Designer Jonathan Barnbrook Releases David Bowie “Blackstar” Graphics for Noncommercial Use
Posted by Rebecca Blake on January 29, 2016
In remembrance of David Bowie, designer Jonathan Barnbrook has released the graphics used on Bowie’s last album, Blackstar, for non-commercial use. Barnbrook announced the release via Twitter, and on Bowie’s Facebook page. The Facebook post describes the release as a tribute to Bowie: “Barnbrook loved working with David Bowie, he was simply one of the most inspirational, kind people we have met. So in the spirit of openness and in remembrance of David we are releasing the artwork elements of his last album ★ (Blackstar) to download here free under a Creative Commons NonCommercial-ShareAlike license.”
The post encourages fans to use the artwork for t-shirts, tattoos, and other artwork, but cautions that the license prohibits the use of the elements in anything that will be sold.
Barnbrook is an award-winning designer and typographer based in London. His studio has designed books, corporate identities, CDs, websites, and motion graphics, and distributes original typefaces through VirusFonts. Barnbrook worked closely with Bowie on a number of projects, including the design of packaging and collateral for the albums Heathen, The Next Day, Nothing has Changed, and Blackstar. In an interview with Dezeen magazine, Barnbrook acknowledged that the Blackstar album design marked Bowie’s mortality: “The Blackstar symbol [★], rather than writing ‘Blackstar’, has as a sort of finality, a darkness, a simplicity, which is a representation of the music.”
Below: Some of the graphics available for download. © Jonathan Barnbrook
NEA Report Shows Stronger Contribution of the Arts to the US Economy than Previously Assumed
Posted by Rebecca Blake on January 15, 2016
A report issued in mid-January by the National Endowment for the Arts (NEA) concludes that the arts make a substantial contribution to the US economy – 4% of the GDP (gross domestic product), or $698 billion. The report, A Decade of Arts Engagement: Findings From the Survey of Public Participation in the Arts, 2002–2012, summarized the first in-depth study by the federal government of the impact of the arts and cultural sector to the GDP. The study was conducted over ten years in partnership with the Arts and Cultural Production and Satellite Account (ACPSA). The results indicate that the arts are a bigger driver of the US economy than previously assumed.
Among the surprising findings are:
• In 2012, the arts contributed more to the US economy than construction or transportation and warehousing.
• The arts employed 4.7 million workers, who were compensated approximately $334.9 billion.
• For every 100 new jobs created by the demand for the arts, an additional 62 jobs were created.
• Of the $869 billion contributed to the GDP from copyright-intensive industries, 50% is from the arts sector.
(Click to enlarge.)
The report was released by the NEA in conjunction with two other reports. The first report, When Going Gets Tough: Barriers and Motivations Affecting Arts Attendance, investigated why people attend arts events such as dance, theater, music, and visual arts, and what factors prohibited them. The findings showed that more Americans attend live arts events (51%) than exercise regularly (46%), and that socializing, learning new things, and supporting their community were the top motivators. The study also showed that life stages (pursuing higher education, marriage, family raising, retirement), rather than age alone, predicted arts attendance significantly. For example, families with children under six cited lack of time as the top reason why they couldn’t attend arts events. Other barriers included difficulty in accessing a location, which significantly impacts older adults and people with disabilities, resulting in a loss of up to 11 million attendees.
The second report, A Decade of Arts Engagement: Findings from the Survey of Public Participation in the Arts, 2002–2012, studied why and how Americans engage in the arts. Over 37,000 individuals were surveyed. The results showed that exposure to the arts in childhood was a stronger predictor of whether an adult engaged in the arts than age, gender, education level, or income; a person who visited museums or attended live performances as a child is 3-4 times more likely to engage in the arts than a person who didn’t. The results also showed that 54% of Americans – 120 million – attended at least one live arts event in the past year. Not surprisingly, technology facilitates participation in the arts: 71% used electronic media to watch or listen to the arts, and many used digital media in the creation of their own artworks. While women outstripped men in arts participation in general, men were more likely than women overall to use electronic media to create or perform music, or to create visual works online.
The NEA has made the data for the results available to researchers, policy makers, and artists through a new online platform that was launched on January 12th. The platform, the National Archive of Data on Arts & Culture (NADAC), provides free access to both the data and resources and promises a “a user-friendly platform for querying the data.” The report and supporting documents can be downloaded from the NEA’s publications page.
Infographic @ National Endowment for the Arts
October Drawing Challenges for Illustrators
Posted by Rebecca Blake on September 23, 2015
For illustrators, October means more than autumn leaves, Halloween, and the return of pumpkin-spice-everything. Two drawing challenges extended during the month inspire artists to up their technical skills, as well has have a great deal of fun. For the rest of us, the month means we get to scroll through feeds of often beautiful (and beautifully ghoulish) artwork.
Inktober is the better-known challenge. It was initiated by illustrator Jake Parker as a way to motivate him to increase his inking skills. The challenge is simple: artists create ink-based work (pencil under-drawing is permitted), and post it to their social media accounts and blogs with the hashtag #inktober. Parker posts the best of the work on the Inktober Facebook, Tmblr, Twitter, Instagram, and Pinterest accounts. The challenge encourages artists to post a new work daily, but many are only able to commit to every other day, or weekly posts. As Parker wrote, “INKtober is about growing and improving and forming positive habits, so the more you’re consistent the better.”
Drawolleen is a similar challenge with a different focus. Artist Brian Soria was inspired by Thing A Week, an exercise by musician Jonathon Coulter in which he posted weekly compositions to “keep his creative juices flowing.” Soria retooled the exercise to challenge himself to draw a monster every day during the month of October. He extended the challenge to the illustration community, with a calendar of daily themes such as “Day of the Dummy,” “Vampire Venesday,” and “Urban Legends.” Artists can contribute work in any medium, and post their images with #Drawlloween or #Drawlloween2015. Last year, Soria launched #fontober, a similar challenge for creepy hand-drawn lettering. Sadly the challenge didn’t get traction, and hasn’t issued this year.
The Sketchbook Project: A Mobile Library Like No Other
Posted by Rebecca Blake on July 08, 2015
Well into its world tour, The Sketchbook Project takes the concept of a mobile library into territory dear to the hearts of artists, illustrators, diarists, and obsessive doodlers. Their Mobile Library is housed in a vehicle that strongly resembles a foodtruck, but contains a selection of books submitted by artists around the world. Visitors can thumb through a collection curated from the Project’s Brooklyn library of 34,000 sketchbooks, contributed from creators in over 135 countries. Currently, the Mobile Library is in the middle of its world tour, traveling the west coast before heading up to Canada.
The Sketchbook Project’s home base is the Brooklyn Art Library, located in Williamsburg, Brooklyn, NY. The Library is a simple storefront lined with shelves upon shelves of sketchbooks, barcoded and searchable by details such as location of origin, media, and topic. Locals can acquire library cards and check out two sketchbooks at a time, or read at the library’s long tables. In addition to the Mobile Truck and Brooklyn Art Library, the Project has a Digital Library, where web users can browse view over 17,000 online sketchbooks.
The Sketchbook Project was founded by new SCAD graduates Shane Zucker and Steven Peterman in Atlanta, GA in 2006, and moved to Brooklyn in 2009. It was conceived as a way of combining hand-made traditions with new Web-based technologies. Illustrators wanting to participate in the Project can apply to submit sketchbooks through March 31st, 2016. The Project also organizes periodic collaborative challenges, such as their current Print Exchange. Participants create and submit 11 5x7 prints on the theme, “Greetings From A Distant Land” and receive back 10 prints, swapped by Project staff from other submissions.
Exhaustion, Obsolescence, and Self-Worth
Posted by Rebecca Blake on September 24, 2014
In May, designer Jason Santa Maria published an article speculating on what course his career (and life) would take should he ever stop designing websites. Considering the impressive trajectory of his career, the article was notable. Santa Maria is a Senior Designer at Vox Media, founded of Typedia and A Book Apart, formerly worked as creative director of An Event Apart and Typekit, served as an AIGA/NY vice president, authored On Web Typography, and currently teaches at SVA’s Interactive Design program. What would make an individual with such extraordinary experience question his future in his chosen field?
In “What’s Next,” Santa Maria explains that he’s preparing for the possibility that someday he won’t be able to (or interested in) continuing his career in web design: “I don’t think it’s unrealistic to think that there will be a time when I don’t want to, or can’t — due to fatigue or professional obsolescence — work in this industry anymore.” He worries that his own fascination with bygone skills, such as handset typography, and his drive to explore deeply into topics will leave him off-guard as technology progresses. He concludes by speculating that “[f]lexibility in work habits and in thinking, rather than languages and programs, might be our most useful skills.”
However, in a follow-up article, “Correspondence with an Ex-Designer,” Santa Maria reveals a deeper disquiet that lead to his soul searching. A reader named Ruth responded to his earlier article by describing her journey from designer to sheep farmer, reassuring him that “(w)hat’s next — all depends on you, what motivates you and what makes you happy — there will always be new challenges, but that is what life is all about...” In his response, Santa Maria spoke of his “exhaustion [that] comes from the industry often taking more from us than it gives” and his growing sense of disconnect. Again, he found that Ruth’s reply was on target: “Keep working on it — it is important to you, in your own personal development — that development is important — not the expectations of anyone else. Self-worth is so important.”
With the daunting external factors facing creatives — marketplace pressures, client expectations, the unceasing need to up one’s skills — the exchange between Santa Maria and Ruth is particularly reassuring. It highlights the commonality of professional burn-out, and provides some insight into the personal strength individuals can draw from. Here’s to hoping that Santa Maria continues to find his inspiration, and in doing so, share his story.
Photograph of Jason Santa Maria used with permission.
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