Grain Arts Magazine II

ISSUE IIJANUARY 2015

DIGITAL ART

DUBUQUE AREA ARTS COLLECTIVE

1. CONTENTS 1.

COVER ART / BEST IN SHOWDIGITAL ART EXHIBITMaggie Douglas 2.HONORABLE MENTIONDIGITAL ART EXHIBITTabitha Link & Aaron Van Fossen 3.ARTIST PROFILEVictor Cayro 4.GOOD DESIGN AND NON-DIGITAL DESIGNER PROCESSGRAPHIC DESIGNBy Eric Wold 8.EXPAND YOUR HORIZONS: STUDY ABROADBy Mallory Heims

PK’S FILMMAKER GUIDE TO THE DIRECTOR’S CHAIRADVICE FEATUREBy Paul Kurutsides 10.FEATURED ARTIST:BEST IN SHOW SALON EXHIBITIONAndonia Giannakouros 12.ARTIST INTERVIEW:ART WORLD Andy Roche 16.HOW TO:BUILD A PROJECTOR FOR AN IPODBy Caitlin Donald 18.WHY ALL THE HATE?FONTS & TYPOGRAPHYBy Nick Brimeyer 20.FEATURED BANDMUSIC AND TECHNOLOGYI/owar 24.DYSLEXIA AND DESIGNBy Kelly Sue Cram 26.ALL ROADS LEAD TO MIDWEST MUSIC MAKERSBy Denny Garcia 27.CREATIVE TEAM 29. ARTISTS’ RESOURCES 29.

Mark Fuentebella “Wonder” 1.Lisa Naffziger “Molten Sea” 4.Aaron Van Fossen “Breathe Music” 6.Morgan Ann LaRue “a stronger man” 14.Cori Noble “Peek a Boo” 14.Brandon Corpstein ”Untitled” 14.Jeremy Vallin “Time is an illusion” 14.Daphne Dunkel “INFECTED” 14.

Mikaela Armstrong “Untitled” 14.Micah Dillman “foregone conclusion” 14.Brody Eldridge “Medals 1” 14.

Taylor Yocom “Typewriter” 21.Matthew Adams “KOI” 22.Stephanie Kronlage Packaging Design 22.Alyssa Tallent “Little Red and the Wolf” 28.

Sawyer Paar “Visitor” 28.

Mark Fuentebella “Wonder”

ART FEATURES: ARTCLES:

world today, fitting somewhere between fine art and design. My work brings fine art to a place that can be viewed and appreciated by those outside of the art community.

I am drawn to poster design because of its large format and the opportunity for white space. Digital design offers a multitude of options, including changing colors, swapping pieces, and bringing more meaning through text. Transitioning from paintings to posters has been comfortable because it works in a manner similar to a canvas.

BEST IN SHOW & GRAIN COVER WINNER

MAGGIE DOUGLAS

“the imperfections found in the hand-made pieces of my work set it apart from most of what I see in the design-world today”

I am originally from Des Moines, IA. I attended Loras College as an Art and Digital Design major, and graduated in May 2014. It was through this program that I gained the abilities to combine my studio art skills with digital design, an aspect I find unique about my work.

I started my college career working mainly in painting then transitioned into the digital format. I like that my designs cannot be completely done on the computer - the imperfections found in the hand-made pieces of my work set it apart from most of what I see in the design-

2014 DIGITAL ART EXHIBIT

My design process consists of combining my fine art skills of painting, drawing, and collage. I do not typically begin with a finished product in mind, as the most prominent discovery I have made these past few years is that nothing turns out exactly how I first imagined it. My acceptance of this fact has led me to embrace experimentation. I combine different patterns, colors, and textures until I like what I see. Then, I bring it to the computer to deconstruct and rearrange the collage, and organize it into a design.

DIGITAL ART EXHIBIT 2.

1.1.

www.chavenellestudio.com • [email protected]

Chavenelle Studiom e t a l w o r k s, Ltd.

2.2.

3.3.

HONORABLE MENTION

TABITHA LINKMy interest in pursuing art was first sparked in clay, when I began mentoring with Gary Carstens, owner of Mississippi Mud Studios, in Dubuque. Currently, my work uses a variety of materials and the human form to create a specific mood or capture a part of my world. After graduation, I see myself

HONORABLE MENTION

AARON VAN FOSSEN

living in a city, working and making art. My goal is to support myself with my art. No matter what I always want to keep learning.I am currently getting my Bachelors of Fine Arts, with an emphasis in sculpture, from the School of the Art Institute of Chicago.

“Untittled” / Digital Photography

The fog was rolling off the Mississippi, obscuring the view of the water, and limiting my vision to about 10 feet. As I walked, figures would appear out of the fog, giving a sense of timelessness. This man was sitting in the chilly fog, and as I spotted him I wondered if he was there at all, or just a figment from another time, eternally playing his eerie harmonica music.

In my 22 years, I have gained experience in multiple disciplines, from painting and design, to singing and piano performance. I am currently a senior graphic design student at the University of Northern Iowa, with interests in artistic logo, entertainment, print, and advertising design. I have experience as a freelance graphic designer, having work with multiple small-time clients, and have interned at Mandle Design.

“Dan Gable” / Digital Design

We were provided with images of Dan Gable to use in our posters. Because many of the images are of him in his youth, I thought of giving the posters a retro look. I almost immediately pictured an old vintage soccer poster a friend kept in his room. The design elements flowed from that inspiration - something that took a vintage layout and colors, and married them with modern typography.

To the right:

Lisa Naffziger “Molten Sea”www.lisanaffziger.crevado.com

3. DIGITAL ART EXHIBIT

ART FEATURE 4.

For over a decade, Victor Cayro has been quietly churning out bizarre masterpieces in the comix underground, both as the enigmatic Bald Eagles, and under his given name. His work has appeared in various highly-regarded anthologies, including Kramer’s Ergot, Project Superior, and Typhon. Locals may recognize his work from the dozens of fliers he drew for Dubuque’s all-ages shows in the early 2000s.

After a couple years as a starving artist in Brooklyn, where he appeared in and curated gallery shows, Cayro returned to Dubuque, continuing to create. Alongside his primary medium of drawing, he also spends time creating everything from VHS films and audio collages to sculptures made from found material and hand-drawn clothing.

Cayro’s aesthetic draws largely from trash culture, be it taking inspiration from forgotten Hong Kong B-movies or literally using other people’s junk to create his art.

The last few years have seen Cayro receiving increased exposure, with art shows at Synchronicity and La Luz de La Luz (both in Los Angeles). In 2013, Drippy Bone Books published Bittersweet Romance, an intense anti-meditation on the cycle of abuse. Filling every inch of each page with overwhelming visuals and vibrant bad-trip colors, and bolstered by a narrative approach that is similarly s e n s o r y- c r u s h i n g,

Bittersweet Romance received accolades for its audacity and fearlessness, with an excerpt ultimately gaining a place in

the 2014 edition of the prestigious Best American Comics anthology. When asked how he felt about the attention, Cayro self-effacingly stated, “I’m happy I can make art and people can enjoy it, and I can have a little bit of success. To feel okay about it, not feel bad about it.”

In 2014, Cayro also self-published SMPPB, a collection of recent drawings, and drew the cover art for San Francisco indie-rock band The Dodos’ new album, INDIVID, along with designing a t-shirt for the group. While he is proud of his work, and its exposure, he is humble and grounded in his assessment of what it all means.

“It doesn’t necessarily generate money, but it’s a profession - we should be regarded like plumbers. Art is essential. We are electricians.”

Victor Cayro is also typically enigmatic in his assessment of the whys and whats of his creativity. “I was born to do it. I have to. It’s the same reason an accordionist plays an accordion.” When pressed for deeper reflection, he shrugs, mumbling,

“I’m a dirtball artist, whatever.”

INDIVID, The Dodo’s New Vinyl.Art by Victor Cayro

Bittersweet Romance, Comic Book

ARTIST PROFILE:

VICTOR CAYRO

4. ARTIST PROFILE

Upper Right: Bittersweet Romance.Right Bottom: Marshall Law.

DUBUQUE AREA ARTS COLLECTIVE .5

Aaron Van Fossen “Breathe Music”

6. ART FEATURE

EXPAND YOUR HORIZONS:

Study AbroAd

Studying abroad is one easy way to help build the connections and experience needed to start on your career path. It is a once in a lifetime opportunity that allows you to expand your horizons on an international l e ve l a n d e x p e r i e n ce a n o t h e r country’s culture.

I studied abroad in Santiago de Com-postela, Spain during my spring 2014 semester at Loras College. At this time, I was a junior working towards a Bachelor of Arts in Art and Digital Design and Span-ish. During my time abroad, I took classes at the University of Santiago de Compostela, worked as an intern at a graphic design firm, Campus Na Nube, and v o l u n t e e r e d w i t h a s t u d e n t organization associ-ated with the university, ESN Santiago.

My internship at Campus Na Nube allowed me to build a strong start in my graphic design career outside of the classroom. At Campus Na Nube, I designed sever-al books, charts and posters for the university. To design these projects, I used various programs such as Adobe Illustrator, Photoshop, and InDesign. These programs were programmed in the Spanish language, which allowed me to enhance my Spanish language skills. The work environment in general is more

tranquil in Spain than it is in the United States, since the people in Spain live a more relaxed lifestyle. This allowed me to transition easily into working as a graphic designer in a foreign country.

There are several cultural benefits to study-ing abroad. It is typical in Spanish culture to have an afternoon coffee with friends or coworkers. This gives you an opportunity to create friendships with new people and mingle with them for hours. I studied in a city where several languages and na-tionalities were present, which allowed me to not only gain lasting friendships, but also to enhance my foreign language skills.

This study abroad experience has en-hanced each of my majors and has had an overall positive influence on me. I have been able to utilize what I have learned during my study abroad experience to flourish as a designer and as a person in general. This was a fantastic opportu-nity for me to expand my horizons because itallowed me to gain an in-depth understanding of Spain’s culture, gain experience in graphic design, and gain long-lasting friendships with other international students who share the same interests as me.

As a designer starting out it is sometimes hard to build experience and get your career on track.

By: Mallory Heims

DUBUQUE AREA ARTS COLLECTIVE 7.

In a technology-rich world filled with tablets, and mobile devices, one might presume that thee ole lead pencil has beenled out to pasture. Current perception of graphic design studios are stripped of cutting mats, pens, rulers, or paper replaced by neatly aligned rows of iMacs, ready to make design with a mere push of a button. Contrary to the popular belief that one

need only use the almighty computer to click, tap, or swipe to make a magically con-structed awarding-winning design (poster, packaging, website, editorial, etc.), these computers idly sit by waiting for a designer to bring an idea to life. Unfortunately it is not a push of a button away. Admittedly most designers – both in the classroom and the professional design studio – produce their work on the computer. The ubiquitous nature of the beloved Adobe Suite, and other cloud-based software packages have given rise to countless scores of self-pro-claimed designers who “know” Photoshop, or have some exposure to Illustrator. Some-how this topical understanding provides entitlement of “designer”, a person who has an “eye” of for design. But where did they find their inspiration, and, more important-ly, why is it good?

The simple answer is: good design is not always pretty, and bad design can be decoratively pretty. To truly assess if a

GOOD DESIGN Non-digital

Designer Process

& the

design is “good” ask these simple questions: Does the design communicate beyond the surface of the page/screen; does it resonate with meaning; and, does the design make you think? Without context, and more importantly without a conceptual rationale, design exists only as an exercise of pushing pixels.

Thinking and drawing go hand in hand for most makers. Maintaining an active sketch-book is a crucial component of good studio work, but this takes practice. With appro-priate intention and care, one can find, ob-serve, distill, and record more meaningful connections through a pencil than any other technological instrument available for designers, engineers, or information

architects working today. Indeed the simple notation, organization, and inspiration of design originates with the beloved sketch. In classrooms, the ideation process begins with thumbnail compositions – and in most classes, a minimum number of 100

INSERT the

Pencil!“good design is not always pretty, and bad design can be decoratively pretty”

“An effective sketchbook is a reflective archive of visual data gathering that can inspire and stimulate the creative process.”

By : Eric WoldGraphic Design Professorat Clarke University

8. GRAPHIC DESIGN

Non-digital

unique ideas are commonplace. An effec-tive sketchbook is a reflective archive of visual data gathering that can inspire and stimulate the creative process. But for most students, the idea of the sketchbook is perceived as more work, and they typically struggle to find inspiration outside of the proverbial Google image search. Yikes.

To help provide guidelines for the sketchbook in my classes I include a sampling of “sketchbook activities” for students to explore in introductory classes. And in more specific classes such as Typography, the objectives narrow in foci to objects, and ephemera that are more or less type-driven. The typographic journal combines both data gathering and environmental observation with

process-driven typographic activities such as: digital, hand-drawn, and painted specimens, accumulated and reimagined. The process demonstrates creative thinking and the exploration of various media helps to visually describe the way you refine content, edit, and recontextualize design solutions, which is critical to any artistic practice.

Keeping a sketchbook is really about working without preconceived goals, expectations, boundaries, or arbitrary time constraints. I advocate for artists, designers, and students alike to try new things with minimal risk and with greater personal reward. By habitually keeping and maintaining a sketchbook, you can restore your sense of play, learn to act without filters, and, perhaps most importantly, strengthen and expand your working process into one that is conceptually sound and contextually unique. In the end, your design-process will elicit meaning, communicate thoughtfulness, and reflect a personal point-of-view. This may or may not be pretty – but it will be good design.

“By habitually keeping and maintaining a sketchbook, you can restore your sense of play, learn to act without filters, and, perhaps most importantly, strengthen and expand your working process into one that is conceptually sound and contextually unique..”


PK’sVideo Production Advice for Budding Filmmakers

by Paul Kurutsides

GreetinGs, fellow filmmakers!The topic this time around is camera support. Now that you have a grasp on how to light a scene, we are going to discuss camera movement.

The camera is the audience - what the lens sees, the audience sees. That said, a few things need to be taken into consideration as to how this will be done. Actors and sets can only do so much to relay emotions and themes - where the camera is positioned, and how or if it moves, helps the audience interpret the scene. There are various ways to go about setting up your camera, which can vary due to how much time, effort, and money you are willing to put into it.

Hand-HeldinG Most beginner camera operators simply maneuver the camera with their bare hands in what I like to call “hand-helding”. It is free, and has its advantages. Filming without the constraint of a tripod, or “sticks”, allows you to move the camera within various spaces and angles that regular tripods simply can’t, provided your hands are steady enough to hold the camera for the entire length of shot time.

The problem is, when you’re filming a scene that requires any type of movement or, if you have to hold the camera for a prolonged period of time, the footage likely will not be smooth and steady. Every movement that transfers from your feet or arms to your hands will get transferred to the footage. The camera’s movement is not always a bad thing - a little camera shake is good for certain scenes, as it portrays the energy of an intense moment. Too much camera shake, however, and it looks like your actors are in an earthquake.

sHoulder mounts I have seen shoulder mounts, or “shoulder rigs”, made from parts bought at a hardware store for under $40. Taking the camera out of your hands, so to speak, can help take the unwanted shake out of your footage. You can still get plenty of shake, rattle, and roll if you are not careful, but the camera is stabilized and supported by more of your

body. You need to watch how you move while filming as you will get fatigued while slinging around all that extra weight on your shoulder. Film your shots in short takes. The less time you film while holding the camera on your shoulder, the easier it is to fight fatigue. Leave the extended shots for the rubber, plastic, and metal supports.

dollies Shooting with a dolly basically places a camera on wheels, adding a critical element that really makes a scene come together - long-range movement. Like shooting with a shoulder rig, a dolly sets a camera free, but with very limited shake or wobble, if done correctly. Having a camera move parallel or perpendicular to your subject adds way more energy to a scene than just filming with a static shot. Dollies come in all shapes and sizes - some are small and operate on wheels, others are big and require a track system. Some operate with a tripod, allowing you to pan long-range, while panning and tilting using the tripod head.

All dollies have advantages and disadvantages. Dollies that require tracks can be placed almost anywhere, but take a long time to set up. Dollies with wheels operate well, but only on a completely smooth surface. You also have to deal with space - bigger dollies can’t go everywhere, and small wheeled dollies can generally only shoot at ground level, unless you buy a glide dolly that rests on a tripod.

There are ways to get your hands on a dolly that won’t break the bank, however. Plenty of pseudo-dollies and DIY projects can be found on the internet, provided of course you know your way around power tools, or know someone who does. Another option, for outside shots on a street or a flat open surface, is a vehicle. I shot a few scenes for a short film that required an actor to be in the shot while he was jogging up a street. I opened the canopy of my jeep, placed a

10. ADVICE FEATURE

camera on a tripod in the back, and allowed my car to coast up the street with the actor running behind. It worked perfectly.

steadicams Not to be confused with shoulder rigs, Steadicams are a class of their own, requiring a significant amount of time and effort to use. They come in many types and sizes, ranging from lightweight handheld units, to big chest rigs requiring the use of a stabilization arm. The handheld versions are meant for lighter cameras. When you really want to have motion control and with a heavy camera, you need a bigger Steadicam.

The great thing about the Steadicam is there is no track system involved, and no need for completely smooth surfaces, allowing you to film more in less time. Steadicams make impossible tracking shots possible. There are a few limitations though; it takes time to get used to operating it as it requires specific movements, and even controlled breathing, while filming. The camera has to be perfectly balanced with its counterweight, otherwise it may move the opposite direction from how you want it to. Lugging around all that extra weight for prolonged periods of time also takes its toll.

Steadicams are not cheap, ranging into the tens of thousands of dollars. There are third party companies that sell less expensive Steadicam models, but you have to be careful, as you usually get what you pay for. For the up and coming filmmaker, there are plenty of DIY options online for handheld pseudo-Steadicams, but be prepared to do a lot of work putting them together.

Jib cranes Although they are pretty easy to operate, they require much attention. A jib crane is basically a swinging metal arm with

a camera on the end, which can be manipulated to angle a shot vertically. Requiring a wide safe area for use, the operator needs to be constantly aware of where the crane is, and what needs to be shot. Maneuvering can be tough, especially indoors.

You also need to keep in mind the camera you are using, as whether or not there is an autofocus option is very important. The focal distance from something when the camera is on the ground can be very different from when it is many feet in the air. Cranes can get pretty pricey, and, though there are DIY options, I would personally not trust anything that was not made by a professional, as you are risking a lot with the camera being many feet in the air.

specialty riGs Now there are way too many variations of what I am about to talk about, so I will just generalize this topic for sake of time. Specialty attachments for GoPro-like cameras are everywhere these days. For around a thousand dollars, you can even put one of these cameras on a small quad-copter and fly it hundreds of feet into the air. Want to see what it is like to be a dog? There is a harness available that can attach a small camera to an animal. These cameras can go almost anywhere, and they are cheap! The types of mounts and harnesses available for these point-of-view cameras are limitless. Even more can be said for DIY options. For instance, I created a shoulder mount that gave a third person perfective for under $50. These cameras capture a huge variety of footage that can take your scene to the next level.

These are just the basics of what the industry has to offer, there are many more options out there.

For now, I will leave you with this piece of advice - don’t get discouraged by not being able to get your hands on all the equipment I mentioned here. Work with what you have - it is a useful skill that will come in handy in the future.

That’s how I, and most other indie filmmakers, have done it, and it’s worked out pretty well so far.

Stay creative!


12. FEATURED ARTIST

like taking them - I can never really put my finger on what it is I wanted. I’m a frustrating director, so I never know what I will get. I make a drawing and I try not to think about what it will be when it is finished. From there I decide how big and what kind of method to use.

I try not to decide everything in the beginning, that way it’s interesting for longer. The worst is to have to sit for hours and make a piece you can already see in your head.

WHY SOME OF YOUR WORK HAS AN ELEMENT OF CONFINEMENT?

There is a story there. I started drawing things in jars my last year of college. Dr. Czarnecki let me into the Loras lab, and I could borrow their fish specimens from the river. They were all in Ball mason jars with dates. When I moved to Memphis, I found some pickled balut in the Vietnamese market and I was going to take it home and make a drawing of it, but I couldn’t make myself touch the glass jar to carry it up to the cash register. It was too heartbreaking. Anyway, I bought every other kind of pickled thing they had. I meant to paint them for practice but somehow they ended up in all of my finished paintings.

I don’t know about [the jars as a symbol of] confinement, but I use them a lot as a symbol of memory.

HOW DOES YOUR WORK RELATE TO WHAT’S GOING ON IN CONTEMPORARY ART PRACTICE?

I think the goal for my new body of work is to focus more on identity as part of a community. There was a lot of biography in my last body of work; I was painting the events of my life, things that had already happened, through the memory filter. I’m moving into three dimensions and my scale is increasing. I’m not sure how contemporary it is compared to what is happening in the international art centers, but I feel like it is probably more contemporary in the lens of my own life and surrounding community.

“Unitittled” Oil on Panel

WHAT ELEMENTS NEED TO BE IN PLACE IN YOUR STUDIO FOR YOU TO BE MOST PRODUCTIVE?

Coffee, but that is true of anything I’m doing. I don’t get very far without caffeine - and music, of course. I really like when people come to visit. I’m not sure how productive I am during those times, but I definitely make better work.

WHICH ARE SOME OF THE ARTISTS THAT HAVE INFLUENCED YOUR ART?

I would say for the most part it is authors and musicians that influence my work. The body of work I just finished was influenced by Neutral Milk Hotel (the storytelling) and a little bit of Angela Carter (the imagery).

I was reading some of John Cage’s writing - it’s very biographical like a journal, but the way he arranges words on the page activates the whole space. I tried to bring a little bit of that idea into my work.

WHATS YOUR CREATIVE PROCESS?

I like having people around, so I will pester people to pose for me. I work from photographs, but I don’t necessarily

“Untittled”, Oil on Panel


Unfinished Study, Graphite on paper

BEST IN SHOW, THE SALON EXHIBITION 2014The third annual Salon Exhibition, the Dubuque Area Arts Collective’s flagship event, showcased the works of local and regional artists not accepted into other local juried exhibitions. Over the past three years, the Salon has given artists a second chance to present their work to the community, and has highlighted the vast growth of Dubuque’s up-and-coming art scene. The Salon was initiated in 2012 to promote and empower both emerging and experienced artists, and create

“Untittled”, Oil on Panel

Morgan Ann LaRue “a stronger man”

Cori Noble “Peek a Boo”

Brandon Corpstein”Untitled”

Jeremy Vallin “Time is an illusion”

14 ART FEATURE

Daphne Dunkel “INFECTED”

Micah Dillman “Foregone conclusion”

Brody Eldridge “Medals 1”Mikaela Armstrong

“Untitled”


Tell me about your background in art - what initially inspired you to be an artist? What is your formal education?

I think the key moment when I knew I wanted to be a part of the art world that involved museums and contemporary art galleries was in junior high. In the summer I was enrolled in a program at the University of Iowa called the Iowa Summer Institute. While there, I was given a lot of free time to knock around the university; this was a very cool, liberating experience for a 13 year-old. The university art museum had a show up of Fluxus game paintings on large unstretched canvases.

To learn about Fluxus and Dada at that point was to discover the joy and possibility of a life in the arts that could be joyfully at odds with convention, even at odds with something I loved, like art itself.

Later, I studied Intermedia Art at the University of Iowa. This was a program that emphasized New Genre Art, basically things like video, performance, and installation art. The program was very loose and offered a lot of permission - the instruction was always along the lines of “Yes, now take it forward”, or, as one of my professors there, Hans Brader, said more than once after a performance, “Yeah, that’s good. Now do it in the nude.” People laugh at stuff like that, and it is funny, but as artists we cannot be scared to be scared, or anxious about being ridiculous.

16. ARTIST INTERVIEW

Even as I pursue this as my work, I know that an aspiration to be beyond criticism or totally legitimate is itself a bad faith effort. Being an artist is a marginal position, make no mistake. And really, you wouldn’t want it any other way. That said, after undergrad I took an MFA at the School of the Art Institute of Chicago, so I’ve always been walking that line between an imagined freedom in the arts and a path of professional rectitude.

What are you attempting to convey with your art?

In the past, as I undid the perhaps necessary damage of an education, I felt compelled to make work that would change minds or inform thought. These were big projects about discovery of self or explaining some minutiae of Leftist politics. Now that is out of my system. Just like a great old rock song may ask, “Do you want to dance?”, even as the music makes it impossible for you not to, an artwork can ask, “Do you want to look at this like this?”

So in this way I am interested in an art that works like a mirror, where we see ourselves looking and feel the relief of knowing we are neither the image in the reflection, nor truly the person reflected, nor the mirror itself. My world has been revealed as a relation, the dialectic of all of those parts. If this sounds confusing, it is.

How are you currently using your art in your daily life? How do you make a living as an artist?

For me, what I do in art is fundamentally a vocation. Art is something you do and live, and your role as an artist is defined by the doing of it. So, in my mind, a day when I make something, when I live in ideas and images, is a day working as an artist. On days when I don’t, I suppose I’m not an artist that day. It’s very contingent.

Receiving your first check for a work of art doesn’t make you an artist. It means you’ve found a job as an artist. Jobs matter, of course. I have to make money, most of us do. In addition to money from sales and fees for my work, I teach at DePaul University in Chicago. Being a professor is also a vocation, but it is much more formalized as a job.

How do you promote your work? How do you get your work into exhibits and galleries? What are the challenges?

I live in Chicago, a city with a vibrant art world. It is definitely not as large or as lucrative as NYC or LA, but it is quite human-scaled, and so is doable for someone who likes to get out and mix in person. Just like an artwork has to be seen to really enter the world, an artist has to be seen to be known. I go to lots of openings, parties, and social events with other artists. Attend talks and screenings. If someone invites me to something I always try to go.

ART INSIGHT ON LIFE AS AN ARTISTS BY PROFESSOR

Andy Roche

WORLD

WORLD


When I was younger I imagined that at some point a hand from the sky would pick me up and deposit me at my rightful place. I don’t know how I expected that to happen! In reality it’s a personal, networked field. It’s not a meritocracy. It’s a corrupt, self-interested human institution. Your best hopes are to make good work and to be a good friend.

You are a musician as well. Does your art inform your music, and vice versa?

I think being involved with bands, a whole other part of my creative life, now informs my art more than being an active part of my daily life. Being in a band requires lots of mutual support and collective effort. When you play music, it’s obvious that what you’re doing is social in a way that isn’t always so clear as an artist toiling away in the studio. I always try to remember that what works on stage - enthusiasm, vulnerability, novelty, empathy and so on - is a big part of how an artwork engages people as well.

Do you have any tips for aspiring artists?

Don’t think of being an artist as some ideal that you aspire to. It’s a thing you do that happens over the course of a lifetime. But do it with seriousness and a full-heart. If you want to stop, stop. You’ll know if art is right for you if you can’t really ever quit it completely. By making art we learn how to participate in the mysterious process of making a life of meaning and action for ourselves. Those lessons apply to many other things.

To the right“Property that Flows Towards Me”

There are no silly quesTions when iT comes To parenTing.With one call, Parent Pals can match you with free support that fits your

family. You tell us about your family, and we help you find resources in

your community, such as matching you with a friendly professional who

specializes in tough parent questions.

It’s voluntary, and it’s free!

Eligibility is based on child’s age

and assessment.

Call 1-855-BeMyPal.

Our behavioral health intervention services (BHIS) use a professional, curriculum-based approach to help children and teens who have behaviors related to a mental health diagnosis. We help them

build skills for anger management, coping, healthy-decision making and more. This service is available for children with Title 19 Medicaid insurance and is offered at no cost to the family.

To schedule an assessment, call 888.457.4692 to get started.

Is your chIld sTrugglIng?

LSI can help.







and assessment.

Call 1-855-BeMyPal.





LSI can help.







and assessment.

Call 1-855-BeMyPal.





LSI can help.

18. HOW TO:


By Caitlin Donald

T he Internet is full of hate for typefaces. If you were

going to label a villain of the Internet, Comic Sans would be a top contender. This is completely unwarranted. It’s not the font’s fault that people are misusing it. What most don’t understand is that fonts have feelings too.

In 1994, Comic Sans was created by Vincent Connare for Windows 95,

because, as he put it, “everyone knows cartoon dogs don’t talk in Times New Roman”. Since its release, it has become a go-to for virtually everyone, and therefore, the bane of designers everywhere. The problem with Comic Sans chiefly lies with with its overuse and misuse. Better suited to homemade kids’ party invitations, Comic Sans pops up in professional settings, from doctors to lawyers, and even in well-established universities such as Illinois. Unless the text is in a word bubble or directed at someone under the age of 10, maybe you should think of using a different font.

Much in the same vein as Comic Sans, Algerian is often used for

all the wrong reasons. This digital font was created in 1988 to emulate Victorian woodcut type of the nineteenth-century. You may not have heard of Algerian, but you have definitely seen it everywhere. It features prominently on Patron’s label {image of bottle of Patron}. Luckily, I have yet to see entire sentences in this often all-caps display font.

By Nick Brimeyer

If only this was the case for our final font, Papyrus. Papyrus was created by

Chris Costello and released in 1982. Like Algerian, Papyrus is also a display font: to be reserved for only a few words, not full sentences. It winds up being used anytime the intent is to make something look “ancient” and/or “mystical”, hence its appearance on everything from yoga studios to church bulletins. One of the more recent cringe-worthy uses of Papyrus was in James Cameron’s Avatar as subtitles for all of the dialogue of the Na’vi. This wasn’t as much of a problem in theaters as it was months later on the small screen in your living room.

?

copyworks

The place to go

for work you’ll show.

806 Wacker Plaza, Ste. 136 Dubuque, IA Ph: 563.557.2679 www.copyworks.com [email protected]

Like us on facebookfacebook.com/dubuque.copyworks

Canvas

Oversize ColorNow

Printing E

�

When setting type, fonts are a useful tool, as long as they are used

thoughtfully and appropriately. By no means should we ban Comic Sans, or any fonts for that matter. The main thing you need to think about is what idea you are trying to convey and if your choice of fonts is in line with your message. Keep in mind that fonts have feelings too - the feelings or images they convey to the viewer.

20. FONTS AND TYPOGRAPHY

Taylor Yocom “Typewriter”

ART FEATURE 21.

Matthew Adams “KOI”

Stephanie KronlagePackaging Design

www.stephanie-kronlage.squarespace.com

22. ART FEATURE

DUBUQUE ARRA ARTS COLLECTIVE 23.

I/OWAR

I/OWAR formed under the sun to consume the lights and beeps which drive the life of the slice of the beasty beats we unleash. The idea for our sound solidified very quickly, and it became immediately apparent that there are many hearts beating through our music.

An eruption of cutting and fading edge technologies merges tablets and computers with live cassette tape sampling and old school keyboards. We build from one point until it shifts into another, then another, then another. Our influences are as varied as you could imagine. Early industrial to current hip-hop, doo-wop to noise drone, funk to punk. All three of us quickly seemed to be on the same page as far as intuitively collaborating and just understanding what each other were doing with an element of a song.

FEATURED BAND24. FEATURED BAND

THAD KELLSTADT:

I started playing music when I moved from Ohio to Pittsburgh in 1995. Along with music, I am a visual artist and video maker. Art school led me to Pittsburgh. There I played in a handful of nascent improv bands while making collages and weird/experimental recordings on 4 tracks. Coming from a punk background and listening to stuff I hadn’t heard - like Miles Davis, Krautrock and No wave stuff - the idea of music seemed endless with possibility. In some ways I still feel that way. Being totally sick of playing “rock” instruments I started working on electronic stuff. Meeting up with Jay and Tom was fortuitous. The rest is history.

JAy SCHLEIDT:

Of all my accomplishments, I/OWAR has probably brought me the most satisfaction, in that it is releasing and combining the energies of three like-minded dudes to bring forth a unique kind of head-bobbing music even my mom would enjoy. Playing with these guys has been one of the most fluid creative experiences I have had in any medium.

During college I discovered that other people existed in the world who shared my interests, and I began to correspond with them and perform in improv noise ensembles with my friends. To help get my “music” into eager ears I started a recordings label, releasing super limited cassettes in handmade packaging, eventually putting out the tapes of many international artists, and having my own music released by other labels. I’ve been commissioned to create album art and music videos, and Oxford-Brookes University in England bought some of my releases for their permanent collection. Since moving to Iowa City in 2007 I’ve experienced the most productive and collaborative years of my life, publishing hundreds of zines, printing hundreds of art shirts and band shirts, and producing dozens of experimental music albums and music videos.

ToM BuCKHoLz:

I got my BFA in 2005 from Bowling Green State University in Ohio. I found ways to integrate noise audio projects into mixed media and painting classes, like hiding an audio player and speakers inside a wall mounted canvas, with a subtle but chaotic audio loop you could only hear when you stepped close up. I really enjoyed

All three of us have moved around the midwest multiple times. Together, I think we have sampled a lot of the rich culture some people are surprised to find in the midwest. There is tons of amazing stuff going on around here, but it’s spread out a lot more thinly geographically, and you have to sometimes work harder to get to a show or make one happen.

combining different ideas and media together and realizing you could create whole new experiences for people. I have always continued to involve music making in my art projects but have never been in a band after that, until now with I/OWAR.

I’m really excited to be making music with these guys and to see ourselves improve each time we play together. Every time we practice we bring something new to the table - a new beat, new sample we found, maybe a melody we want to improvise with, a cassette tape from the thrift shop that might have old answering machine messages on it. Combining these disparate elements together with like-minded people is always surprising and rewarding, because you can end up in places you never would have found on your own.


Dyslexia is a reading disability that impairs one’s ability to properly recognize and process certain letters and symbols. The disorder has not been effectively characterized by existing theories and concepts. There is no consensus that defines dyslexia; therefore, it is a functional law without form.

Effective design facilitates one’s ability to function. Ineffective design can create barriers that are limiting. Analysis has identified several areas of design-related influences, which include aspects of environmental design/spatial orientation, graphic design principles, and technology. Each of these provides opportunity for additional design research.

While in the Netherlands I started working for Ossur, a company specializing in prosthetics and orthotics. My main job was to support markets with print material. I was influenced by the mission statement of the company: a life without limitations. My confidence in my work and self thrived at Ossur. I started to discover the hidden talents and little gifts I had learned throughout my life. By allowing myself the freedom to discover what works best for me, I learned how to deal with my disability in unique ways. This freedom of choice helped me become a problem solver and a creative thinker.

Learning can be positively impacted by design changes. For example, the use of color-coded book covers can help students become more organized and a fewer number of variables can create stronger memory association. Design can also play a large part in mitigating reading difficulties caused by dyslexia.

Artwork by: Roger Powers

Textbooks often have small text and little-to-no white areas. This is very overwhelming to a person with dyslexia. Large text and sans serif font, along with a significant amount of white space, can improve reading comprehension. Personally, I noticed I could also read for a longer period of time without becoming tired. Apps such as DragonDictate help me produce work with fewer errors. I’ve also found a Kindle allows me to pick size and font options.

By Kelly Sue Cram

Photography by : Ronald Tigges - DigitalDubuque.com

I have come to understand how design helps me as a student, a designer, and an individual with dyslexia. It is important for designers of textbooks to consider all aspects of design, and how these elements can impact people’s daily life. If we develop tools that are properly designed, we can promote ability instead of creating disability.

26. DESIGN FEATURE

Midwest Music Makers began right here in the heart of the Tri-State river country. Some kindred musicians pondered the thought of bringing to regional listeners a wide and varied smorgasbord of homespun, road-tested tunes for cultural enhancement. Far from all the trappings of fame and notoriety, there is a populace of talent that pulses in the bloodstream of the backstreets of Anytown, America.

The midwest has its own brand of writers, musicians, storytellers, and torch-bearers who speak volumes for our neck of the woods. With the help of tech-savvy pioneers, we collaborated to create a format to voice these visions.

Crown Dining and Entertainmentis currently accepting new members for the

2015-2016 membership year! With your card you will receive the best

offers and discounts available at your favorite local restaurants and businesses, including many

buy-one-get-one-free offers*. These are not one-time-use coupons: your membership

card gives you access to these specials all year long, so Sign Up Today!

[email protected] • 563-580-3944Like us on Facebook for free givaways, including

FREE MEMBERSHIPS for the 2015-2016 membership year (Apr.30-Apr.30) and Gift Cards from our partners!

*Discounts and offers subject to terms and conditions. Contact us for details.

• Perkins • Corner Grill • AJ’s Cafe • Fresh Take • Kalmes’ Breaktime • Lina’s Thai Bistro • Pizza Ranch • Dubuque Mining Company • Big Apple Bagels •

Pickle Barrell • H

appy Joe’s (Galena) •

Tony Rom

a’s • C

aroline’s • L. M

ay Eatery •Salsa’s M

exican Restaurant • Yen Ching • Papa John’s • Denny’s Lux Club • Europa Haus

• Adobos • Europa Cafe • CherryBerry • All Things Sweet •Texas Roadhouse • Mindframe Theaters • Miracle Car Wash•

Molly’

s Si

lver S

cree

n Ca

ntee

n •

Jamaica

Me

Tan •

Potosa

Spa

• S

ervic

e Mas

ter o

f the

Key

City

•Du

buqu

e Mattre

ss

Facto

ry •

The

Jewe

lry

Box •

Custo

m

Crea

tions

Ph

otog

raph

y

We invite local, regional, and traveling musicians to come into a pressure-free environment, to perform for an intimate and supportive audience in front of several cameras and an open window and door, broadcast to the eyes and ears of the world. It has proven to be a worthwhile way to share these humble gifts with an ever-widening circle of friends.

We are in our fifth year in the Mancave with Midwest Music Makers. You can find recent videos from our weekly shows by searching our Youtube channel, Denny Garcia Midwest Music Makers.

Find us on Facebook for details on upcoming shows.

MIDWEST

MUSIC MAKERS

ALL ROADS

LEAD TO


By Denny Garcia

Alyssa Tallent “Little Red and the Wolf” www.alyssatallent.com

Sawyer Paar “Visitor”

28. ART FEATURE

Ivonne SimondsCreative DirectorLead Layout Designer

Bob Bucko JrBoard Vice PresidentLead Editor / Feature writer

Michelle BetchenBoard Member Photographer / Writer

Rick Eagle Board Member / Musician

Angela Ventris Secretary / Master Level Idea Generator

Amanda Reynolds Board PresidenMixed media artist

CONTRIBUTORS:

Erick WoldFeature Writer

Kt SchrammLayout Designer

Julie GriffinFeature Contributor

DAAC CREATIVE TEAM & VOLUNTEERS:

Kyle Regan Sculptor / Furniture Designer/ Life Drawing Instructor

Crescentia (Volz) MelloMulti-Media Artist

Matt HohmannMusic Producer

Ryan Werner Creative Writer / DAAC Writing Class Instructor

James BrownDigital Artist

Jessica Weis Painter and portrait artist

Trish Feldman-JansenPhotographer

Jesse Bakey Sculptor / Potter

BOARD MEMBERS & CONTRIBUTORS:

ARTIST CALLS &ART CLASSESDubuque Area Arts Collectivewww.DAartscollective.com902 Main Street

OPPORTUNITIES TO EXHIBIT Monk’[email protected] 373 bluff st

Art @ your librarywww.dubuque.lib.ia.us

Gallery Cwww.gallerycm.com900 Jackson Street, Ste. 113

Jitterz Coffee & [email protected] Main St

Dubuque Bike [email protected] Central Avenue

Nash [email protected] Bluff Street

THEATERTrainwreck Productionswww.TrainwreckProductions.org

WRITINGDubuque Area Writers [email protected]

Dubuque Fine Arts Playerswww.dbqoneacts.org

Mallory Heims Layout DesignerFeature writer

Lisa MorrisIllustrator / ArtistEditor

Caitlin DonaldArtist / Feature writer

Nick BrimeyerLayout DesignerFeature writer

Paul KurutsidesVideo Producer Feature writer

ART CLASSESwww.DAartscollective.comwww. mattercreative.orgwww.dbqart.comwww.dbqstudioworks.org

RESOURCES/FUNDINGwww.iowaartscouncil.orgwww.ia-dubuque.civicplus.comwww.dcfas.org

To add your business, email: [email protected]

ARTISTS’ RESOURCES:

DUBUQUE AREA ARTS COLLECTIVEDAAC CREATIVE TEAM 29

CONTRIBUTE- Got an idea for an article?- Want to submit your work (art / writing)?- Want to design a page/spread layout?- Want to offer your talents, or become a board member / volunteer?

ADVERTISE AD SPACE AVAILABLE FOR THE SUMMER ISSUE Help us become a permanent publication by purchasing an ad or making a donation!

CONTACT US [email protected]

FRONT & BACK COVER ARTMaggie Douglas

ISSUE II - JANUARY 2015

Biannual arts magazine devoted to area and regional arts and music, with a focus on emerging talent. Grain aims to provide upcoming artists with the tools to promote their work locally and beyond.

DUBUQUE AREA ARTS COLLECTIVEwww.DAartscollective.com 902 Main Street - Dubuque IA

Grain Arts Magazine II

Documents

Transcript of Grain Arts Magazine II