More from the Old Media Series

From the top: Seeburg Wall-O-Matic Jukebox, Remington Portable Typewriter, Philco Model 48 Radio.

Old Media Series: Emerson Portable Radio

Another from this recent series.

Old Media Series : Cameras

I'm a junk collector. Many of the things I collect are related to "old media" and the tools that used to be used to communicate: cameras, typewriters, radios, tape decks, metal typesetting equipment, old metal line cuts, commercial art tools. Anyway, you get the idea. I'm fascinated by the art of these objects--humble tools in their day, designed for utilitarian purposes--worth cherishing. These images are part of an Old Media series which I started a few years ago--although these particular images were just done recently.

Sketches for PPG Industries Exhibit

A while back I was commissioned to develop concepts for a new exhibit for the Architectural Products Division of PPG Industries. These are a few of the preliminary sketches which were done as part of the design and planning phase. The sketches are best seen as "visual thinking"—a kind of spatial exploration of form and arrangement and not really art or drawings. The sketches were followed by a series of rough three-dimensional models which were quickly assembled in scale to replicate the size relationships of the products, the exhibit booth and most importantly the environment that viewers would experience upon entering the space.

Industrial exhibits and tradeshows are highly regulated environments which exist for a short period of time, usually for 2-3 days and sometimes up to a week. The space for the booth is rented by corporations, much like magazine advertising space. The costs are high for the design, construction, transportation to the show, staffing, travel expenses, transportation back from the show, and then the storage of the exhibit properties. But the possibilities for success are equally high. In this instance the show was attended by influential architects, urban planners, construction managers, facilities planners, and contractors from around the globe. So the opportunity to market new products where they can be seen, touched and explained in real life is the essence of "marketing." (the term having been derived from the crowded atmosphere of markets themselves) 

Corian & Opal Glass Lamp

Over the years I've designed lots of furniture...some of which I've built in my quest to become a better woodworker. (Always hoping to equal the talents of Brothers  Bill & Greg)  And of course I always design the things I build, by first drawing them--I think of the drawings as an integral part of the design process. There are occasions though where I have designed things--with the thought that perhaps they could be manufactured for sale, rather than something I would make with my own hands--limited edition craftworks if you will. This 9x12 inch watercolor sketch on brown wrapping paper depicts one of those thoughts. This was done in 1989.

Indaba Global Research Identity

Recent corporate identity design work for a Boston area financial start-up. The company's business is to provide independent financial research to large institutional investors--like Fidelity Mutual Funds. Their business model is one which will aggregate information from multiple sources from around the globe.

The word "indaba" means meeting or conference, as well as "gathering". In an agricultural sense it would represent the "harvest." So, the inspiration for the mark is one which attempts to combine a contemporary harvest symbol, with the concepts of aggregation of multi-sourced information--uniting to form a circular form representing the globe--all somewhat abstractly. The secondary symbolism is that of the letterform "I" for Indaba.

Color was carefully chosen to fit the financial industry, and to have only positive global connotations. Blue tones--the most widely accepted colors--generally symbolize peace, calmness, stability, security, loyalty, sky & water. 

Seek You Identity

Corporate identity for a new start-up company. Their idea is to create a social network communication tool which alerts users to the location of other members--anywhere in the world. For those busy "road warriors" who don't want to miss the opportunity to spend a few hours/minutes with friends if they find themselves in Heathrow Airport at the same time. Not a product that I personally need--but hey, I guess there are globe-trotters dying for yet another electronic tool to use to track their friends.

 

One World Trade Center Entry

Design entry to the New York Times for the identity of the new One World Trade Center Building in New York.  The symbolism is of an abstracted numeral one that is inspired by the architecture of the new building by David Childs of Skidmore, Owings & Merrill.

See article here: http://cityroom.blogs.nytimes.com/2009/04/01/help-put-a-new-face-on-freedom/ 

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.