Anyone Can Color


Back in 1997 Plazm curated a 32-page coloring book featuring a great range of artists from Raymond Pettibon to Kay Slusarenko. A full list of contributors is below. The coloring book was originally inserted into each issue of Plazm 16, we had a release party with giant blowups of each of the pages in the coloring book, and lots of crayons. Now, anyone can color some more since you can download a free version of the full coloring book here.

Cover: Anton Kimball
2. Storm Tharp
3. Carla Mayela Figueroa
4. Kay Slusarenko
5. Raymond Pettibon & Monica Moran
6. Heather Hadlock
7. Ed Fella
8. Efrat Rafaeli
9. Bob Waldman
10. Chloe Eudaly
11. Isabel Samaras
12. Marcellus Hall
13. Designers Republic
14. Fred Bower
15. Patrick Long
16. Marcus Burlile
17. Carolyn Cooley
18. Zoey Kroll with text by Margaret Tedesco
19. Denise Gonzales Crisp
20. Rick Pinchera
21. Jeff Kling
22. Peace McCracken
23. Linda Reynen
24. Frank Kozik
25. Sean Tejaratchi
26. Bwana Spoons
27. Sam Coomes
28. Patrick Moore
29. Patricking@Thirst

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"Staying Put"

lynam_poster

My latest print project, a double poster set called “Poster Initiative 004A” will debut at Grasshut in Portland, Oregon in the show “Staying Put”. The show opens tomorrow, February 6.

The show is a collection of prints from folks such as Yellena James, Tim Biskup, Scrappers, Chris Johanson, APAK, Mauro Gatti, Shawn Wolfe, The Little Friends of Printmaking, Studio Folk, and others.

Work from the show is available online here.

Location:
Grasshut
811 East Burnside
Portland, OR 97214
503.445.9924

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ART PARTY at Branx this Friday

ART PARTY AT BRANX
FEB 5th, 9-2, $5, 320 SE 2nd Avenue Portland

Live music: Tara Jane O’Neill and Marisa Anderson
DJs: Yeti (Mike McGonigal), Permanent Wave, and Gottesfinger (Sarah Gottesdiener)

Visuals/installation: Melanie Valera a.k.a. Tender Forever
Dance/performance: Get Me Bodied

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GOD HATES FLAGS.

Protesting the protesters.

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Clobber Grotesk Bold

Clobber Grotesk Bold

Clobber Grotesk Bold is a new typeface just released via MyFonts. It was one of a two-part family originally designed for a metal-cutting business, as they were seeking bold letterforms for their custom aluminum furniture that would be readable at very small sizes.

Clobber is a fairly traditional grotesk, designed in the same vein as Akzidenz Grotesk and a number of anonymous grotesks, though with the addition of slightly flared terminals.

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The Wife, the Mistress, and the Prostitute


Plazm at the Backroom, January 11, 2008.

Curator Stephanie Snyder in conversation with Plazm editors Joshua Berger, Jon Raymond, and Tiffany Lee Brown on the occasion of the Plazm Backroom event. We recently posted the essays from Jon, Josh, and Tiffany plus a complete podcast of the hour+ discussion on our website. Photo above from the event is of Tara Jane O’Neil with Fred Nemo dancing.

Enjoy here

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The Rise of American Poster Art


“American Artifact: The Rise of American Rock Poster Art”, is a documentary about the history and subculture of rock poster art in America, will be released on DVD on March 27th, 2010. The film has been touring around the country in the meantime and was recently added to the permanent collection at the Rock ‘n’ Roll Hall of Fame.

It is playing tomorrow night at the Clinton Street Theater in Portland.
2522 SE Clinton St.
Portland, OR 97202

The DVD release party will be at the Wherehouse in Newburgh, NY. Director Merle Becker will be in attendance. Admission is free and seating is limited. (First come, first serve).

Details for the DVD release party are:
Saturday, March 27th 7:30p
The Wherehouse
119 Liberty Street
Newburgh, NY 12550
845.561.7240

More details, trailers and such on the American Artifact web site.

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New typeface: Cooper Fullface Italic

Cooper Fullface Italic

Just released via MyFonts, my latest typeface release is the definitive version of Oswald Bruce Cooper’s great lost typeface Cooper Fullface Italic.

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy “modern” face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type. The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as “the hotsy stuff”, though he was highly critical of a number of characters in the original design. He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market. He wanted to imbue the face with a considerable amount of “old-timey” flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work. The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATF’s corporate roll-up of manufacturing. The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released. The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typeface’s completion. It is unfortunate, as the accompanying italic is perhaps Cooper’s masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase “A”, “J”, “M”, and “N”. Cooper Fullface Italic stands as the until-now missing bookend to Cooper’s career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic. Within are two typefaces- Cooper Fullface Italic and Cooper Fullface Italic Fancy. The two faces span the range of Cooper’s original drawings- the Fancy typeface utilizing a number of alternate characters.

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces. The typefaces include the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

Available via MyFonts.

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Does Banksy still have it?

uh, yeah.

Just in time for Sundance!

(image stolen from designated.area … thx to Juxtapoz for the pointer.)

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Dee Hock of VISA interviewed by Jon Raymond

Dee Hock, Founder and CEO Emeritus of VISA on capitalism and spirituality.

Interview by Jon Raymond

Everyone knows what VISA is, right? It’s a credit card company, with a logo featuring blue and orange stripes, and sometimes there’s a hologram of a white dove involved. It makes commercials with people buying things in tropical locales and its motto is “everywhere you want to be” (or is that the other one?). But what is VISA, really? Who owns it? Where is it located? How is it organized? These are questions that not many people can answer, even though they carry the card around in their pocket and buy things with it all the time.

According to a copy trading Brasil article – VISA, it turns out, came to being in the late 1960s, out of the tumult of the early credit card industry, and went on to grow as no financial institution had ever grown before, a thousand fold in less than twenty five years. It now links more than a billion consumers in an enterprise with an annual sales volume of $1.8 trillion, the largest consumer purchasing block in the history of the world.

The founder and CEO Emeritus of VISA is a man named Dee Hock and he is not the kind of guy you might think he would be. He is not a hard- driving bondtrader in tassle-loafers, nor a steely- eyed industrialist with broad shoulders. Rather, he is something of a self-styled Thoreau, with a dash of the Siddhartha, living quietly in Olympia, Washington, where he spends his time reading philosophy and literature and constructing thought-experiments about the nature of organizational management. He is a CEO-guru, in the mold of guys like Larry Ellison, Mike Ovitz, and Steve Jobs, blending capitalism and spirituality in a far-ranging vision of sanctified markets and institutionalized social change.

In fact, Hock invented the mold. Back in the 60s, while the hippies of Haight-Ashbury were tripping out over the galaxies embedded in their own toenails, across the San Francisco bay in Salinas, Hock and a coterie of young bankers were doing much the same, asking themselves mind-expanding questions about the organizing principles of the universe and pondering the cosmic interconnectedness of all things. What is the purpose of being? What is the nature of a tree? The answers they came up with were a synchretic stew of gnostic Christianity, quantum mechanics, chaos theory, Zen Buddhism, and Native American eco-epistemology, aimed at replacing the command and control model of industrial Fordism with the fractal, self-organizing principles of what has since come to be known as the New Economy. You cannot understand Silicon Valley without understanding the quasi-spiritual entrepreneurism that Hock pioneered. You can’t understand Chiat-Day, or Star-bucks, or Apple computers, or Ben and Jerry’s or Kinko’s. It is a model that exchanges the very metaphors of market capitalism for the nearly psychedelic human enhancement of the New Age.

In 1984, Hock left VISA to do some gardening and think about the lessons he had learned in the building of VISA. He bought a piece of land in Northern California, and read a lot of books, and six years ago founded the Chaordic Commons of Terra Civitas, a nonprofit group devoted to fomenting organizational experiments in a host of fields, from religion to marine systems to breast feeding to Geo data mapping. To Dee Hock, it turns out, the triumph of VISA was only the beginning, now that the world is finally exiting four hundred years of Cartesian machine-thinking.

In Plazm #27, editor Jon Raymond chatted with Dee Hock from his home in Olympia. What he says is not what you might expect. This is not the typical market boosterism of someone normally associated with arch-capitalist endeavor. It makes you wonder: if the founder of VISA talks like this, what is capitalism even about anymore?

Read the interview here

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