Original post by Junk Culture

New York-based design studio Vault49 has created a series of hand-painted saws as part of a statement project about international budget cuts, titled “(SUB)PRIME-CUTS”.  Speaking about the project they say, “Budgets are being butchered all around the world, and even worse it’s been done in such bad taste. These finely crafted financial tools should trim the fat nicely.” Sink your teeth into these viciously hand-crafted beauties!

 Find out more about the project here.

Brooklyn car park hosts Steve Power’s concrete love letter to the city


Published on Tuesday, 1 November, 2011 | 10:00 am | by Eye Blog

Steve Powers (also known as ESPO) is fast gaining a reputation for urban regeneration, writes Alexander Ecob. His Love Letter to Philadelphia saw old and abandoned buildings along Philadelphia’s Market-Frankford Elevated line acting as canvases for his bright artwork and ebullient wordplay and led to similar work adorning the bridges of Syracuse and the interior of Ogilvy & Mather’s offices.

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His latest commission has given him the reign of thousands of square feet of a Brooklyn car park belonging to department store Macy’s. Powers claims that the people and stories of Brooklyn are direct inspirations for the work – while it was being painted (a process which took two weeks of rollers and house paint) he encouraged passers-by to shout up suggestions which he and his team could try to incorporate into the work.

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Powers says ‘A neighbourhood in decline has always been an ideal place to work. Generally, you are only improving the situation with a little bit of paint, and the work tends to last longer than in the pricey precincts of the city.’

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‘the work […] heralds the forthcoming development, but also testifies to the cherished aspects of the neighbourhoods we worked in, aspects that may be lost as the neighbourhoods change.’

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See also: Review of Supergraphics in Eye 78, Beaker Street mystery public letterers,The word on the street and
Paint the city clean on the Eye blog and our Reputations interview with Paula Scher in Eye 77.

Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop.

Article from Felt & Wire

[Alyson Kuhn] Last week, in our feature on Virgin Wood Type (VWT), we mentioned Kiva Stimac. She and her husband, bassist Mauro Pezzente, run a pair of performance spaces in Montréal. Stimac designs and prints posters — and business cards, menus, handbills and “the other ephemera that goes with owning a business” — in her studio/printshop on the second floor of Casa del Popolo, right above the venue.

The poster for Murray Street Band combines vintage type with new type from VWT, a hand-cut linoleum block by Stimac and a photopolymer plate for the logos.

About how much wood type do you have? And why are you so excited about buying more?
I had gradually amassed about 100 fonts of vintage lead and wood type, but now the prices for used wood type have gone through the roof. When I found Virgin Wood Type online earlier this year, I got very excited. The idea of using fresh, untouched type really appealed to me.

Charles Gayle concert: Large type from VWT; smaller type is a vintage metal version.

Bill [Jones, of VWT] is making beautiful hardwood end-grain wood type that is a pleasure to print with and totally affordable. There is nothing like locking up brand-new type in the press and printing for the first time! For a working letterpress printshop trying to do it the old school way, Bill is a godsend. I know I am gushing, but his type makes me so happy!

“We started the Casa del Popolo in 2000 with a couple of credit cards and a lot of DIY punk ethos.”

What’s your background?
I have a BA in Anthropology from Concordia University. After that, I went to cooking school, and then I worked in kitchens. I’ve always drawn things — I used to draw cartoons. Here in Montréal, you need posters to promote the shows. And instead of getting someone else to do them, I do them. I have a large show card press and I hand ink each poster, so I can get several different colors in one pass.

The polymer platemaker and an array of posters

And your husband?
Mauro is my partner in life and in business. He has a Masters of Science from McGill University. He is the co-founder and bassist in the Montréal super-group Godspeed You! Black Emperor. We have been together since we were kids in high school! Before we opened Casa, Mauro was working on his Ph.D, in addition to touring and recording with Godspeed. I was cooking professionally, and bookbinding and printing as a hobby and selling at craft fairs. We had long talked about opening our own legal café/showbar. A storefront became available, and that was that!

Ephemeral indeed: poster for Full Blast on the street

How many posters do you print for each event?
I print runs of 120 posters. That’s 100 for the street, 10 to keep — for the musicians and the archive — and 10 to sell. But I want to mention that it was illegal to put posters on the street in Montréal up until this year. Mauro actually went to the Supreme Court over this, as the club gets the fines, since our name is on the poster. He won. Another activist friend also went to the Supreme Court over his case and won as well. So now it is legal to poster in Montréal again. Yay, freedom of speech! You can see our poster archive online.

“We opened the Sala Rossa venue, across the street from Casa, in 2001, and the Spanish restaurant downstairs a year after that.”

What do you have equipment-wise in your studio/printshop?
In the beginning I used silkscreen, spray paint, photocopy and relief prints with a bookbinding press and the back of a wooden spoon! It was fun, but very time consuming. I had a couple of fonts of wood type and some lead type and a carving knife.

L’Oie de Cravan is a small publisher in Montréal. This poster, printed with a lot of VWT, announces a music-themed evening featuring more than 10 short performances to herald a triple book launch: lyrics of Michael Hurley, the third book of drawings by Jeff Ladouceur, and music journalist Byron Coley’s first collection of his reviews, C’est la guerre.

Four years ago I got a 15 x 24-in. show card press, and that really stimulated my wood type collecting. After that I got a Chandler & Price pilot press for printing CD covers, handbills and small book runs. Then two years ago, I got a 25 x 34-in. show card press. I can print really big things now. I have a Line-O-Scribe and a Nolan — two other flatbed proofing presses — and a 4 x 6-in. Kelsey. And a full screenprinting setup and a photopolymer plate maker as well as a Westman & Baker 19-in. paper cutter. And my original bookbinding press.

A proof commemorating a European tour, Stimac’s gift to the band members. Sí, the tilde in España is a sideways S. And that’s an upside-down 7 in the middle of Republiká.

I love the meditative-visceral element of actually carving a printing block, cutting a stencil for screenprinting or hand inking and pulling a print. Someday it would be nice to have a Vandercook or other flatbed press that has automatic inking.

“This is a live performance project with music and about 50 people on stage, all dressed in white. Radwan Ghazi Moumneh, the project’s creator, is originally from Lebanon, and now he lives in Montréal.”

Are your clubs a destination — not just for your audience, but for bands as well?
Simply put, yes. A lot of touring bands used to skip Montréal and just play Toronto and Boston because bookers thought there wasn’t the audience. For example, Mauro had heard Arab Strap was on tour and not coming to Montréal. He called up their booking agent and convinced him to book them at Casa, which only holds 100 people standing. The show sold out in 10 minutes, and we had to find a bigger venue! We knew the Spanish Cultural Center directly across the street from us had a ballroom with a stage, so we went and talked to them, and the rest is history.

Suoni per il popolo (in small print above Evan Parker’s name) is the annual musical festival held at Casa del Popolo.

Arcade Fire — yes, the band that just won a Grammy — got its start here. During the off-season, bands come from Europe and Africa to play in our clubs. Part of what makes Montréal so fantastic is the wealth of artists, printmakers, musicians and creative people who have gravitated here.

Poster show at Casa del Popolo of work from the Justseeds Artists’ Cooperative

Do you have favorite papers to print on?
I get my paper from an old-time paper distributor in town — it’s several generations old. It’s in the old part of Montréal, in this cavernous monolithic space near the river. Now it’s run by an artist who loves supporting the arts, so he sells local printmakers off-cuts at discounted prices. I have no idea what brands I’m buying, but he has awesome art quality papers and is very generous.

And, I will say this about our handbills: When people come into the bar and want to find out what’s going on performance-wise, they’re excited to have that piece of paper, rather than our saying, “Oh, you can check out the schedule on our website.”

Poster photos: Lea Grahovac

Typophile Film Fest 4 is presented by Punchcut in association with the Society of Graphic Designers of Canada

The Typophile Film Fest 4 will be hosted  in Vancouver this Saturday April 25, 2009.
This is a unique opportunity for me to help organizing such great event, and from what I have heard, it is always a fun event.
If you are in Vancouver and you care about typography, then you should come and join us!

Typophile Film Fest 4 will showcase a rare and unequaled selection of short typographic films. Hailing from Portugal, The Netherlands, Austria, Canada and the US, the films create a visual mashup of motion design, typographic animation and short stories. It includes broadcast motion design, documentaries and typographic eye candy from Trollbäck + Company, Strange Attractors, Heebok Lee, Nick Shinn, Juan Leguizamon as well as exclusive out takes from the acclaimed documentary film Helvetica. Thanks to the Society of Graphic Designers of Canada, British Columbia, for helping make this presentation possible.

Saturday April 25, 2009
Doors open: 7PM
Films: 8PM—11PM
Note: All Justified West attendees receive free entrance to the Typophile Film Fest.

GDC Members: $15
Non GDC Members: $20


PLAZA 500 Hotel, Vancouver
Located at the corner of Cambie Street & 12th Avenue

Punchcut is a San Francisco-based user interface design company that specializes in improving mobile user experiences. To us, mobile is not a device, it is a lifestyle. We work with device manufacturers, operators and leading entertainment brands to design for people in motion. // Punchcut

Typophile is an international collaborative community of visual designers, typographers and type designers. Typophile is driven by sharing and the idea that we are always learning. Now in its seventh year, it is one of the oldest design communities online. Typophile is a Punchcut brand. // Typophile

The Society of Graphic Designers of Canada (GDC) is a member-based organization of design professionals, educators, administrators,students and associates in communications, marketing, media and design related fields.
Since 1956, the GDC has been an advocate, voice and resource for Canada’s graphic design profession. We are a national certified body of graphic designers promoting high standards of visual design and ethical business practices for the benefit of Canadian industry, commerce, public service and education. Through the media, publications, seminars, events, conferences and exhibits, the GDC builds awareness of graphic design and its essential role in business and society.
The GDC has more than 1,000 members in 9 chapters across Canada. In addition to our professional members, we are also lucky to have several hundred student members. Find out how you can be part of Canada’s foremost graphic design association. // GDC

This is a collection of photographs I took on my latest visit to The Museum of Modern Art in New York City. The originals are part of the Prints and Illustrated Books Collection and the on view exhibitions. The exhibitions at the MoMA only reinforced the importance of typography on both commercial and artistic worlds. From the art pieces to the museum’s signage, typography is omnipresent at any modern art museum.

The strongest evidence are the exhibitions:
Martin Kippenberger: The Problem Perspective. This exhibition included hundreds of posters he designed for his exhibitions (Not allowed to take photographs).

Paper: Pressed, Stained, Slashed, Folded. This exhibition focuses on works on paper, including prints, illustrated books, and selected drawings, that explore and manipulate the materiality of paper itself.
Click to see Paper: Pressed, Stained, Slashed, Folded.

The Printed Picture. MoMA will publish The Printed Picture, a book by Richard Benson that traces the changing technology of picture making from the Renaissance to the present, focusing on the vital role of images in multiple copies.

Tangled Alphabets: León Ferrari and Mira Schendel. León Ferrari (Argentine, b. 1920) and Mira Schendel (Brazilian, b. Switzerland, 1919–1988) are considered among the most significant artists working in Latin America during the second half of the twentieth century. Their works address language as a major visual subject matter: the visual body of language, the embodiment of voices as words and gestures, and language as a metaphor of the worldly aspect of human existence through the eloquence of naming and writing.
Unfortunately for me, this exhibition was being mounted while I was in New York…
Click to see Tangled Alphabets

Intro text for the exhibition “Into the Sunset: Photography’s Image of the American West”

Cardbird VI, Robert Rauschenberg, 1971

Hand Lettering, John Everett Benson, 1973

Lidantiu faram, Naum Granovskii, 1923

Pro eto. Ei i mne,
Aleksandr Rodchenko, 1923

Dlia golosa, El Lissitzky, 1923

Val’s. Pamiati Skriabina, Lyubov Popova, 1924

The Great Historical, Geographical, Genealogical and Poetical Dictionary; Louis Moreri, 1703

Hand lettering, page from a missal, 1350

To see more examples, please visit my flickr