We'll Stop @ 5. OK?

A typographic exercise just for fun.

Good50x70 2009 Entry

This is my entry into a global competition. The project is one called "Good50x70. The Project that helps social communication" 

Here's how the organization describes their project & purpose:

We created Good 50×70, an independent, non-profit initiative with

the following aims:

- to promote the value of social communication in the creative community,
- to provide charities with a (free) database of communication tools,
- to inspire the public via graphic design.

Our focus is an annual contest to design posters confronting seven
of the critical issues affecting today’s world. We chose posters as the media for the contest as they’re the most direct way to convey a message and can be easily translated to other media.

Seven charities each provide a brief on a global issue.

Anyone who wishes can enter a poster on any topic that inspires them.
The best 30 responses to each brief (as selected by our jury) are collected
in a catalogue and exhibited around the world. All the posters entered are
supplied to the charities for them to use as potential communication tools.
There aren’t any ‘winners’, unless you count the charities.
The point of entering is to produce something that might make
a difference in the world.

What more could you ask for as a creative than that?

Frozen Portrait

Frozen Title Options

Option 1

Option 2

Option 3

Here are a few options for the title image for the "Frozen" image series. 

Frozen: continued again

Frozen: continued

Well, these are the new frozen image plates; unfortunately the two I did yesterday partially melted and then froze themselves to an outside table, so I couldn't use all four as planned. As you can see above, one of the plates also broke as I was removing it. No big deal--as CrustyPiMan (and Brian Eno) says: "Honor your error as your intention." So, yes, I intended to have the irregular shape to symbolize a more natural form.

Frozen

This photo shows the frozen "image plates" in their raw state.

I'm still working on compiling images for the collection / book titled "Frozen". This image is the first in a series I'm working on where I've literally frozen natural objects in ice. I'm using containers filled with water, arranging the materials, leaving outside overnight to freeze, then I'm photographing them. The individual frozen "image plates" are about 10 inches wide x 15 inches high and are about 3/4 of an inch in thickness. I've just frozen two more, so tomorrow I plan to try something where I use all four in a set-up construction perhaps in a remote part of the woods. 

Mascot for Pittsburgh Science & Technology School

And now for something completely different, this is a "mascot" symbol designed for the new Pittsburgh Science & Technology Academy which will open in August of 2009. Yes, it's a Pit Bull--a notorious urban dog, some might say scary as well. I chose the Pit Bull as an apt symbol for inner city school students who may have a reputation for being "tough kids" but by adding the glasses, I thought it also showed the "smart" side potential. 

This symbol is actually derived from a collaboration between Evan, my son, and I. He and I developed the original "pit bull" symbol (with no glasses) for an industrial manufacturing client who wasn't nearly courageous enough to use it--although everyone admitted that it would be the talk of their industry if they did. 

Early reaction from students has been positive; they seem to like being associated with a tough but "brainy"  dog.

Accepted in the Pittsburgh Chapter AIGA Context 2009 Communication Graphics Show.

Frozen 2009

I'm working on compiling a collection of images, new and old, to put into a photo book I'm tentatively calling "Frozen." This was shot this morning at sunrise. The sunrise adds warmth to an otherwise frigid scene.

Embossed Portrait 1988

Hand embossed portrait done in 1988. Drawn into handmade paper from Wildcat paperworks using a blunt wooden tool. 22 x 32 inches.

Prints: 2001

Two large stamp prints, each two color. The plates are 4 x 6 inches. Printed on cream  Arches etching paper. Left image title: "I'll only ask once". Right image: "Yes Man"

Hand Cut Stamp Portraits ca 1980-1983

Way back in the 80's brother James introduced me to hand cut stamps, something he was using in his calligraphy work. I was pretty familiar with making relief prints, having done woodcuts and linocuts for years. I embarked on a three year project where I cut hundreds of stamps of everyday objects, often in funny situations--e.g. a group of bulls with suits and called it "Business Lunch"; a Teddy Bear with an erection called "Teddy's Surprise". (Side note: the big surprise undoubtedly was to the client of mine who bought a large stamped print that I was exhibiting at the Three Rivers Arts Festival--a collection/collage of many hand cut images and buried within the group is the one image of the Teddy Bear with the erection--never heard from that guy again.)

Anyway, within this group of stamps are a few portraits. The top one is really more of a "conceptual" portrait--not really meant to look like me as much as to express me as the subject of the dilemma.

All these stamps are cut into ArtGum erasers: the standard 1 x 2 inch size. The small ones are one-half of an eraser; the larger ones are two erasers glued together. I contacted the ArtGum people--Eberhard Faber-- to see if they'd sell me larger pieces of ArtGum and they said no, they couldn't because it would negate their copyright on the product.

Self Portrait ca.1968

Pen and ink on cream colored Arches etching paper, approx. 7 x 8.5 inches.

Jim & Jeanie 1975

Drawn in 1975 while at the Outer Banks of North Carolina. The future Mrs. CrustyPiMan II is in the background. Not terribly flattering...but hey, I just draw what I see. Yuk. yuk.

Portrait of Jim c 1983

This is a woodcut printed on canvas approximately 10 x 15 inches. It was derived from a photo that I took of Jim sometime in the late 1970's. I later made many copies of this portrait—all were printed on the VanderCook proofing press that I had at the time. I then did did a multi-colored assemblage on canvas about 5 x 6 feet. Alas, the canvas was purged in our move to the country.

Another from 1988

Self Portrait 1988

From a hand-made sketchbook, Arches paper, 7 x 10 inches, pen & ink. 

Self Portrait 1967

My brother Jim (CrustyPiMan) and I had a conversation about sharing self portraits that we have done over the years. This is the oldest example that I can find—although who knows, there might be older ones I haven't discovered yet. This example is 9x12 inches and from a  sketchbook dated 1967. The media is soft, vine charcoal of the type we all used in life drawing class in the 60's.

We'll be posting self-portraits on an irregular basis. Check out Jim's at:  http://crustypiman.blogspot.com

Brady's Sheep on Christmas Morning

December @ 352-2008

Medical Tests-1972

The year was 1972. I was having serious stomach problems. I went to see Dr. Chamovitz. Tests were performed. It kept me up at night. The fear of more tests eventually cured me.

Fortune Cookie 2008

Transformation 1996-2000 | An Art Installation Project

This project began innocently enough, I was faced with a 250 lb. three-dimensional painting that I had done in oils on built-up particle board and plywood. The painting was one of my last in a “Corporate Icon” series that I had worked on from 1988 through 1992 and it was, frankly, gathering dust and became too cumbersome to keep moving. Margaret certainly didn’t want it on the wall—and I was not so sure that I could affix it securely enough anyway. So, given those circumstances, and a desire to do an installation on our property in Moon Township, Pennsylvania, I carted the heavy painting into the woods. I chose January 1, 1996 because it seemed like a good date to start a project—what better way to begin a year than to deposit a painting in the woods and watch it deteriorate over a five year period.

Over the course of the next five years I photographed the installation in all kinds of weather and in all seasons—usually once a month—at least the first year. As the years went on I photographed it less regularly but faithfully. We referred to it as that “art thing in the woods.” Our non-artists friends just looked at me funny and smiled if I took them to see it. Come to think of it, our artist friends looked at me funny too.

Oh well, it was a grand experiment, but with none of the finesse of an Andy Goldsworthy installation. (I only learned about Andy in the year 2001—by then my installation was almost completely transformed)

The symbolism of the degradation is obvious—all things decay, dust to dust, aging, etc. But somehow, it seemed like there was a positive message in this as well, which is why I called it “Transformation” rather than “Degradation”. The almost dignified manner of the gradual transition, the stoicism, facing the elements—weather of all types, nibbling animals, and woods wanderers. And through it all, quietly facing it’s fate, hanging on to it’s color and shape up until the end.

A fitting model for any of us. I hope I can face my fate with an equally brave disposition.

Photographic Entry for the Robert Morris Univ. Show

This handsome group was photographed on Labor Day, 1978, at Garing's Farm in Zelienople, Pennsylvania, about 35 miles north of Pittsburgh. This campground of about 100 acres is comprised of small cottages situated along the Connequenessing Creek. On Labor Day each year, the residents have a parade and a progressive drinking party where each cottage and their family members dress up to fit a particular theme.

I was wandering around this campground early one afternoon, and stumbled into this gathering where the family members had decided to dress in mock KKK outfits. You can see the reaction that at least one member had to my taking photographs. True, they are only joking, but why would anyone even consider this kind of a theme? Disturbing, no?

The print that I'm submitting to the Robert Morris Faculty Show is an archival digital print, 24 x 18 inches, printed as a Quadtone on 100% rag, textured fine art paper. The print is being framed with a beveled, 8 ply museum board mat, conservation glass, and a simple black frame.

Robert Morris University Faculty Show

I started teaching a course at Robert Morris University several weeks ago. The course is Portfolio, a class for Senior Graphic & Web Design students. As you might imagine, the objective of the course is to prepare the "Final Portfolio" which will be used to get a job or to get into Graduate School.

RMU is having a Faculty Show on September 25, and I've been working on preparing my entries for the show. I settled on submitting a collection of work that will include both Fine Art  as well as Design related work. In the Fine Art category I'm submitting a photograph, a mixed media piece, and the drawing shown above. The drawing titled "Heroes" depicts three of my favorite people: John Maynard Keynes, Joseph Schumpeter, and Ayn Rand. Keynes the famous British Economist advocated among other things that markets and the private sector operate best without state intervention, this fits my independent political views. Schumpeter is the Austrian economist, former Harvard Professor who borrowed the phrase "creative destruction" from Karl Marx and gave it a capitalist twist. By Schumpeter's definition, "creative destruction" is a process in which old ways of doing things are destroyed and replaced by new ways—the Silicon Valley set are famous for using this phrase. This idea forms the basis of entrepeneurial capitalism—again, something dear to my heart. And then there is Ayn Rand. Well, I loved "Fountainhead" and in particular, the fictional character Howard Roark, the architect who choses to struggle in obscurity rather than compromise his artistic ideals. I can't say that I've ever actually done that, but I do admire the thought.

This piece is actually an archival digital print, 24 x 18 inches, and is a composite made from three separate drawings in sketchbooks. I scanned the drawings, did a "live trace" in Adobe Illustrator--converting them to "vector art" so that I could manipulate the paths and line weights. I then opened an EPS of the Illustrator file in Photoshop, created a Quadtone image, primarily so that I could create a super-rich black. The print has tremendous depth of tone— a very dark brown/black. This is being framed now along with the other work which I'll post later.

Frank Lloyd Wright by Portrait Master: Yousuf Karsh

Yousuf Karsh (1908-2002) is one of the masters of 20th century photography.  His body of work includes portraits of statesmen, artists, musicians, authors, scientists, and men and women of accomplishment.  His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity.

Portraits by Karsh have come to be the iconic remembrances of the famous people he photographed. From Fidel Castro to Mother Teresa, his unique style has never been duplicated.  

Max Bill Quote by James Moran

Art Show Judging in Oil City

I just returned from judging an art show in Oil City, Pennsylvania. The show is part of the 30th Annual Oil City Heritage Festival. The show included over 200 works of art, in five media categories and judged at three levels: Professional, Intermediate, and Amateur. The show was held in the National Transit Building—the headquarters for John D. Rockefeller's Standard Oil Company. A view of the gallery is seen on the top, the middle photo shows "Marilyn" the winning entry in the Professional Oil/Acrylic Category. Photo above shows the lobby of the National Transit Building. The building was saved from the wrecking ball by Ralph Nader, who later donated the building to the City. The city is encouraging artists to move to Oil City and offers inexpensive studio space, a low cost of living, and an enthusiastic market for art.

New Work: Day / Night

24 x 18 inch Inkjet print. Printed on Epson Enhanced Matte Paper

The Seldom Inn Tionesta Pennsylvania

It was Bike Night at The Seldom Inn in Tionesta, Pennsylvania. This gentlemen is the owner. All was well in Tionesta that night, except the Seldom Inn has now imposed a two dollar cover charge. My buddy Phil & I were exempted from paying because Phil promised we'd leave before the music started.  

Number Awareness Runs in the Family

This just in. Brother James had this same idea in 1992. Just another case of concurrent discovery—even if separated by 1 6 years. Hats off to Jim though for his beautifully executed calligraphy. Jim, my older brother, for those who don't know him, is an artist, calligrapher and tenured math professor. For those who are familiar with him know that he will forever remind me that "he thought of this first". And so, all of the credit for discovery that "Numbers Rule Lives" rightfully belongs to Jim. 

Numbers.

Numbers rule our lives whether we like it or not. Even if we ignore them, they are there to haunt us and at times threaten us. From birth at zero to our known life expectancy, numbers rule us. Just a few examples: our age, our I.Q, our E.Q. (emotional quotient), social security number, SAT scores, GRE scores, PSA level, blood pressure, mortgage rate, EIN, birth order number, anniversary, bilirubin level, cholesterol, HDL, LDL, Triglycerides, portfolio value, loss, gain, driver's license nunber, "The" number, various and sundry phone numbers, credit card numbers, bank and brokerage account numbers, shoe size, hat size, weight, age, height, glove size, underwear size, pant size, ring size, tire size, VIN number, automotive horsepower number, hourly billing rate, salary, probability of outliving our money. And these are just the tip of the iceberg. Tell me more.

Time Trials

OK, so speed isn't necessarily the most important thing in art, but this is an example of a painting done in under two minutes on a moving bus.

In the late 80's I was on a bus tour of England, Ireland, Scotland and Wales with Margaret, Evan and my parents.  I constantly found myself observing beautiful landscapes through the window of the moving bus. So I set up my little sketch book, a 4 x 5 inch mini, and my watercolors, and after looking at a landscape as we passed it, tried to memorize the details of a scene. In this case, a lovely rural landscape on the road from Edinburgh to Leith. This little exercise of taking "mind photographs", then putting them onto paper became a favorite pastime of mine on the trip and sharpened my observational skills. Try it. It's a fun exercise, but you've only got two minutes! 

Whatever Happened to City Chicken? & What is it Anyway?

City chicken is a food entrée that consists of cubes of meat that are placed on a wooden skewer (approximately 4-5 inches long), breaded, then fried and/or baked. The origins of the entrée and its name are not entirely known, however it is rumored to have begun during the Depression Era, when people took meat scraps and fashioned a make-shift drumstick out of them. During this period, pork was cheaper than chicken in many parts of the country, especially those far from rural poultry farms. Sometimes the meat was ground, and a drumstick-shaped mold was used to form the ground meat around a skewer. Today, better cuts of meat (usually pork loin, beef, and/or veal) are used. In spite of the name, the dish usually contains no chicken.

City Chicken seems to be regionalized to the areas surrounding Pittsburgh, PA, ranging from Central Pennsylvania, Northern Panhandle of West Virginia, to as far west as the western suburbs of Cleveland, OH and Hamtramck, MI. It is also known as mock chicken.

Who Knew Sex Could Even Sell PEZ?

Link: Sexy PEZ Advertising

The American Look

American design and styling at the height of capitalistic, consumeristic splendor. A promotional movie produced by Chevrolet in 1958 which celebrates American Design, stylists and the American spirit of post-war excess. Great, nostalgic settings for anyone who grew up wealthy in California. Me, I don't recognize my childhood in any of these scenes, but apparently all of this was going on somewhere in the world while I was living in a rented house in Beechview with my parents and four brothers. 

Link:  American Look 1958

Moran's Photo On Display at Center for Fine Art Photography, Fort Collins, Colorado.

My photo titled: "Kids on the Roof" taken on the South Side of Pittsburgh, was chosen for exhibition in a juried show being held at The Center for Fine Art Photography in Fort Collins, Colorado.

The Center for Fine Art Photography presents its newest exhibition of photographic fine art, Street Photography. This exhibition will be on display in the Center’s galleries from March 28 – April 26, 2008. The artists’ and public reception for this exhibition will be held from 6-9 pm on Friday, April 4, during the Fort Collins Gallery Walk. The Street Photography exhibition shows a wide variety of the way we view our world on the streets. This exhibition consists of sixty-one photographers representing Australia, Canada,
Japan, Spain, Switzerland and the United States.

Michelle Dunn Marsh, was the juror for this exhibition. Michelle is the Deputy Director of Aperture Foundation, a non-profit organization dedicated to communicating with photographers and creative people everywhere. She is also a freelance book designer and educator focused in design and photographic history.

A Sign of the Times

Financial turmoil, banks teetering near bankruptcy, war in Iraq, political blah-blah-blah with no worthwhile candidates, a market producing negative returns. Ain't life grand sometimes.