In a time where the devaluation of music seems to be at it’s peak, fans and audiences expect every release to be either for free or donation based, which forces musicians to tour extensively or resort to day jobs in order to support themselves. Deru, an electronic artist who questions this establishment, explores an innovative release of his latest album, 1979. His approach influences listeners to place themselves in an appropriate listening environment, delivering an entirely new experience.
To help him with his vision, Deru enlisted a team of people including the visual artist, Effixx, who collaborated previously on the Outliers, Iceland: Vol. 1 project.
I sat with Deru & Effixx to discuss the themes and concept behind 1979:
Soo many beautiful announcements happened for Jacob and Thomas from Beacon, first off they just announced the preorder of their debut LP along with a sugar based sculpted record holder limited to only 20 pieces. Before that they shared a new mix and some spring tour dates, all of it is here in one place along with the process video of the making of the art edition record frame.
About the artist:
Fernando Mastrangelo has exhibited nationally and internationally for the last decade. Mastrangelo uses materials such as sugar, coffee, corn, gunpowder, human cremated ash, and other more controversial substances. He often addresses social, cultural, and political issues with unconventional timely works. His works are included in numerous private collections around the world, as well as the Brooklyn Museum of Art, where you can currently see his 2008 sculpture “Avarice,” a rendition of the Aztec calendar cast entirely from White Mexican Corn.
Deluxe Art Edition Details:
Edition of 20 + 3 APs
Includes signed and numbered certificate
Dimensions: 13″ x 13″ x 2″
Weight: 10 lbs
Materials: Sugar, Epoxy
Limited dusty rose vinyl + download card included
Lukid – Snow Theme
Tornado Wallace – Always Twirling
Bambounou – Challenger
Tiger & Woods – T&W Lab File #07
Unknown Artist – What You Need (Coat of Arms Remix)
Marcus Mixx – Special Creme (Rub It Mixx)
S.K.A.M. – Outside The Box (Homework Perspective)
Shams – Wasted
With my love for trees and my love for prints I think Bryan Nash Gill’s Woodcuts are the perfect marriage. I love the complete organic nature of his prints. Be sure and check out the video as well, as it shows some of his process.
Image Blender is my go to app for blending and masking but I was getting frustrated using the brush tool to mask a straight line, then it dawned on me that I could use a solid black or white image to “knock out” the part I wanted to be transparent (or in this case to be opaque). Once I blended down the solid black or white I could bring the image back in and use the blending modes to get the transparency.
The screenshots above show this process. The original photo was the edge of a window frame. I overlaid a blank white image at four different angles. I then flipped it and blended it over the mountain photo. Tip: Swipe to the right to move and rotate the image and then from the main screen tap and hold to flatten down, switch images or copy. I did the final color adjustments in picfx, another go to app for me. If you have any other Blender tricks post them below!
A year ago, I wrote about a video I made for our Nosh 404 page. Shortly after the success of that video, we set out to film a sequel. The idea behind the followup centered around the same fictional Special Forces team we used to handle that very dangerous and exciting 404 mission. This new video is sort of like a highlight reel of all the skills and tactics they can offer in the “web services” realm.
It’s been a while since I’ve written a process post here, so I figured this would be a good project to start back up again with. It’s pretty far afield from some of the typical design writing I’ve done, but it was a really fun project and an interesting case-study in non-traditional marketing for startups.
Final video above as well as a quick breakdown showing the original footage and the eventual effected final output. Follow me on Twitter here.
I just recently finished a five day intensive Typography course called Crafting Type. My head is still spinning a little from being so immersed into the realm of type design and fonts. I was surprised at after learning a few techniques for sketching and drawing how quick it was to get some decent ideas down on paper. I highly recommend the course if you ever get the chance to take it.
The course was led by Dave Crossland with Eben Sorkin and Octavio Pardo. Dave is a firm believer in “Libre Software” (free software) and is now creating Libre fonts. He is currently working as ‘Font Consultant’ to the Google Web Fonts project and has contributed many fonts to it. He also is a large contributor to FontForge and set each of us up with his own customized version to design our fonts.
The interesting part (that I didn’t realize) about Libre fonts is you are free to edit them and improve or make variations of them, providing you contribute them back into the Libre community. This is completely opposite of the current commercial type model (philosophically and financially). It was an eyeopener for me into the possibilities of this movement.
As web designer having fonts that I can use freely in my designs (on the web) is huge. Thinking back even a couple years, it was almost an impossibility due to Licensing. Some might argue that with the free fonts there is less “quality control” and a model more like Typekit is a better solution (both for users and font designers). Either way with a player as big as google building its free font library its exciting for me to see the flood gates on type and type creation opening up, even just a little bit.
3. Cropped and mirrored and layered in Image Blender
1. Initial Photo of some shadows in a corner (taken with Stilla)
2. Cropped and mirrored
3. Final Image layered in Image Blender
1. Initial photo of some stairs
2. Mirrored (you may notice a habit here)
3. Final image layered in Image Blender
The first photos I started using in my designs were simple textures. (we’ve all seen the explosion of texture sites out there) but lately I’ve been using photos to get shapes that typically I would have drawn before. This has been largely driven by having a decent camera in my pocket at all times, allowing me to capture random staircases or light hitting the corner of an architectural feature just right. I find the natural light and texture in photographs have so much more depth in the final product then what I can come up with in photoshop …and its much easier to get to the end result.
My name is Michael Chase, creator of Area of Interest. Today, as a guest on ISO50, I’ll be going into the process of how I create an image.
The first part of creating an image is finding a good location to shoot. It was difficult to tell if Coyote’s Pool was still open for business because it was so run down. Paint was flaking badly from underneath the awnings. All the old banners were sun bleached and fraying. Barbed wire covered one side of the roof which I assumed was to keep bar patrons from climbing onto the establishment. As I walked closer to the building I began to wonder if “Coyote’s Pool” was slang for public outdoor toilet based on the smell of it. I was sure it would yield some great textures and there were plenty.
Some of the most fascinating textures were on the tables in the patio area. This is the original image taken from one of the tables. I’m always on the lookout for cracks, splits, flakes, discoloration, residue, splatters, splotches, and other signs of decay. I use these sorts of textures to highlight the subject of impermanence which is the central theme of my work.
Inverted and flipped
Occasionaly I’ll dramatically alter colors and levels while editing to give myself ideas of which direction I’d like to go next. Sometimes a simple thing like flipping an image or inverting colors can spur me into a completely new direction.
Gradient layer 1
Lately I’ve been working a lot with layering filters and gradient fills. I’m fond of the unusual color combinations that I’ve stumbled on which can really make an image pop.
Gradient layer 2
I tend to make a mess and work backwards. Once I’ve gone too far I’ll strip back until I find a good balance. I know I’m close to being done when I keep returning to the same image over and over. Then it’s subtle level, hue, and lighting tweaks here and there to give the image the atmosphere and mood I want to present.
Here’s a time lapse of the entire process.
Thanks to Jakub and ISO50 for letting me stop by and do this guest post.