Advent Conspiracy from MBCC on Vimeo.
Wednesday, November 18, 2009
Advent Conspiracy
thanks to Cathy for showing this to me. It reminds me of the one for The Girl Effect. maybe the same people did both?
Tuesday, November 17, 2009
Cool New Artist: Erik Otto
I especially like his installations.
He's got prints and other things available for sale, too, and 2 books (here and here) via Blurb. Maybe they'll go on my Christmas list.
He's got prints and other things available for sale, too, and 2 books (here and here) via Blurb. Maybe they'll go on my Christmas list.
Saturday, November 14, 2009
No more Frostone?!
I am so sad!!! I just found out that French Paper discontinued Frostone! Boo hooo!!! There was nothing else like it!
Tuesday, November 10, 2009
RSMc monogram
I designed this monogram for my mom. It was influenced by the Vienna Secessionists and I wanted it to be more clean and architectural--drew it with my calligraphy pen and then scanned it. We're having it letterpressed onto 2.5" square enclosure cards and onto monarch sized white cards with cloud (pale blue-grey) colored monarch envelopes.
Monday, November 9, 2009
Cool New Artist: Carl Van de Roer
I like this series by Carl Van de Roer. It was featured on 20x200, which is one my my faves.
Here's a bit about the series:
The term "orb" is typically used to describe circular artifacts in photographs—artifacts which have been interpreted by some as spirits. Despite being debunked and explained (most commonly as backscatter from precipitation or dust), there's a surprisingly widespread belief that orb photographs document the supernatural. There are organizations, conferences, hunts, field experts, detectors and websites dedicated to spiritualist orb photography.
This photographic search for something larger than ourselves was the starting point for this project. I photographed people in landscapes that are partly obscured by precipitation. The subjects are seen searching for or interacting with orbs, which are represented as dots covering parts of the scene.
Read more here.
Here's a bit about the series:
The term "orb" is typically used to describe circular artifacts in photographs—artifacts which have been interpreted by some as spirits. Despite being debunked and explained (most commonly as backscatter from precipitation or dust), there's a surprisingly widespread belief that orb photographs document the supernatural. There are organizations, conferences, hunts, field experts, detectors and websites dedicated to spiritualist orb photography.
This photographic search for something larger than ourselves was the starting point for this project. I photographed people in landscapes that are partly obscured by precipitation. The subjects are seen searching for or interacting with orbs, which are represented as dots covering parts of the scene.
Read more here.
Monday, November 2, 2009
Paste
Ok, Ok, I know, I know, I am renaming the blog again! I really loved palate/palette and wanted a single word with a double meaning. Mom actually came up with Paste--Perfect!
And I know it's also the name of a magazine, but if it fits, it fits!
And I know it's also the name of a magazine, but if it fits, it fits!
Monday, October 26, 2009
Avoca
Mom and Dad brought me back some great things from their trip to Ireland--two wonderful cookbooks and some local pottery! I love these Avoca cookbooks (or go to the Avoca store). Mom said that Avoca reminds her of an Irish Anthropologie. They sell home goods, food, accessories, etc. The cookbooks have beautiful one-color illustrations and expressive type as image throughout. I wish I could find some photos of the spreads on the web---either that, or a working scanner--so I could show you the inside.
Monday, October 5, 2009
1930s-40s in Color
This wonderful set of photos on Flickr was posted on facebook by a co-worker of Roy and Holly and Jeff. I've loved looking through them tonight.
Here's a little about it:
These vivid color photos from the Great Depression and World War II capture an era generally seen only in black-and-white. Photographers working for the United States Farm Security Administration (FSA) and later the Office of War Information (OWI) created the images between 1939 and 1944.
The FSA/OWI pictures depict life in the United States, including Puerto Rico and the Virgin Islands, with a focus on rural areas and farm labor, as well as aspects of World War II mobilization, including factories, railroads, aviation training, and women working.
The original images are color transparencies ranging in size from 35 mm. to 4x5 inches. They complement the better-known black-and-white FSA/OWI photographs, made during the same period.
The Library of Congress Prints and Photographs Division preserves
the original photographs and offers the digital copies to ensure their wide availability.
Here's a little about it:
These vivid color photos from the Great Depression and World War II capture an era generally seen only in black-and-white. Photographers working for the United States Farm Security Administration (FSA) and later the Office of War Information (OWI) created the images between 1939 and 1944.
The FSA/OWI pictures depict life in the United States, including Puerto Rico and the Virgin Islands, with a focus on rural areas and farm labor, as well as aspects of World War II mobilization, including factories, railroads, aviation training, and women working.
The original images are color transparencies ranging in size from 35 mm. to 4x5 inches. They complement the better-known black-and-white FSA/OWI photographs, made during the same period.
The Library of Congress Prints and Photographs Division preserves
the original photographs and offers the digital copies to ensure their wide availability.
Monday, September 28, 2009
Sunday, September 27, 2009
Ann Wood
I am familiar with the work of Ann Wood, especially her birds, but I had kind of forgotten about these gorgeous paper mache pieces and have never seen her cardboard castles. So magical!
ann wood handmade
ann's blog
about: I live in Brooklyn New York near beautiful Prospect Park. I make things, paint, and draw for my life and livelihood. I work with mostly found, and salvaged materials, many of them vintage or antique garments. There is a kind of affection and tenderness in the re-use and re-purposing of things that were once personal and perhaps treasured possessions. Much of my inspiration comes from these materials as well as from many of the ideas I have been infatuated with my whole life : smallness, intricacies, miniaturization, collections, repetition; lost or abandoned things discovered and rescued; the idea of haunted and enchanted places, things and creatures; the setting of a tiny stage.
ann wood handmade
ann's blog
about: I live in Brooklyn New York near beautiful Prospect Park. I make things, paint, and draw for my life and livelihood. I work with mostly found, and salvaged materials, many of them vintage or antique garments. There is a kind of affection and tenderness in the re-use and re-purposing of things that were once personal and perhaps treasured possessions. Much of my inspiration comes from these materials as well as from many of the ideas I have been infatuated with my whole life : smallness, intricacies, miniaturization, collections, repetition; lost or abandoned things discovered and rescued; the idea of haunted and enchanted places, things and creatures; the setting of a tiny stage.
Friday, September 25, 2009
Cool New Artist: Alison Hall Cooley
I love the abstract work of Alison Hall Cooley.
Here's an artist's statement:
My work focuses on memory of spaces. Expansive color planes, shooting and falling lines, and etchings overlap and move within an underlying composition suggestive of landscape. Textures and values interweave to create a suspension of visual spaces reflective of memory construction. As color fields stack and unfurl delicate markings orient the viewer and provide a handle for the eye. This dislocation produced by plane and color is steadied by navigation of line.
Here's an artist's statement:
My work focuses on memory of spaces. Expansive color planes, shooting and falling lines, and etchings overlap and move within an underlying composition suggestive of landscape. Textures and values interweave to create a suspension of visual spaces reflective of memory construction. As color fields stack and unfurl delicate markings orient the viewer and provide a handle for the eye. This dislocation produced by plane and color is steadied by navigation of line.
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