To this day OTR is a hotbed of locally owned and independent establishments with new shops popping up weekly. The area has become a checker board of old and new. For this tour my attention focused mostly on the old.

For many store owners eye-catching signage was simply a means to introduce themselves to the neighborhood and communicate what they had to offer.

Some of these signs have been unchanged for decades, becoming local landmarks.

For me, these signs are so fascinating because they represent communication design at it’s most raw. The language is simple and direct and the layout is often figured out as the sign is being painted. Yet, even with all of the gloss and flourishes striped away they offer a beautiful perspective on the personality, the quality, and the history of each business.

In recent years we’ve bumped into each other at a music festival or at a show in New York, and we would end up striking up a conversation about anything and everything…except art. So I got in touch with Lauren recently to finally have the art conversation. Well, a conversation about HER art, which I am a huge fan of.

Over the years, you have become synonymous in the punk rock community with your style of art , most notably through the jackets you design for “The Measure [sa]” releases. Is there a place in time or one particular moment when you said “this is how I’m going to execute and present my art from here on out”?

Even now, I don’t think I’ve decided how to present my artwork specifically, not in terms of replicating a format or style. I definitely have specific ways of working but I’ve never thought of it as limiting myself to just those formats.  I do think that definitely happened with the Measure though, and that’s probably what you’re getting at.  When we put out our first record, both Fid (guitarist in The Measure) and I were really conscious of what it would look like. We both really like record artwork and wanted the band to have an aesthetic that would carry across everything we did.  Fid saw what I was working on when I was in art school and really liked the illustrations on dictionary pages. It made a lot of sense to use my artwork on our records, so we discussed ideas of what it would look like, but ultimately I was the one to execute that.

As for the 7”s covers, which are all put together really specifically, that was an even more conscious decision for consistency. We were pretty inspired by The Smiths record covers and the concept of the “cover star”. So each of those 7”s had a cover star, and a specific spot color. No two are the same color.  Our band name goes in the same spot every time, the back of the records are all laid out the same, etc. It’s a little formulaic but we intentionally kept things consistent and recognizable. I don’t think either one of us ever thought we’d put out so many records, so it’s really amazing to see them all together sometimes. I’m glad we somewhat thought ahead!

Do you still have or remember the first piece you did that encouraged you to continue with the dictionary page/ink/acrylic execution?

There was one band illustration I did when I was in school, just as a fun assignment, that I really enjoyed. I think working on a textured surface, or over text, is something I’m really drawn to in general, and it’s something I found successful at the time. I think having it on all the Measure records definitely made it more of a “thing” for me, and people recognize my work that way.

Why dictionary pages? Is there any significance to the page and the subject matter that you create on it? I like to imagine it like flipping through a giant dictionary and then a particular word really hits you and then your subject for the piece blooms from that, kind of a snowball effect.

It connects everything in a space and holds things together for me visually. The specific words are less important to me than that kind of used, pasted together look that it has. I’ve seen people notice certain words and sometimes the rest of the drawing calls attention to one weird word specifically.  On the piece on the cover of “One Chapter In The Book” there’s the word “SPRANGLED” that really gets people’s attention. The artwork I’m making now doesn’t necessarily have the dictionary pages anymore but I’m still working over some sort of texture or toned ground that holds the same meaning for me, without the literal text in there.

Do you ever find it difficult to step out of that niche? Or rather, do you ever find yourself envisioning an idea that you feel might not be best executed by the process you’re most comfortable doing? Or does it work the other way around where you see things juxtaposed in your medium?

I think that’s a lot of what I’m working on now. I’m not really using the dictionary pages anymore and really thinking about things with more of a clean slate.  I think that’s the most important thing right now for me, how form and content intertwine constantly.  I try not to just work in my comfort zone, because it can get really boring that way.  It has been exciting to step outside my usual way of working and really think about what works best for the idea or concept I’m working with.

How often do you you use screenprinting vs. painting? Was screenprinting something that came into play as the method became available to you?

I don’t use screenprinting as much as I make individual drawings or paintings. I originally learned how to screenprint for more practical purposes like posters or tshirts. I was able to work on a number of artist prints with Pedal Printing a few years ago, after designing a number of concert posters with them. It was a great opportunity and gave me a great foundation in thinking about how to transform my work into screenprints. I’m working on a number of more abstract, textural screenprints at the moment that are a lot of fun to play around with. I think that’s one big difference of screenprinting for me, that you can make multiples and change an image slightly from one to the next depending on how you use ink and the printing process. It lets me experiment a lot faster, which can be a big plus.

What are the perfect circumstances that get your gears moving? Or, is there any perfect setting or environmental factors that really snap you into “creativity mode?”

Absolutely.  It’s closing the door, putting on certain albums really loud, and just forgetting about everything else. For a long time it was Radon’s live record but I’ve been listening to a lot of Sleater Kinney, Bikini Kill and The Gits lately. Just music that has a lot of energy and things that I want to scream along to. I constantly think “I wish I could paint like (Fugazi, Dillinger Four, Sleater Kinney) sounds.” and that’s how I think of it, a lot of the time.

Many people that admire your art were introduced through your band, The Measure [sa]. And if you look at your prolific discography, there is no shortage of immediately recognizable subjects, from Bee Arthur to Norm Macdonald. Are there any inside jokes or anecdotes behind some of your subjects?

I think most of them are inside jokes or references, actually. All the cover stars are people we like or are influenced by somehow.  Norm MacDonald and Chevy Chase are a reference to the movie Dirty Work. Those were on the cover of the split we did with the Ergs and everyone in both bands love that movie. Rosa Parks or Emma Goldman weren’t inside jokes so much as “of course we’re putting these women on our record covers.” Same goes for Lance Hahn or Kurt Vonnegut. I’m sure there are anecdotes for how we put together most of the cover stars but I remember drawing Bea Arthur for the most recent 7” and I forget who it was, but either Fid or I had that epiphany of how we pretty much HAD to draw the rest of the Golden Girls on the insert. It’s fun stuff like that that made those records really enjoyable to put together.

I want to shift gears a bit and bring up your “Get it Together” zine (which is currently in its third issue) which [in your words] is a celebration and importance of productivity and mantras in one’s life. In between zines you had open heart surgery, and you had mentioned that it really made this project even more relevant for you personally. Would you care to extrapolate a bit more on this project and how it has become even more important to you?

I think productivity and staying motivated has always been really important to me and I was working with those themes before surgery, obviously. But I think part of that did come from living with illness, or at least certain physical limitations. I had to work really hard to do what I wanted to do, like working a 9-5 job from the road while on tour, because I needed to keep health insurance. That’s always the mentality I’ve had. Start a band in New Jersey when you’re going to school in Rhode Island? Sure! Commute to New Brunswick from Brooklyn for band practice? Why not! It’s kind of ridiculous when I think about it. But a lot of times doing those things took forcing myself to push through it, to always be really busy, to keep the momentum going.  A lot of my friends have that mentality too, so the zine really came out of realizing that I’m not the only one who has to work to stay motivated.

But then once surgery happened it puts a whole new spin on it.  Within 4 months of surgery The Measure [sa] played a series of shows at some huge venues with the Gaslight Anthem and being grateful to be there doesn’t really cover it. Playing The Fest in Gainesville that year was really emotional too, it just made me feel really lucky for all the things I get to do. And that’s just the start of that feeling. The zine took on a bit more urgency for me and the second issue was specifically based on self-employed friends and colleagues. There’s a very specific mentality behind being your own boss, I think, and surgery gave me even more reason to keep that the case in my life.

Are there any current artists or peers that you are fond of or look up to?

Absolutely. In terms of peers, I’m glad to get to interact with folks like Caroline Paquita, Marissa Paternoster, Adee Roberson, Gabby Schulz, Mike Taylor, Jenine Bressner, Ian Cozzens, Jason Roy and Meredith Stern and see our work overlap on occasion. I also really admire artists like Sharon Hayes, Emily Roysdon, AK Burns, Collier Schorr, Andrea Geyer, Jenny Holzer, etc. etc. Maybe I’ve just been on a kick of artists who are engaged with feminist history, but those are definitely the work I’m most fascinated by.

Is there one piece that you’re particularly fond of or proud of? What was it about that piece that made it so special to you?

Honestly, I’m really very proud of the “Are You With The Band?” compilation LP.  It’s a collection of female-fronted pop punk that came out on Paper and Plastick Records late last year that I curated.  It also comes with a full-color, full LP sized insert with a page for each band, designed and illustrated by female-artists involved with the punk scene.  You can find more information about that here:

I designed the cover and layout, along with a number of the pages in the insert.  I’m proud of not only how my physical work turned out, but how all the other artists involved contributed and really made it a special object to have. It has received good feedback and I’m really happy with putting something out there that was not only about the music but about this community of artists and bands coming together to put out something pretty unique.

Because I’m in graduate school currently, I’m more concerned with developing my work than having it seen publicly right now. So I’m excited about what I’ve been working on, but not many people will really see any of that until the shows in June!

What new or upcoming installations do you have circulating currently?

Right now I’m working on putting together my first solo exhibition at Gallery 5 in Richmond, Virginia. They have a project space where I’ll be showing my work and it opens on June 1st!  I’ll also be a part of a group show at Broadway Gallery in New York called Global Projects: Artists at Home and Abroad opening on June 7th.

What does the [sa] after “The Measure”stand for?

Strictly Analog

You can get loads more information about Lauren at her website, Black & Red Eye

Wanna get a more complete look at some of Lauren’s art? There are a few of my favorite Measure LPs scattered in the 6th floor lobby at FRCH. 

FRCH recently held its annual Celebration and trip to Keeneland race track.  This day happens once a year and is our way to recognize the hard work of our employees, our projects over the past year and our clients.  For everyone here at FRCH, it’s also an indication that Spring is finally here!

Our annual trip to Keeneland is a tradition that began in 1985 as a way for us to celebrate the coming of Spring and spend a day soaking up the inspiring sights, sounds and excitement of horse racing.  It has always held a special place in the hearts of FRCH employees, past and present, and is always a memorable experience.  This year continued the tradition with true FRCH style.

When we arrived at FRCH in the morning, the lobby and atrium had been transformed with over-sized flowers and decor signalling the arrival of Spring.  Live music and plenty of food and drinks started the day’s celebration.  The recognition of our employees culminated in the annual Fitzgerald Award Ceremony.  Then it was off to the races!

Like FRCH, Keeneland has a long history of its own.  It is known as one of the nation’s most historic and beautiful race tracks.  Although I’m not aware of anyone winning ‘big’,  it was a beautiful day and all of us were able to enjoy the great weather and come home with some wonderful new Keeneland memories.

Crate and Barrel is the one store that makes me wish I could remove everything in my house and start over. (Except for my family, of course.) They are known for great merchandise displays, always presented as a story. Even ordinary goods, like white plates, can be assembled and coordinated in an eye-catching manner.These photos are from the Madison Avenue store in New York. They were shot in January, I’m sure the spring displays are even more appealing.

Inspired by Stephanie Calabrese Roberts’ book  “The Art of iPhoneography“, I  had the opportunity to practice some iphone photography in Lima, Peru. The architecture and scenery in this decades-old city made the exercise easy! Focusing on using the Lo-Mob, Hipstamatic, and Photosynth apps, here are a few of my favorite places. Above, a panoramic view of the Plaza Mayor, photographed with Photosynth.

The Cathedral and the plaza fountain were shot using Hipstamatic.

Lo-Mob is probably my favorite app, because you shoot with the regular iphone camera, open the camera roll in Lo-Mob, and it applies filters to the image for you to select from. The sidewalk art below has a 60′s square emulsion filter applied, the Church of San Francisco is slide one colder.

Below are two images from Barranco, a district of Lima, with different Lo-Mob filters. The view on the left is 35mm medium format 2, the church filter is vintage instant-black.  The Lo-Mob app has 19 filters to choose from, easily previewed on your phone.

The Lab advertises itself as the anti-mall and focuses on flexible outdoor areas for the community, where store spaces blend together and people congregate and socialize. The bricks and mortar stores and restaurants share the environment with several retro teardrop style trailers that have been beautifully restored as rolling pop-up shops. The variety of formats and carefully selected merchandise create a wonderfully organic shopping experience that is filled with surprises.

The Camp is just across the street from from The Lab and shares a similar mission. Meandering walkways are sprinkled with local vendors and camp inspired graphics and signage. The anchor store, Seed Peoples Market, leverages a quality product assortment with found and antique fixtures, DIY signage and seasonal displays. The cashwrap was a particularly clever focal, the desk appeared to be constructed from plies of old library books and the back wall was collaged with framed patterns and chalk board paint with new daily messages.

The final thing that really caught my attention as I was exploring were these fitting rooms in the Free People store in Carlsbad. The walls of each fitting room and the public space were adorned with a lush hand drawn mural of cascading flowers. The murals added to an abundance of texture throughout the store in their selection of materials and finishes, and contrasted the simplicity and attention to fine detail in the apparel.

Photo Credits: Blends by Alba, Lab Sign by Idear, Lab Directional by Cathie Hong, Camp Walkway by thecourtyard

Full of intensity and light, Uniqlo has opened a flagship store at 666 5th Ave. in New York. This store begins to beckon you from across the street, where second story window graphics flash behind  rotating mannequins.

   Elevators placed just inside the windows also have mannequins and graphics, and the vertical movement creates an energetic attraction for pedestrians. The store is three floors,  89,000 square feet, and stacked from floor to ceiling with the goods Uniqlo has become known for…..affordable basics like jeans, brightly colored sweaters, and their proprietary Heattech apparel. This Heattech apparel – thin shirts, camis, and leggings that supposedly raise the body temperature-completely filled one gallery of the store, and made me wonder what merchandise is planned for the summer?

This flagship, the largest in the chain, uses digital signage well. Endwall messages rotate between sale promotion and brand enhancement imagery. A huge screen at the top of the escalator successfully speaks to lifestyle, product details, and sale. The coat arcade has a marquis-like LED sign band promoting the sale.  What I really like about this store is the energy it creates, and in turn makes the shopper excited to be there. Judging by the activity at the sales counter, this excitement translates into sales!

Death and conflict has always been part of storytelling and helps us achieve a level of excitement and fear.  At Disneyland, Pirates of the Caribbean currently has 12 corpses on display while the Haunted Mansion  has only one (not counting ghosts).

In Pirates, they represent the consequence of greed and excess, while the Mansion’s corpse sets up a story of tragedy and murder.

In the case of the Jungle Cruise, death is used to set the stage for danger and fear.  We see a boatload of skulls and wonder if we will meet the same fate.  It helps to establish the Jungle as a dangerous and threatening place.

The cemetery at the Haunted Mansion brings forth an atmosphere of the macabre while making us uneasy and in tune with our own superstitions prior to entering the attraction.  In other words, it gets us “ready” for the experience.

 The cemetery on the island in Frontierland tells a different story.  One of the sacrifice and the hardships of early frontier life.

This last image of the settler and his burning cabin (no longer themed around death) scared the #@!! out of me when I was a kid, but it added to the experience by enhancing the history and mythology of the west and helped to bring it to life (at least for a seven year old kid).

Thanks to Daveland and his wonderful photography.

One of my favorite courses at the University of Cincinnati’s nationally recognized College of Design, Architecture, Art and Planning is the Industrial Design ‘chair quarter’. Students are challenged to understand fabrication, human scale and aesthetics through building an everyday object.

The chair quarter is a global rite of passage for industrial design students. This collection of chairs from the Bergen National Academy of the Arts is equally beautiful. Inspired by each student’s travel and experience, these designs are the definition of refined detail.

Elisabeth Våpenstad Holm – Tinde

Natasha Bendiksen Crona – Maple (left) Martin Ramstad Rygner – Vi-To (right)

Marte Straalberg – Ida

For more on the UC chair quarter, visit Michael Roller’s blog (full disclosure, our shared last name is not a coincidence!)

Emmanuel Carrillo Fall 2011

Lily daMota Spring 2011

Bradford Short Spring 2010

Via We Heart Another

This one comes to us in the words of our very own Kate Kreimer, who would like us all to start St. Patrick’s Day off right!

What better way to commemorate the day than sipping an Irish Coffee.  Though more properly it should be called an ‘Irish-American Coffee’ due to its trans-Atlantic development.

This drink had its beginning at the old County Limerick air-terminal (now Shannon Airport) during a fearsome winter storm sometime in the 1940’s.

Romantic beginning!

A travel writer discovered it there in the 1950’s.  He brought it to San Francisco and introduced it to the then owner of the Buena Vista Café.  According to legend, the two of them spent the night perfecting the recipe.  Sleep?  Who needs it?

Research is grand!

Kate, in turn, discovered it at the same Buena Vista when she was living in San Francisco in the late 60’s.

Fate is a beautiful thing!

The Buena Vista recipe (the BEST, don’t mess with it) is recreated here for your enjoyment.  The bartenders there are now making up to 2000 Irish Coffees per day, following the original perfected recipe.  Visit their website for the full story.

RECIPE

At the BV the coffee is served in a clear 6oz stemmed heavy glass.  The amounts given are for that total.  For a larger, say 8 oz cup or glass, increase the quantities proportionately.

4 oz hot strong coffee

1 – 2 sugar cubes or 1 -2 tsp sugar to taste

1 jigger (1 oz) Irish whiskey

whipped cream to taste , softly whipped

Warm the cup with hot water.

Pour coffee into glass to about ¾ full.

Add sugar and stir till dissolved.

Add whiskey.

Top with whip cream.  To properly float the cream on top of the coffee gently pour over the back of a spoon.

Serve it hot and be sure to sip the coffee thru the whipped cream.  The first few sips where the cold and the hot are combined but separate in your mouth are delectable!

As for the Irish whiskeys to choose, Kate says, ”Jameson’s – love their commercials – or Bushmills – my favorite For more recommendations check with the Fitzgeralds – senior and junior – or that old redhead O’Horwitz”.

Please enjoy your St. Patrick’s Day responsibly!