View allAll Photos Tagged GRAPHIC
A little more about our 09th anime graphic tee "Live". For the design I employed three of our mascots. Shin (bassist), Yuki (lead singer), Mie (Drummer). Yuki here has pink/orange hair.....because I think its a law to dye your hair when you are in a rock band >_>".
Feel free to take, if used, credit and/or linking back to my Flickr would be much appreciated. Also, I'd love to read your feedback. Thanks!
I made a couple of equipment upgrades before the end of 2014...
After long-wanting a manual instant camera to burn through my stash of FP-3000B, I grabbed this: Graflex Crown Graphic, Ektar 127mm f/4.7 lens, Polaroid 405 back.
I originally planned to get a 180 or shove a manual lens into a folding pack camera, but then I found this for a much better deal, and it's more-versatile as down the line I can shoot 4x5 sheet/instant films as well.
I first bought it back in September however I found light leaks in the bellows, so I took it back and the guy had it repaired before selling it back to me a month later. I picked up the Polaroid back not long, afterward; and made a slight modification to the camera back so it would fit (just stuck a few washers in the screws for the springs). It's been out a few times already with decent results, using my phone to meter and set exposures.
new work for Art Brussels 2013. i'll be showing with www.bourouina.com/-19.5"x28"archival burnt paper
Graphic Design for a new packaging Branding for a Malt Beverage. This piece is part of my portfolio of Graphic Designer, Art Director and Creative Director.
These Graphic Illustrations has been developed for the Olympic Games of Vancouver 2010 Website. They follow the Vancouver 2010 brand guidelines
PNCA First Thursday: Sept 4th, 2014
Photos By Mario Gallucci
SuperTrash:
Pacific Northwest College of Art (PNCA) presents SuperTrash, an exhibition of 200 works of cult movie signage from the 1930s through the 1980s. The exhibition, which originated at The Andy Warhol Museum and went to the Anchorage Museum, opens at PNCA in Swigert Commons on September 4 and runs through October 21, 2014.
Curated by Jacques Boyreau, the author of TRASH: The Graphic Genius of Xploitation Movie Posters, SUPERTRASH features work by artists such as Joe Niem, Drew Struzan, Olivia De Berardinis, Robert Tannenbaum, John Alvin, Rene Ferraci, Jack Kamen, Albert Kallis, Neal Adams, John Solie, Reynold Brown, and Renato Casaro. Boyreau considers this accumulation of signage an alternative portrait of the 20th century.
Abigail Anne Newbold: Borderlander's Outfitter:
Borderlander's Outfitter is an exhibition and backcountry instructional retreat that explore the skills required to live self-sufficiently through the use of traditional craft combined with modern material. Borderlander's Outfitter cultivates designs for the self-sufficient life by speculating on a holistic model for individual survival irrespective of existing socio-economic systems.
Curated by Sarah Margolis-Pineo
Associate Curator of Museum of Contemporary Craft, Portland, OR.
Born in Boston, Newbold’s practice combines backcountry leadership skills and studies in cultural anthropology, with product design, fiber and material studies. She received a BFA from Massachusetts College of Art where she studied both Industrial Design and Fiber, and an MFA in Fiber from Cranbrook Academy of Art.
Stases:
Stases showcases new work by Bertrand Morin including the premier of a short film as well as image and text-based pieces. In this body of work, he uses language incorporated into visual art as a tool for visualization, imagination and memory. The opening reception is at 6:00pm on September 4, 2014 at the MFA Central Gallery at PNCA’s main campus.
Statement
This particular group of work was partially conceived as a reaction to the increasing use of photography in day-to-day life. Recently I have been struck by the growing number of moments I have witnessed where I see people straining to capture photographs and staring at something through the screen of a phone. Looking back at all of the times when I’ve done this myself, I don’t believe that I actually experienced that moment to the extent that I otherwise could have. My view was limited by pixels and resolutions and so was the subsequent digital memento. In response to this I have developed a daily routine of writing as a way to observe and remember moments that may not have been immediately striking in the first place. I think that some fascinating and inspiring things can be captured by looking outside of the facebook, instagram or cell-phone-worthy images and into those that might not collect the most “likes” or “reposts”. This series of work is the product of the incorporation of this writing and into my visual practice.
DEPOSIT/COLLECTION
This show contains an array of works of furniture, weavings, and paintings by collaborators Annie McLaughlin and Evan Humphreys.
Graphic recording from the IFVP Big Apple 2013 Conference:
Opening Keynote by Brandy Agerbeck: Visual at our core, Visionary to our Core
Brandy Agerbeck, a noted graphic facilitator and author, has been visually
facilitating groups of 2 to 200 in a wide range of industries since 1996. In
2011, she published The Graphic Facilitator’s Guide: how to use your listening,
thinking and drawing skills to make meaning, which describes the three
Powers of graphic facilitation and shares 25 guiding principles of the work.
Brandy has also been a strong leader and supporter of the IFVP, organizing
many of the annual conferences, serving on the board, and advocating the
development and growth of the organization and of individuals in their practice.
We look forward to hearing Brandy “chunk down” her thoughts on visual
practice and offer practical ideas to improve our skills.
Graphic Recording by:
Sara Heppner-Waldston
Graphic Recorder
Saragrafix
sara@saragrafix.com
I am working on a new series of work, different from my other work as I had the feeling I was at an artistic standstill.
Here's one of the graphic nudes I'm working on; it's a vector drawing which I will transfer to a handmade drawing or painting soon.
Buy a print here:
From the moment we are born, we are in one way or the other fleeing or attempting to flee. From inside a mother’s womb, at the first chance we get, as soon as we take that first breath, we reach out and yearn to be in a state other than what we are in. It is the first of countless times that we will have overstayed our welcome and acknowledge that it’s time to move on. It is then that childhood will commence which is actually a long preparation for the next vital individual migration: adulthood. Childhood itself (like life and this essay) will be an anthology of tiny literal and metaphorical movements. At this time we will learn that fleeing, escaping, movement, space for growth—migration: all this will be parts of awkward personal growing pains and ultimately parts of growing pains of civilizations. We will learn that this migration is comparable to the evolution of animal species in the way that it is caused (usually by harmful conditions) and it has effects (adaptations and movement). Migration is a major factor in the the evolution of the human species.
In early ocean-dwelling lifeforms, the need to eject one’s self for safety, nourishment and shelter incited the development of lungs, legs and feet. Further evolution made possible the convenience of flight through the development of feathers and hollow bones in some species.
Fast-forward to a few million years, the need for safety, nourishment and shelter will make humans migrate to follow herds of mammoths. People will migrate to escape hyenas and saber-toothed tigers. They will migrate to escape emaciating droughts and dead cold winters.
Fast-forward a few hundred years, the escape will not be just from the natural world, but from itself as well. Escapes will now also be from murderers, bigots, genocide, dictators, fascists. This migration, characterized by being either forced or voluntary (which many a time is undiscernable), will start having side effects that will result in the exponential complication of the human condition.
By this time, we will have come a long way from uprooting our communities to stalk herds of larger mammals. We now uproot communities to dodge fellow humans who want to annihalate us for worshipping the same imaginary god in a different way (or for worshipping totally different gods, for that matter). We now cross oceans to look for better places to live, then we will systemically displace and mass-murder the people who got there first and we claim their land for our own, erasing them and their history in long broad sweeps. We will now corral massive groups of our fellow humans, stuff them in boats then bring them to other lands to trade as slaves.
We will have short episodes of taming ourselves. We’ll invent imaginary currencies to use in exchange for goods and services and use this to step on each other. Exoduses will occur stemming from the choking off of moneys. Families will be torn apart. New ones will be formed. Tolerances will relax, narrow and relax again. We will invent gadgets to connect each other, but we will end up building more walls instead. War. “Peace”. War. “Peace”.
Fast-forward to the present day. It won’t be just groups of humans that has moved. With the clashing tides and ever-flowing current of humanity will flow information, stories, ideas and persuasions. Along for the ride are life-altering products and technologies and tangible and imagined currencies. With this comes a butterfly effect of more war, peace and war again. Imaginary laws and invisible borders will develop, increasing the tension of human movement. There is now harmony, but mostly dissonance. Migrations generally are symptoms of threats to our existence as individual persons and/or individual communities. It’s either to avoid a hail of bullets, avoid inner demons or to catch a windfall of cash. They are attempts to relieve tensions.
In an impossible utopia, I imagine that there wouldn’t be any more migrations of the forced kind. Migrations would simply be due to a search for the self, an attempt on a different perspectives of selves by changing frames. There would be no running to save a life. There would only be moving to enjoy life.
The only semblance of a utopia we can attain at the moment is that hopefully when we die, we would find ourselves in a different place from where we started. A better one. I’m not holding my breath.
#Immigrants is a digital #collage of visual elements that simulates events and people that have influenced and are currently influencing migrations. It is a visual narrative on the push and pull of circumstances that broke up and put together new communities thus contributing to the proverbial ethnoscape.
Graphic made to accompany the following story: "The violins made by Antonio Stradivari and Guarneri 'del Gesu' 300 years ago are considered the finest violins ever made and are worth millions of dollars today. These violins also hold special fascination for scientists, who have tried to figure out what makes them so special. In this lecture and recital, Tao will describe some of his latest research done in collaboration with violin makers and scientists."
Graflex Century Graphic, sheet film holder with Instax card. Rolled with part of some polaroid back.
In our second version we wanted toput more of ourselves into the poster and to make it look like the type was trying to make sense in the madness of colour and mark making. We signed our own names at the bottom and placed Fletcher's name at the top to show that it was his quote and ultimately a tribute in his name.
Playing with the idea of giving bloggers a graphic way to link to my festival images. What do you think? I'm thinking that on the one hand, bloggers prefer to choose their own content. On the other hand, I wonder if I can make it easier for them to choose?
Feel free to grab: farm4.static.flickr.com/3128/2653080250_3c05bece9b_o.jpg
and link to: relish.myraklarman.com/ann-arbor-summer-festival-2008
Anselll Jones & Co. Ltd were block & tackle engineers based in Birmingham. Letter dated 12 April 1928 Ref.: BT_004_52
From the Bill Lind Collection
A new toy - Speed Graphic Anniversary 4x5 camera with a 127mm lens...circa 1940's
everything is working :)
From kclibrary.org:
"934 Wyandotte
Samuel B. Tarbett (1917)
Constructed to house businesses in the publications and graphic arts trades, the Three-part Vertical Block Graphic Arts building is treated with contrasting stone bands at the end bays and attic story.
Visit my website: ChrisM70.com.
Perfect for all sorts of graphic uses: scrapbooking, web backgrounds, card making, announcements, invitations, photography backgrounds and much more!