic, skill level, and moreover, access to third party re-sources. Below is the entire first volume of Anatomy Magazine, available to view in Flash format.

ANATOMY IFEATURING: BROTHER ALI, MAYER HAWTHORNE, DANIEL JOHNSTON, ME GUSTA, MAKESHIFT & THE CLIPSE

MILESTONES: DEBUT ISSUE, FIRST TIME WORKING WITH NATIONAL TALENT.

Anatomy I is the debut issue of Anatomy Magazine. First releasing on Jan. 1, 2010, Anatomy Magazine has been a voice in

cross-polinating the fresh and new with the note-worthy and famous. Anatomy I was a testament to that. Covering our debut issue with The Clipse, we experienced tons of successes on the publish-ing front, allowing for us to turn around and work with new brands and artists. After all, we delivered on our product.

One of the interesting things about this release, however, was learning that developing a brand can take some time. In our first step as a publication, Anatomy was still learning to walk, and recieved plenty of mixed feed back on the “Black Bar” title that we only used on the first issue. Anatomy I, to date, is one of the most difficult editions of Anat-omy Magazine to access, largely because of our experimentation with which publishing platform we believed to be the most viable. Therefore, this edition is only available in Adobe PDF format.

*CLICK ON THE ISSUE COVER TO DOWNLOAD ANATOMY I

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ANATOMY IITHE SOUTHERN ISSUEFEATURING: DIPLO, BLACK LIPS

MILESTONES: SUCCESSFUL FOLLOW-UP ISSUE, EFFECTIVE AND NOTEWORTHY REBRANDING EFFORT, EXPANDED BUSINESS WITH NATIONAL BRANDS

Anatomy II is the successful follow-up issue to Anatomy I. Attuning our focus to south-ern culture, we found ourselves wanting to

embrace this focus, largely because of Anatomy Magazine’s location in the south, which can be an odd place for a fashion magazine. In delivering this concept, we sought out the opinions of some super-talented southerners: Diplo and Black Lips.

Following in suit with this theme, it was necessary for us to undergo a new re-branding effort, as we looked to the horizon for a product that was high-quality in terms of delivery, and demanded the attention of larger brands. Anatomy II marked the opening of newer, higher-quality resources for the publication: Shirts from Ralph Lauren, denim from Levis, and Sneakers from Nike.

It is not so much about the clothes, so much as it is about the attention. As a publication, Anatomy Magazine was metamorphosing into the brand that everybody saw it as, and when it came to outside influence, it became easier to get their at-tention.

*CLICK ON THE ISSUE COVER TO READ ANATOMY II ONLINE

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ANATOMY IIITHE GREAT AMERICAN ISSUEFEATURING: ARTWORK FROM CALVIN BRETT, GREAT AMERICAN MIXTAPES

MILESTONES: MUSICAL COLLABORATIONS WITH NATIONAL ARTISTS.

Anatomy III is the Summer ‘10 issue of Anato-my Magazine. Though its release was well-recieved, The Great American Issue was one

of the most difficult and time-consuming pieces of work to publish. It was ambitious,making a pass at profiling names and faces of individuals who have been staple in terms of their influence on American Culture.

Aesthetically, the Great American Issue was tri-umphant in comparison to preceding editions of Anatomy. Successfully, we refined the look and feel of the publication, giving it a more high-end, “Van-ity Fair-esque” feel. The design fundamentals from this issue have largely been carried over to other editions of Anatomy Magazine.

The Great American issue was accompanied by the Great American Mixtapes by Mick Boogie & Terry Urban and The Hood Internet.

*CLICK ON THE ISSUE COVER TO READ ANATOMY III ONLINE

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THE GREAT AMERICAN MIXTAPESSIDE A: THE HOOD INTERNET

SIDE B: MICK BOOGIE & TERRY URBAN

Releasing in tandem with Anatomy III, The Great American Issue, were the Great Ameri-can Mixtapes. Both are concept albums deliv-

ered by The Hood Internet (Side A) and Mick Boogie & Terry Urban (Side B).

Our intention for these side projects was two fold. The first was to see if we could come up with a series of mixtapes that artistically could fit into the diagetic experience of the third issue. Secondarily, it was to put to test previously standing theories that producing a high-quality, incentivized com-mon denominator for an audience is one of the most effective modes of promotion. Both of our theories delivered.

Both are available for your listening enjoyment.

*CLICK ON THE MIXTAPE COVERS TO DOWNLOAD THE GREAT AMERICAN

MIXTAPES

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ANATOMY IVTHE YOUTH ISSUEFEATURING: HUGO, JACOB HODGKINSON

MILESTONES: FIRST INTERNATIONAL PHOTO SHOOT (JAPAN), GREATEST READERSHIP (50,000+)

Releasing at the conclusion of 2010, Anatomy IV, The Youth Issue, closed out Anatomy Magazine Vol. 1. This issue, though bringing

some of the most editorial cohesion to date, is best recognized for its tight and comprehensive aes-thetic principles, airy flow, and far reaching nature, featuring our first international photo shoot which took place in Japan.

This issue also marks the beginning of Anatomy Magazine’s editorial relationship with RocNation, with our interview with folk artist, Hugo.

Anatomy IV also marks the successful close of our first volume of issues, with us closing out our year at over 9,000 Subscribers and 50,000 read-ers. Comparatively speaking, Anatomy I had 290 Subscribers and 600 readers during its pre-release phase in December ‘09. It’s amazing what you can do with one year.

*CLICK ON THE ISSUE COVER TO READ ANATOMY IV ONLINE

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ANATOMY VTHE 1 Y.O. ANNIVERSARY FEATURING: START SOMETHING (DJ HIDDEN CAT, ANDREW HAMLET, DON’T DADDY DON’T, ESCHIE & JFK of MSTRKRFT)

MILESTONES: 1 YEAR ANNIVERSARY, LARGEST ISSUE TO DATE, MOST COMPREHENSIVE ISSUE EVER.

Anatomy V serves the opposite purpose of Anatomy IV. That is, to kick off the next volume. Marking the beginning of Anatomy

Magazine, Vol. 2, Anatomy V is also one of our more successful issues to date. This could not only be found in our sustained readership, but also in the fact that in terms of delivery, this was our most comprehensive issue to date.

Much of this could be attributed to our fixation with starting things for this issue. With Anatomy Magazine having already moved through its first year as a publication, we wanted to profile differ-ent artists and talents who were starting their own body of work as well and were considerably well beneath the radar. What we came across was something much better than we had ever antici-pated, perhaps the most candid and honest com-mentary on success, failure and making it.

*CLICK ON THE ISSUE COVER TO READ ANATOMY V ONLINE

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HOW SOON CAN WEGET STARTED?Immediately! But there are some things that you

should take into account. First, please note that there is an hourly minimum to all projects. The

reason why is because there is a drafting process that has to be undergone, and in all honesty, set-ting aside a short period of time such as two hours for even a project as “simple” as a logo could end up being twice if not three times as long. After all, making something perfect in accordance with your standards is always going to take time. The other thing to take into account is that it is always prefer-able for me to conduct business in real-time. Emails are nice, but lets be honest for a moment in saying that sometimes, they get lost in the sauce. Doing good business means sharing thoughts over the phone, or even conducting short meetings to have face time for the sake of a good idea. Before I start anything, I prefer to have an appointment to speak with my client so as to get a download of what he or she is thinking. The specified assignment will effec-tively start once the first half of payment has been received. The second part of the payment should be made available upon completion of the assignment. If there is no money at the end, then the work I con-duct will not be turned in until payment is recieved.

In closing, I hope that you like what you see, and I look forward to hearing from you soon, whoever you may be.. And as always, feel free to reach out.

HOURLY RATE $50/hr

HOURLY MINIMUM 5 hours

AGENCY RATE $75/hr

HOURLY MINIMUM(AGENCY) 7 hours

PAYMENT STYLE Old School

(half now/half later)

HAVE AN IDEA?CONTACT ME ABOUT A PROJECT:CLIFTNBRETT[AT]GMAIL[DOT]COMWWW.ANATOMYMAGAZINE.COM919-381-7212

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