Unknown 1 300x220 Is it OK to wear your own bands t shirt on stage?I think Def Leppard’s “Armageddon It” video was the first time I consciously noticed a dude in a band wearing his own group’s t-shirt. As a kid it confused me, and it continues to puzzle me to this day. I mean, I guess it’s one thing if you’re in a touring band and an overly exuberant fan bazooka-barfs on your chest minutes before you hit the stage. Then you’re in a position where you’re just looking for something relatively clean, and digging into your box of merch might be your only option.

But Joe Elliott, Def Leppard’s lead singer, clearly modified that shirt pre-video-shoot. This was all very intentional. Was he worried that the 50,000 Aqua-Netted fans in attendance weren’t sure what insanely popular band with one of the best-selling albums in the history of rock music they paid to see? Or did he not want to ruin one of his good shirts by cutting it into a sweet tank top, which he then proceeded to tuck into his shredded jeans? We may never know for sure.

But we do know this: he’s not the only member of this club. You’ve probably seen singers in local bands pulling the same move. Maybe they think this is the same thing as writing your group’s name on the front of the bass drum, but it’s more effective because it moves around a lot and is at the front of the stage. Or maybe the rest of the band secretly wishes the singer would stop wearing their shirts because it’s goofy-looking and is cutting into their merch sales.

What do you think? Is is tacky to wear your own band’s shirt on stage, or is it a badge of honor for the road-worn musician who was so busy rocking that he lost all the shirts he packed for the tour? Got any favorite pictures of artists wearing their own shirt? Share those, too!

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The post Is it OK to wear your own band’s t-shirt on stage? appeared first on DIY Musician Blog.

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Creating a memorable logo may well be one of the most challenging tasks a designer can face. The success of an organization or brand can hinge on the effectiveness of a logo. So much information can be contained within those few shapes and lines. Here we present logos from designers who were able to rise to the challenge and produce exemplary work.

West Michigan Center For Arts And Technology by Plenty
Go to image pageWest Michigan Center For Arts And Technology by Plenty

Abstraction by George Bokhua
Go to image pageAbstraction by George Bokhua

A Flower by George Bokhua
Go to image pageA Flower by George Bokhua

Squirrel by George Bokhua
Go to image pageSquirrel by George Bokhua

S Logo by Kemal Şanlı
Go to image pageS Logo by Kemal Şanlı

Otto Climan Studio
Go to image pageOtto Climan Studio

Dennis Pope Logo by Jørgen Grotdal
Go to image pageDennis Pope Logo by Jørgen Grotdal

Woodmere Art Museum by Adam Flanagan
Go to image pageWoodmere Art Museum by Adam Flanagan

Vita by Stolz
Go to image pageVita by Stolz

OpenStack Atlanta Summit by Emir Ayouni
Go to image pageOpenStack Atlanta Summit by Emir Ayouni

Trickling Tradition Logo by Emir Ayouni
Go to image pageTrickling Tradition Logo by Emir Ayouni

Openstack Superuser by Emir Ayouni
Go to image pageOpenstack Superuser by Emir Ayouni

Defense Mobile by Sam Stratton
Go to image pageDefense Mobile by Sam Stratton

Lion by Sam Stratton
Go to image pageLion by Sam Stratton

Ares by Miguel Basurto
Go to image pageAres by Miguel Basurto

Barbola by Miguel Basurto
Go to image pageBarbola by Miguel Basurto

Culturea by Miguel Basurto
Go to image pageCulturea by Miguel Basurto

Sandrin
Go to image pageSandrin
Submitted by Elia Pirazzo.

R for Rob by Rob Schlegel
Go to image pageR for Rob by Rob Schlegel

Water X Fire Final Logo by Yoga Perdana
Go to image pageWater X Fire Final Logo by Yoga Perdana

Parrot by Andras Nagy
Go to image pageParrot by Andras Nagy

EB Monogram by Jonas
Go to image pageEB Monogram by Jonas

Dave Dragt by Paul von Excite
Go to image pageDave Dragt by Paul von Excite
Submitted by Paul von Excite.

FitForm Apparel by Paul von Excite
Go to image pageFitForm Apparel by Paul von Excite
Submitted by Paul von Excite.

Paper by Jonas
Go to image pagePaper by Jonas

If you would like to send us suggestions for these galleries, please click on the button “Submit” located in the header, and fill out the form. And don’t forget to subscribe to the RSS-feed and follow From up North on Twitter + Facebook to get all the latest updates.

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Cloths of Heaven is Seb Lester’s interpretation of ‘Aedh Wishes for the Cloths of Heaven’, a poem by the renowned Irish poet W. B. Yeats. It is a continuation of his exploration of the theme of beauty in the context of letterform design. He has produced a limited edition screen print and also collaborated with The London Embroidery Studio to produce an embroidered piece, available as a small-run limited edition.

“Yeats’s poem references ‘embroidered cloths’ and ‘gold and silver threads’, so I wanted to try to make the screen print look like an exquisite and timelessly beautiful piece of highly ornamental needlework. I’ve drawn from Medieval, Renaissance and 18th-century sources but I have also tried to integrate personal, progressive and irreverent flourishing ideas. The result is a hybrid stylistic treatment that I think could only exist in the 21st century.”

Cloths_SebLester6

He explained that his relatively new-found love of traditional calligraphy has given him new insights into the Latin alphabet. “In calligraphy I have found a joyful and visceral way to construct letterforms. The letters that appear before my eyes as I write have a warmth and humanity that is very hard to achieve with computers. Calligraphy, combined with my knowledge of digital letterform design, has given me the confidence and I hope the understanding to explore and challenge preconceived notions about what constitutes correct flourishing and decorative ornament technique.”

More information at seblester.co.uk

Technical Specs:
‘Cloths of Heaven’ by Seb Lester, 2014, available as a print and embroidered artwork. Based on the poem ‘Aedh Wishes for the Cloths of Heaven’ by W B Yeats.

A2 (594mm X 420mm) limited edition screenprint, edition of 100.
Metallic gold ink on midnight blue Plike art paper, 330gsm.
Signed and numbered by the artist.

A2 (594mm X 420mm) limited edition embroidery, edition of 5.
Gold and silver thread on Italian midnight blue silk twill.
Each piece comes with a hand written, signed note of authenticity.



Sponsored by Hoefler & Co.
and

Cloths of heaven

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The ADC Festival of Art + Craft in Advertising and Design in Miami Beach last week was host to countless opportunities for creative expression, bringing together hundreds of industry creatives for three days of consciously dedicated time away from the office, and most importantly, getting back to their artistic roots.

It was in this spirit that we established Out of Office, an exclusive exhibit of art work (of the unbranded, non-integrated, pencil and paint-based variety) created by some of the top advertising and design creative directors working today — all produced while they’re not technically working. We wanted to remind Festival attendees that the love of art and creativity that initially attracted them to the industry doesn’t have to be exploited on behalf of work: it should be appreciated and honored on its own.

The artwork submitted exceeded our expectations in its caliber and originality, and bestowed an element of artistic authenticity on the entire Festival because the creative directors who submitted their work believe that making art helps them to both detach from and reconnect to their professional work.

“I call my painting therapy,” says Sean Davison, SVP Creative Director at MacLaren McCann and Out of Office contributor. “Maybe that’s the best way to describe what it means to me. It frees my imagination into a pure creative exercise of exploration and storytelling.”

ADC Board President and The Barbarian Group co-founder Benjamin Palmer  contributed two oil paintings that also tell a story — one with more behind it than meets the eye. His process involves using digital composites from stock photography and found internet images, and then working with artists at an oil painting factory in China to make full size and thumbnail versions of the composites. ”As a creative person who’s doing mostly client-based work,” Benjamin notes, “it’s important to do work that you’re instigating yourself.”

Jim Riswold, Executive Director at W+K 12, whose large scale prints juxtapose gorgeous desserts with military figurines, summarized the paradoxical idea of taking a step back from your work in order to rejuvenate it, the central ethos of Out of Office and the ADC Festival as a whole:  ”Art, among many other things, proves how unimportant advertising is, and once you figure out how unimportant advertising is, it allows you to do great advertising.”

Photography by Lynn Parks

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 This is Part 2 of a two-part series featuring Chris Fraser. Read Part 1 or check out his work live.

MM: How did the idea develop for Renewals/Returns?

CF: I’ve been preoccupied with the link between the Asian Art Museum and the Main Public Library. If you walk in and around the museum you will find traces of the building’s former life. The names of literary greats, from Shakespeare to Goethe, adorn the outside. Epigrams line the perimeter of the central stairway, extolling the virtues of books. Get too bogged down in the details of the space, and it becomes difficult to see the museum housed within it.

San Francisco History Center, San Francisco Public Library.

San Francisco History Center, San Francisco Public Library.

Like many Bay Area residents, I’m concerned about the eviction crisis. What happens to a city when one group rapidly displaces another? Can a city preserve its civic memory? A city must be allowed to change if it is to remain vital. But do we have an ethical responsibility to preserve elements of the past? As a visitor to the museum, I might be struck by the history of the space. But as a resident, I am more concerned with stewardship.

Research for this project began at the new Main Public Library. I looked through archival materials, walked the space and paid attention to how people use the library. One of the librarians introduced me to a book on the history of the library. I was struck by the fact that the old library had reached capacity by the mid-1950s. Before renovations, the building at 200 Larkin Street had vaulted ceilings. It made for a beautiful space, but it also caused overcrowding. Officials had been trying to build a new library on its current site since the ’60s but were thwarted by budgetary constraints, apathy and a desire at one point to put the new opera house on that land.

I walked the space, inside and out. It’s incredibly vibrant, with a diversity I don’t usually associate with the city. The library is more than a collection of books. With classes and counseling centers, it serves as a hub for the community. Walking around the outside of the building, I noticed that the architects had made efforts toward introducing traces of the old architecture, most notably the cross-hatch pattern over certain of the windows.

Cross-hatch pattern over certain of the windows

I went from there to the museum. I was struck by just how busy it also was. I guess I’ve always been there on off hours. But on a Sunday afternoon, the museum matches the vibrancy of the library. With archival images of the old library in mind, I took a leisurely walk. I tried to imagine the Gottardo Piazzoni murals in the stairwell. During renovations, these murals were moved to the de Young. I tried to imagine the first-floor galleries as giant reading rooms and noticed that through a gap in the ceiling on the edge of the space, you can see clear up to the original ceiling. I lingered for over an hour in Samsung Hall, former home of the Reference Section. It is, in itself, a remarkable public space. It’s such a luxury. Rather than using it for exhibitions, it’s left empty. People walk in and stare. They look up, they walk, they interact. While I was there, two young women danced for at least 15 minutes. Evidently this was a ritual. They come often together.

This got me thinking about how the museum uses this space. Such care was put into preserving traces of the library, sometimes to the detriment of the work. Does the ornate ceiling on the third floor complement the art/artifacts? Do the inscriptions in the stairwell contribute to the appreciation of Asian art? I have my doubts on both counts. But they do perform the important task of maintaining civic memory. These elements prevent us from considering the museum as a place outside of time or place. They present the museum as a steward of heritage.

Interior of Main Library - Reading Room. San Francisco History Center, San Francisco Public Library.

Interior of Main Library – Reading Room. San Francisco History Center, San Francisco Public Library.

MM: As you started your research for this project, you were telling me about conversations you have had with librarians who worked in this building when it was the main branch of the San Francisco Public Library. What information did you gather from these exchanges and how did these conversations help to shape your thinking?

CF: The librarians I’ve spoken to are incredible. Not only have they helped me track down rare books, films and other archival materials, but they have also shared their own stories of the Old Main with me. Based on their enthusiasm, I would guess that no one else had inquired about the building in the past decade.

Andrea Grimes has a mind like a steel trap. She began working at the library in 1962 and was with the History Center at the Old Main. She directed me toward materials both in and out of the official catalogue, sent me home with a book on the inscriptions found in the Old Main/New Asian, and let me watch a documentary video from her own collection.

There is lingering angst over the move from the Old Main to the new. For all of its flaws, there is still great affection for the old, stately building. But the real ire is reserved for those library officials who presided over the move. In their zeal for an architectural marvel, they neglected to make enough space for the books already on hand. Upwards of 200,000 books were carted off to the dump to free up space.

On my second visit to the History Center, librarian Penelope Houston gave me a poem she had written in 2003. “On Visiting the New Asian/Old Main” recounts the poet’s first visit to the Old Main after its conversion to the Asian. In the poem, she senses the ghosts of the library—sounds of librarians shuffling and carts passing by—and mourns their absence. At the same time, she’s thinking about the newly waged war in Iraq. The library building is precious to her, but how does it compare to the preciousness of buildings, cultural histories and peoples the American forces were destroying?

Houston’s poem is reminiscent of the ode Edward Robeson Taylor delivered upon the dedication of the Old Main. In it, Taylor ties the opening of a new public library to the First World War. While Europe was destroying its cultural treasures, he observed, San Francisco was creating a new one for the ages. Separated by a century, the building remains personal for both Taylor and Houston. It’s more than a container for books or works of art or antiquities. It houses our fears and aspirations. It represents the collective memory of a people, needs and hopes.

Interior of Main Library - Delivery Hall. San Francisco History Center, San Francisco Public Library.

Interior of Main Library – Delivery Hall. San Francisco History Center, San Francisco Public Library.

MM: What do you want to address through Renewals/Returns?

CF: I want these continuities and exchanges to be the subject of my project at the museum. The Asian Art Museum leaves the de Young but offers them the Piazzoni murals, as if in exchange. The Main Library moves to a new location but preserves elements of its former architecture. The Asian Art Museum renovates the former site of the library but preserves many of the former library’s most noteworthy features. Watching a video of someone walk through the old Main Library, I was drawn to a sign at the circulation desk that read “Renewals/Returns.” That phrase seems to encapsulate much of what I am hoping to suggest with this project.

Chris-Fraser-at-work

To mark these continuities, I will be covering certain windows in the museum with a daylight correction film that references the crosshatch window pattern. By emphasizing this one shared element, I wish to draw attention to all of the other ways in which the library and the museum participate in a linked history. Additionally, I will be reproducing a pamphlet made for the dedication of the building in 1917 for use as a tour map of sorts, emphasizing what remains and what has changed. Lastly, I will be adding ambient sound of some sort, taken from the new Main Library. Collectively, I am hoping these elements create confusion between past and present.

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Mild Whistle, The Gentle Thunder – Visual Identity.

Here is another outstanding work by Oddds, a collective of creative folks from Singapore. They recently produced this new visual identity for Mild Whistle. It’s a funky visual identity based on stylish letterpress effects as well as lots of glamour and modernism. The interplay of bronze together with a soft tone of turquoise creates a striking visual identity. The designer’s personality and principles of art direction and design are reflected in this eye-catching effect caused by metal tones and different pieces with cotton.

The creative people of the Oddds collective developed a range of printed materials such as stationery, business cards, and promotional items. Several illustrated icons and a custom lettering for the logotype offer a unique look.

Mild Whistle Identity Design by Oddds

Mild Whistle Identity Design by Oddds

Mild Whistle Business Cards by Oddds

Mild Whistle Business Cards by Oddds

Mild Whistle Identity by Oddds

Mild Whistle Identity by Oddds

The post Visual Identity Design by Oddds for Mild Whistle appeared first on WE AND THE COLOR.

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Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

When it comes to cross-stitch and embroidery, I’ve always been drawn to geometric and repeating patterns, especially those found in styles like laid work and blackwork. I love how, when joined together, even the simplest lines and shapes can create rich, vibrant textures on an otherwise unremarkable surface. (It’s kind of like quilting in that way: you piece one quilt block at a time, then those blocks seem to magically transform into something completely different when sewn together in a finished quilt.) I really like the idea that surprisingly intricate designs can be constructed by combining individual elements in predictable yet creative ways, and that’s exactly what I had in mind as I designed this geometric color block cross-stitch iPhone case pattern.

When stitching my case, I used my favorite primary color scheme: blue and red. Not a fan? Don’t let that scare you away! You can always customize the colors in the pattern to fit your own personal style.

Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

Wait! Don’t print the image above—it’s only a sample section of the pattern to display the design. You can download the full pattern here.

Please note that the links to supplies and tools that are provided below are affiliate links, and I will be compensated if you choose to make a purchase after clicking through.

Supplies:
* Geometric Color Block iPhone Case Cross-Stitch Pattern PDF
* Embroidery floss in red, silver, navy blue, light blue
* LEESE DESIGN Neo Stitch DIY & Cross-Stitch iPhone Case kit for iPhone 5 & 5s (embroidery needle included in kit) [this is not an affiliate link]

Tools:
* Embroidery scissors
* Computer with printer or computer screen/tablet for displaying pattern

Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

How to stitch the pattern:

Each length of standard embroidery floss is generally comprised of 6 individual strands that can be pulled apart and separated as needed to adjust the thickness of the floss. For this iPhone case, I used 2 strands (2 ply).

The design should be worked in the following color order:

  1. all silver cross-stitches
  2. all dark blue cross-stitches
  3. all red cross-stitches
  4. the outline stitches around the outside edge of each small red square (this is worked in backstitch—these lines are visible on the pattern)
  5. the outline stitches around the outside edge of the single small blue square (this is worked in backstitch—these lines are visible on the pattern)
  6. the light blue lines, worked from the outside edge toward the center of each large square (each line is one long stitch)

Note: When changing colors or starting a new length of floss, stitch over the ends or weave them in as necessary to secure them in place. DO NOT knot off the floss. Knots create extra bulk, and may keep the case from lying flat against your phone.

Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

Harriet, my poor iPhone, has been languishing in a boring plastic case for months, so she’s definitely pleased to be nestled into her new cross-stitch case.

Are you ready to give it a try? Download my Geometric Color Block iPhone Case Cross-Stitch Pattern PDF and start stitching!

** Please note that this pattern was designed for the LEESE DESIGN Neo Stitch DIY & Cross-Stitch iPhone Case kit for iPhone 5 & 5s. If your case is a different brand or for a different kind of phone, you may need to adjust the pattern to fit your case.


Pattern: Geometric Color Block Cross-Stitch iPhone Case | The Zen of Making

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