This Friday night, Bill Russell will be in performance at the Shell Theatre in Ft. Saskatchewan, Alberta with musician Brian Gore. It’s called Your Town in Song and Image and will feature his animation and live digital drawing.
Here’s a nice article about the show in the Fort Saskatchewan Record.
Visit WineCountryTales.com for more info.
…and here’s the new video:
Jeff and Isabelle Jackson would like to invite you to their first joint art show and studio sale.
Sunday September 15 and Monday September 16
83 Bedford Road
RSVP Jeff at 416. 972. 9027 or email@example.com
On August 15th, 2013, Roots celebrates the 40th anniversary of the store and the brand.
For four formative years in the mid-1980s, as creative director at Reactor Art + Design, I worked closely with Roots founders Michael Budman and Don Green, directing all the company’s visual branding including advertising, brochures, in-store signage, apparel graphics and the creation of several private-label brands. I have many fond memories of the regular Friday afternoon “creative” sessions that Michael, Don, Bill Grigsby and I had in the back alcove of my office at Reactor.
Primarily a footwear and leather-goods retailer when we first began working with them, Michael and Don recognized the need for Roots to expand its product offering, and saw athletic wear as a perfect entrée into the apparel market. To brand this new venture, I appropriated Heather Cooper’s beaver from the original Roots logo, and added the varsity-style typography. This logo design, still in use today, has been printed on [probably] millions of tee shirts and sweatshirts, and has become a Canadian icon. The phenomenal success of Roots Athletics helped propel Roots out of its footwear niche and set the stage for its subsequent success in the larger apparel market.
Below are assorted logos and hangtags we designed for some of Roots’ private-label brands.
- Louis Fishauf
These are three of Lindsay’s recent sculpture works inspired by Native American spirit poles.
Check out the article on today’s The Grid by Denise Benson. It’s a revisit of the history of the Bamboo Club on Toronto’s Queen Street. The article features some great historical photographs and of course, lots of Barbara Klunder’s art.
Over the past few years, largely for my own amusement, I’ve been creating digital collages using Illustrator and Photoshop. I finally decided to gather some of these personal works together in an online portfolio, using the interactive issuu publishing platform. Hope you like it. — Louis Fishauf
Please click here to view the online portfolio.
In Blair’s own words, here’s the story behind Dreams of Patoot…
“Some time ago I rediscovered a metaphorical Horn of Plenty crammed with images — good, bad, and indifferent. These were my own works, the products of years of work-for-hire, plus many of my ‘self-commissioned’ paintings. At any rate, I had a lot of them. I was called upon to interpret certain causes, tropes, and ideas that found their way into print. Celebrity portraits. Jocular entertainments. Works of fashion, fiction, and friction. Scientific or socio-economic concepts shown in less abstract, more graspable depictions for the common reader. All of these were painted in styles that seemed appropriate to the subject matter, and which varied considerably in tone – from the broadly comic to the gravely austere and beyond. And all were filtered through my own personal artistic sensibilities.”
“It occurred to me that perhaps there was a story somewhere within these many images. Was there a narrative here, really? And isn’t it working backwards to contrive a story after the fact of the pictures, especially when there are so many of them? The mule goes before the wagon; he doesn’t push it from behind, like an ass.”
“Yes indeed. But sometimes when one doesn’t really know what one can or cannot do, or where one is, one blunders into a fool’s paradise. Plain enough was that Dreams of Patoot would be no children’s book. Far too many pictures in the cornucopia were of the naughty variety.”
“The big hurdle was the problem of consistency of characters from one page to the next. Obviously, the raw material had been originally done for any number of purposes and applications. How then does one contrive a flow of action that shows a central character that the reader can identify and follow from scene to scene, no matter how outlandish the setting? The answer: one doesn’t. The key was contained in the word ‘outlandish’.”
“Make the story a sort of sci-fi one! Set the action some place, to something like what we are used to — but not the same! And give the denizens of that place the ability to change their appearance, willy-nilly, and at any moment!”
“Ergo: the Periodic Form Changement.”
“And while you’re at it, have some fun with language! Make up bad translations that demonstrate the silliness of idioms and expressions which we use every day.”
“And while you’re at that, might as well take some pot shots at the customs and mores that we live by. But entertain them too! Give them Plafunda! Give them Plafundatongue! Give them Patoot!”
Blair Drawson’s interactive visual narrative for the iPhone is now available for downloading from the iTunes Store.