Stuffed Up

Below is a link for a nice NY Times slide show of Jill Freedman's photos of New York City in the 70s (see right).

I've been carrying my new Diana around with me lately snapping pictures when it occurs to me (it's hard to get back into that habit).

After the show next month, I'm going to dedicate myself to getting some 20 plus rolls of 120 film finally developed. Then I'll have enough material to keep this blog going for a decade (at least).

Anyway, I am at the tail end of my really awful cold. I am never going to congratulate myself on my amazing immune system ever again. Feeling blah, but my show isn't going to hang itself.

It's very exciting... my long to do list is getting littler and littler! One might even call it teeny tiny! http://www.nytimes.com/slideshow/2008/04/26/nyregion/042708-Freedman_index.html

Springtime

It was an utterly gorgeous day today.

Musings

Last night I finished my large print that is inspired by my love of posters and French things. It's title, Fete, is the title of the whole show. It came out very well and is probably the most thought out piece I've made.

Been doing a little final touches-- silkscreening on a few of the pieces. So, in fact, some of my prints are monoprinted, silkscreened, handpainted lithographs. Um.

Although my printing is pretty much finished unless I have a last minute revelatory vision, I am feeling vaguely anxious about the final things that need to be done. To make myself feel better I've decided to have a tv-free, fuss-free evening. Got dressed up and had dinner with some friends. Then, hot shower, tidy my room, and now I'm having quiet time (like Kirsten dictates to Caden when he is crazed. And speaking of Caden Dreamboat Martin, he's gonna be 4 in a week!)

Last Night

I made an edition of four very large lithos inspired by those Luxembourg chairs in Parisian Parks.

I'll probably add color to a couple of them.

In my room today

Getting my work organized.

Back to the studio tonight to do BIG lithograph (or at least part of it).

Brooklyn-centric Entry Today

Poster designed by Chicago based designer, Jenny Beorkrem at Ork Posters. ( http://orkposters.com/ )
They have a few different cities to choose. I recently purchased the brooklyn poster in a lovely blue!

Speaking of Brooklyn, nice blurb in the Times about an hobbyist photog who snaps old and unique Brooklyn storefronts:

http://cityroom.blogs.nytimes.com/2008/04/08/brooklyn-storefronts-as-metaphor-for-a-changing-borough/index.html

I've been wrestling with varying degrees of technology today, ranging from playing with my new low fi plastic diana camera to wrapping my head around why my new ipod and operating system don't match; from feeling soft letterpress paper under my fingers to fooling around with a picture of the invites in photoshop.
here are the invites, newly arrived in the mail. I'm pretty proud of them!

Spring is giving me wanderlust.

A lovely example of Art Nouveau era illustration, by Theophile Alexandre Steinlan.

This is the kind of stuff I'm crazy about.

Nice Colors

My Dad's a Famous Artist!

I am equal parts excited for my Dad and intrigued to know what kind of discounted gift items I can find at "Suncatcher's Dream."

Interesting Type Tidbits

As always, at work, purusing the Times, interesting q&a on Obama's branding using type. Some highlights, below.

Also note the Shepard Fairey (of Andre the Giant "OBEY" fame) designed campaign poster.

April 2, 2008, 10:49 pm

To the Letter Born

By Steven Heller

Many designers have waxed admiringly about Barack Obama’s sophisticated typographical design scheme, particularly the consistent use in much of his graphic material of the typeface Gotham, designed by Tobias Frere-Jones. So I called Brian Collins, an expert on branding, to get his thoughts on what this “good design” means for the candidate.

Steven Heller: As a branding expert, can you tell me what it is about the typographical scheme of Senator Obama’s campaign that is unlike his challengers’?

Brian Collins: ... From the bold “change” signs to their engaging Website to their recognizable lapel pins, they’ve used a single-minded visual strategy to deliver their campaign’s message with greater consistency and, as a result, greater collective impact. The use of typography is the linchpin to the program. Type is language made visible. Senator Obama has been noted for his eloquence, so it’s not surprising that someone so rhetorically gifted would understand how strong typography is and how it helps bring his words — and his campaign’s message — to life.
...
Q: What is it about the typeface Gotham that adds personality to the Obama brand?

A: I don’t think that Gotham adds any personality to Senator Obama’s brand. I think it just amplifies the personality that’s already there. ...there’s an oxymoronic quality to Gotham, which is why I think it’s become so popular. It has a blunt, geometric simplicity, which usually makes words feel cold and analytical (like Univers), but it also feels warm. It’s substantial yet friendly. Up-to-date yet familiar. That’s a tough hat trick. And Gotham has another quality that makes it succeed: it just looks matter-of-fact. But perhaps any typeface inspired by signs at the Port Authority Bus Terminal in New York City — as Gotham is — will look like that.

Q: Could this have been accomplished with other typeface(s)?

A: Yes. But most of them are have been crafted within the last decade or so. Newer fonts don’t carry as much historical visual baggage for candidates looking to the future instead of the past.

...

Q: Do you think the typographical style actually makes a difference?

A: You bet I do. Style equals accuracy. Put the word “change” in Comic Sans and the idea feels lightweight and silly. Place it in Times Roman and it feels self-important. In Gotham, it feels just right. Inspiring, not threatening. In the end, typography makes a real difference when it delivers words and ideas that are relevant to people. And for many, that seems to be the case here.

Sometimes...

...it seems like the translation is lacking soul.

My re-drawing of the body is less simple and cartoony. Right now it's looking kind of porn star to me, so I'm hoping i can go in and remove some of the booboos after I process the plate (i.e. the second belly button, the HUGE nipple, the hair (why did i add hair) the mistakes in the legs.)

anyway, if this one's gonna work, I'll need to really nail the color.

I may blow up the photocopy as large as I can and do a transfer, and then see which version I like better.

Actually, now that I think about it, it might look better as two parts: print the flags and background, then do a separate plate for the body to give the whole thing the collaged together feel i like about the drawing. Maybe I can do it in two colors. ooooooo.

Oh dear, now I have to start again I think.

First and Most Important

My new haircut:

Cool Article

In the NY Times.

"The cartoonist Al Jaffee, 87, has learned to use a computer for typography, but he still draws his Mad Fold-Ins by hand. Above, stages in the creation of a forthcoming takeoff on the new Indiana Jones film."

Photo by Librado Romero (cool name)

http://www.nytimes.com/2008/03/30/arts/design/30genz.html?ref=design

April Fools

I went to the graphics center today expecting my normal Tuesday night shift, but someone was covering for me! I had a chance to catch up printing the plates I had drawn but set aside while I finished the wedding invites and Xeric application.

I have so much to do this month. I'd like to finish two more very big plates inspired by vintage travel posters. Here's the sketch/collage that's the inspiration for the first one.

I'm getting a haircut tomorrow which is always a big event for me. I spend a week picking out hairstyles that will make me different and then i just get my same wavy bob each time.

It's pouring out tonight. Nice night to be cozy and read in bed for a bit. Actually, it's kind of scary, it sounds like my windows are going to explode.

night night.