Black and White and Read All Over

Reading Now You See It and Other Essays on Design by Michael Bierut the other week, I was reminded of the first time I was “published,” the thrill of it all; it was high school, and for some reason I don’t properly remember, our high school had two pages in the local newspaper to fill. (It was some scheme to promote journalism, I think? It wasn’t just our school, the other high schools in the area got two pages as well, spread out across a number of weeks.)

I wasn’t writing back then; I was the artist of the group, the one always drawing with big ambitions that involved drawing but were somehow entirely formless beyond that. I was going to go to art school, then there was an undefined Step Two before we hit that “Step Three: Profit” part. So, when I was asked to contribute an illustration for someone else’s story, I said yes with the mixture of ego and arrogant well, of course you were going to ask me that speaks to the teenage experience.

I then proceeded to psych myself out about it for days after.

I don’t remember what the story was that I was illustrating, but I do remember that the illustration was to be a deer riding a sledge down a snowy hill. (Why? I genuinely wish I could remember.) I drew that deer on that hill multiple times in multiple ways to the best of my meager ability — cartoonishly, realistically, from different perspectives — and none of them were right. I just knew it implicitly; this could be my big break (into what, I had no idea, but still), so I had to not fuck it up and everything I was doing was fucking it up. Nothing I could do was good enough.

In the end, I submitted this terrible, lifeless painting — yes, a painting, counterintuitively — that was the closest I could come to acceptable by deadline. I hated it, and felt like I’d let myself, and everyone else, down. When the piece ran, the illustration was a blurry mess and I was suitably embarrassed, but I remember being okay with it, because even though it was shitty, I was in print. It was still a rush, still this feeling of, “I’ve made it, I’ve arrived.” I was, in my head, real at last.

Wondering why a hand-drawn picture of a happy shiba inu surrounded by broken English in Comic Sans ended up on page 27 of today’s Guardian? The simple answer is advertising.

For those who don’t recognise the image, above, it’s an example of the doge meme – in this case, a newspaper-themed one, hence captions such as “Brekin newz: cates r ilegal” (breaking news: cats are illegal) and “pls red” (please read).

It ended up in the financial pages of the paper thanks to a business data startup called DueDil, which won a competition run by the Guardian small business network.

“We were surprised that the Guardian would let us do it,” explains DueDil’s chief executive, Damian Kimmelman.

“We got the £50,000 [of advertising space, the prize in the competition] and we were like: ‘Oh crap, how are we going to spend this money?’ We debated, and decided on Friday we were going to do something funny. We don’t really need the advertising anymore, we get enough traffic as it is.”

On the one hand: Yes, it’s pretty funny despite Doge in general harshing my mellow.

On the other: Why didn’t DueDil just refuse the prize and ask for another small business to be chosen who might have wanted the ad space?