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Hunters & Gatherers43:10 with Jason Carne and Keith Tatum
Jason Carne and Keith Tatum share antiques and rare finds that have influenced their designs.
[MUSIC]. 0:00 Good morning. 0:02 Wow. 0:05 There's some lights in this place. 0:06 I was watching the news briefly over breakfast this morning. 0:09 And I don't know if you caught the story about Hillary Clinton but 0:13 This is the second time that someone has thrown a shoe at her while speaking. 0:20 I would call it a deja shoe. 0:27 But we expect a lot more out of you 0:29 guys so please keep your shoes on during the presentation. 0:31 we, We actually met through Dribble. 0:37 So Jason and I have really only known each other for a 0:41 short amount of time and I think that's sort of the power of 0:45 social media but we have been Skyping back and forth to pull together 0:48 this presentation for you guys this morning and we're delighted to share it. 0:53 So good morning/afternoon. 0:57 My name is Keith Tatum, and had I be a designer back in 1:02 the late 1800s, this might be what my calling card looked a little bit like. 1:07 But I actually am from the lesser Columbus. 1:14 Columbus, Ohio. 1:17 >> [LAUGH] >> And thank you, it really helps. 1:19 Uh,I started out, I was an illustration major in college a 1:24 graduate of the Columbus College of Art and Design and I 1:28 quickly got in to a career of interface design and for 1:32 any of you who are old enough to remember CD Roms. 1:36 I, I actually worked on interface design for CD Roms, 1:40 which quickly morphed into web design a few years later. 1:44 And actually, after getting really frustrated over trying to fit 1:49 everything onto a home page of a website back then. 1:54 That led me down the path to information architecture. 1:58 So the biggest part in my career about 10 or 11 2:02 years of my career was actually focused on user experience planning. 2:06 So I'm very intimate in weird ways with. 2:12 Wire frames and site maps and user flows and interaction modeling. 2:16 And more recently, within the past few years I've gotten back to design routes 2:23 and now I've had the opportunity to kinda bring the, together user experience stuff. 2:30 With design and now I work as a creative director. 2:36 So I work for an agency that's headquartered in Columbus named 2:40 Resource and that's what I do every single day that I get up. 2:44 But there may be some folks maybe one 2:50 or two in the audience that have crossed paths. 2:53 With me in social. 2:56 And you may have seen me as The Type Hunter. 2:58 >> [SOUND] >> Thank you. 3:01 One of two people. 3:04 Probably Diane. 3:05 That was probably Diane I bet, But I 3:06 sort of have this daily, sometimes hourly ritual. 3:11 Of posting vintage typography and design. 3:16 And I work [COUGH] out of my studio in Powell, which is 3:20 a suburb of Columbus, so there's a shot from my work area. 3:25 I like to work analog. 3:29 I think spending so many years designing 3:31 screens whether they're mobile screens or web. 3:34 Related or custom apps that I just got to a point where I had to get off the screen 3:38 and start getting back into a more analog mode 3:46 and so I do a lot of hand lettering work. 3:49 We'll share a little bit more about that. 3:51 >> Alright and I'm Jason Horn and I'm a hand 3:52 lettering artist and graphic designer from Saillesburg Pennsylvania. 3:56 And this is a trade card that I just whipped up special for this presentation. 4:02 I'm really into old 1800s type early 1900s that kind 4:06 of thing and I have a huge collection of old antiquarian 4:10 lettering books, assigned painting monograms, all stuff like that and 4:14 I thought this would reflect that kind of collection pretty well. 4:18 And I started out as a graphic designer doing merch for local bands and stuff. 4:22 I originally went to school for architectural engineering. 4:27 Found out pretty quick it wasn't for me. 4:29 And so, when I came home, I was 4:32 just doing album layouts, MySpace layouts, that kinda stuff. 4:34 That's really how I got started and once the costumization fell by the way side. 4:37 I started doing just band merch pretty much exclusively at that point. 4:42 Some of you may remember empties and now it's minties and that's 4:47 where I got a lot of the work that I did starting out. 4:51 I did some stuff for you know, real heavy metal bands, punk bands, hardcore so. 4:54 Those of you that know my work that's kind of 4:59 counter to what I do but I eventually kinda fell 5:01 into hand lettering and typography and I have a real 5:03 love for it and I've been doing that ever since. 5:06 That's been about 3 or 4 years now that I've been doing that 5:08 and that's a little shot of my studio that I just got setup. 5:11 I just moved from New Jersey to Pennsylvania. 5:15 And it's much quieter, much nicer, out of the ghetto 5:17 and into the woods, so I'm pretty happy about that. 5:20 And little shot of my business cards that the guys at Mama's Sauce 5:24 that are here printed up for me and did an excellent job on. 5:27 And I think that's pretty much it for my space. 5:29 Alright. 5:34 >> So we thought since we're in the Springer 5:34 Opera House, we'd share a little bit of history. 5:38 We did some homework in preparation and I 5:41 have my field notes here my field research notes. 5:43 And I'm gonna kick it into PBS documentary style 5:48 for a second and Share some of the the 5:50 history, not only about the specific location but something 5:54 that happened, very special, that happened in this place. 5:58 So, in 1870, construction of the Springer Opera House 6:02 began and this very building opened its doors in 1871. 6:05 [COUGH] If you fast forward a few years. 6:08 In February of 1879, Thomas Bethune, known as Blind Tom performed 6:13 on this stage to a packed house forcing many to stand in the areas behind you. 6:19 Standing room only. 6:24 Tom was born a slave in Muscogee county, and was blind from birth. 6:26 It's said that while in a music shop at the age of 4, Thomas heard professor 6:32 Daniel Shoots play the piano and then sat down and played back everything he heard. 6:37 Blind Tom later became known as a musical 6:44 phenomenon for his ability to hear something once. 6:47 And played from memory, no matter how elaborate or complex the music. 6:50 He was also said to have the rear ability on the piano to reproduce any sound he 6:55 heard, including classical compositions, thunder storms and the songs of birds. 6:59 Tom could also play two distinct tunes at one time. 7:06 One on each hand. 7:10 Think about that and sing another tune simultaneously. 7:11 But my favorite detail about Tom is that he often 7:16 applauded himself even more loudly and delightedly than the audience would. 7:19 >> [LAUGH] >> So. 7:23 In addition to discovering this really awesome story 7:26 about Tom There's also some really interesting type 7:30 history I feel like once you dig a 7:35 little bit deeper in the surface, under the surface. 7:37 So, in addition to actually performing here, this is an example of a play bill 7:41 from around the late 1800s that would be used as an advertisement for this program. 7:46 And, you know, to, to position him as a musical prodigy or the marvelous 7:52 musical genius, I think was quite an 7:56 interesting way to introduce him to the world. 8:00 But also, as we dug a little bit deeper, we started 8:02 to find other really cool typographic pieces that were out there. 8:06 So, a lot of the sheet music that accompanied some of the compositions that 8:11 Blind Tom created have some really interesting 8:15 type included as well, some done by hand. 8:20 I love this. 8:25 It's the sewing song and imitation of the sewing 8:26 machine for piano, so he actually was trying to emulate. 8:29 The sound of a sewing machine. 8:33 But just really beautiful hand lettered type. 8:34 [COUGH] And I think that's a bit about of what 8:38 it's like when you're a hunter, and you're a gatherer. 8:42 The nice thing about it is, as you 8:45 start to scrape, it's a little bit like archaeology. 8:47 As you start to brush a little bit away, and get below the surface. 8:49 Things like this start to pop up, so we 8:54 thought it was very special to share that this morning. 8:55 >> Alright, so now we're 8:58 gonna go through a couple of our favorite spots where 9:02 we hunt and gather all these items that we use for 9:04 inspiration and motivation, and I hunt in a pretty small cluster 9:07 that's pretty close to where I live but you can find. 9:11 Really different items even from North Jersey to South Jersey where 9:15 I used to live and even in Eastern Pennsylvania to Central Pennsylvania. 9:18 And this right here is from the Golden Nugget 9:22 flea market which is in South Jersey in Lambertville. 9:26 And it's just this beautiful old place it's 9:28 right on the Delaware River and they have. 9:31 A big outdoor market where they have everything from cameras, 9:34 to keys, to doors, to full phone booths just really 9:36 cool items that you wouldn't find anywhere else which I 9:40 really like, and then this place is called Monmouth Antique Shop. 9:43 Its out of a Asbury Park, New Jersey, and this 9:47 guy actually built most of the furniture that's in my office. 9:49 He takes this old reclaimed wood from central PA, and then he has a. 9:52 Some Amish guys, you know, build it together and 9:57 weld it up and everything and it's really cool. 9:59 And he sells everything from, like, shrunken heads to meteorites in the back. 10:01 It's a really wild place. 10:04 [LAUGH] And this is in Bath, Pennsylvania. 10:05 This guy has artists and antiques in there. 10:08 He has a bunch of local people that do 10:11 that have old maps and things like that, and. 10:14 And packaging tins that kind of thing and. 10:17 Oak Knoll press is easily my favorite place to go most of you have seen all the 10:20 books that I have posted on Instagram if you 10:26 follow me and that place is unlike any other. 10:28 Its a three story building in Delaware in 10:32 New Castle that has been there since 1870s. 10:34 And it's all about type, printmaking lettering, 10:38 sign painting, all that kind of stuff. 10:42 And there's rare hard to find books in 10:43 there that you can't really get anywhere else. 10:45 And they have an amazing collection. 10:47 They have old letter press machines there. 10:49 It's just a really sweet place if you like vintage type and that kind of stuff. 10:51 >> Alright so I'll share a little bit about my 10:55 geographic foot print as it comes to hunting and gathering. 10:57 As you can see there's a pretty heavy 11:01 cluster around the state of Ohio, go Bucks. 11:03 And I tend to gravitate more towards Central Ohio, being a Columbus native. 11:06 But there's a handful of really great places in and around the state. 11:13 I've also tried to make an effort as I am out 11:16 traveling whether it's family vacation or even through work for business I 11:19 always try to sneak out, I have already done it here trying 11:25 to sneak out and get some shots of things that I find 11:27 This particular shot is really pretty close to my home 11:33 in Delaware, Ohio just really literally about a ten minute 11:38 drive Sandusky street and there are three major antique shops 11:41 on that block that you know I from time to time. 11:48 Go check out. 11:51 And it's, it's always amazing, you always, if you look hard enough, even though they 11:52 may not have turned over their inventory 11:56 with their vendors, you always find something different. 11:58 So that's sort of something that habitually I will make an effort to do. 12:01 This is a shot from Springfield Extravaganza. 12:07 Springfield, Ohio. 12:11 I know every state has a Springfield. 12:12 But Springfield, Ohio it's probably Ohio's largest outdoor flea and antique show. 12:14 It happens a couple times during the year, and we're 12:21 lucky enough to have really awesome folks come from multiple states. 12:24 and, and sort of transcend on Springfield and there's 12:30 always really cool signage, advertising, a lot of it ephemera. 12:33 It's really interesting different parts of the, 12:40 the country have different types of antiques. 12:42 I've been in places like in more down south this 12:45 direction where there's just a lot of dish ware and. 12:48 Corning ware, and all this other stuff. 12:52 But you just never know what you're gonna see. 12:54 So it's great to cast the net broadly. 12:56 I believe tomorrow, Jim Sheridan from Hat Show will be presenting. 13:00 And so I, I'm sure folks have made a trip to Hat Show. 13:05 But every time I'm in. 13:10 Nashville, I make the effort and you can see why, like literally, from 13:11 floor to ceiling this place is covered with not only some of the most 13:16 amazing typography done with letterpress, and with type and metal type but 13:21 it's a living record of recording artists and you know I think I made the mistake. 13:27 Of, of, thinking that they only did old show posters like you typically think of. 13:33 Johnny Cash or you know you think of early rock posters and so forth. 13:38 But you go in there, and you'll see 13:45 a promo for like Jerry Seinfeld or Beastie Boys. 13:46 So they're still Really in the thick of 13:50 creating what they, they make best for modern artists. 13:53 So, it's really kind of this class of old and new, but amazing place to visit. 13:58 And along the lines of letter press and wood type 14:03 I was, I feel really lucky to have made it out. 14:06 To the Hamilton wood type museum in their original location just about 6 months 14:09 before they closed the door there and 14:15 moved their new location in Two Rivers, Wisconsin. 14:18 The other thing that is really awesome is I was the 14:22 only person at the entire museum the day that I was there. 14:25 And they were so kind, and let me just kind of do whatever I wanted. 14:30 And just trusted that I wouldn't walk out with pockets 14:35 full of wood type, which I promise I didn't do. 14:37 >> Okay, 14:40 so now we're gonna go through a few of our favorite things that we've. 14:43 Collected over the years and this is where you will start to 14:46 see where all this antique stuff actually relates to what we do. 14:49 And this is a Filmo camera. 14:52 It's from 1939 and I actually picked 14:55 up the original advertisement for it on Amazon. 14:58 So like you were saying with Blind Tom and the Springer Opera house. 15:00 Once you start digging into an item or a place. 15:03 You come across a little bit more history in something, and you 15:06 can see the great type on here, and the illustrations and everything. 15:08 And I just love that, that 30s look that this has. 15:11 And this map that you saw earlier showing where I was from, and what I 15:14 originally did, you know, as a My Space 15:19 designer and banned merchant and all that stuff. 15:21 I actually own this map, it's a Colton's map from the 70s and 15:23 it has got this beautiful detail and color that you didn't normally see in 15:25 maps from that period and it's, it's hanging up in my wall and 15:30 it's a great thing to have from my home state and I like it. 15:32 And there is a little bit of wood type that in all likelihood 15:36 probably came from Hamilton and each 15:41 letter is actually from a different alphabet. 15:43 I have A through Z, zero through nine and 15:45 each one is a little bit different than the 15:48 other one which is pretty cool to see the 15:49 versatility that they had in cutting all these blocks. 15:51 And this is Echol's anatomical aid. 15:54 Found this buried in the back of a closet. 15:58 We used to live in a funeral home and This was for the embalmers and the funeral 16:00 people to really learn the anatomy of the people 16:05 that they were fixing up that weren't around anymore. 16:08 And, you can peel back layers and layers. 16:10 You go from skin to muscle to nervous system to blood 16:13 vessels all the way down to the skeleton and it's really wild. 16:17 And they have parts for the eye, the torso. 16:21 It's a really cool flip book. 16:23 And this is my absolute favorite piece that 16:26 I own, bar none, I have tons of signed 16:28 paintings and lettering books, but the Prang's Alphabets book 16:31 is in incomparable, you can't find anything like it. 16:33 It has these guided pages, these beautiful alphabets, great specimens. 16:37 And it was printed in 1901 and for the time you don't see anything like this. 16:41 Even the Atkinsons books or the Heverlings, the Strongs the the real 16:46 big name sign books at the time this destroyed them all and I'll 16:50 actually have that at our at our booth later if you wanna come 16:54 by and see that and flip through it you can definitely do that. 16:57 >> Okay, so I'll share a little bit about 17:01 some of the things that I've hunted and gathered. 17:03 So this comes from my personal collection of 17:05 Speedball ephemera very strong brand throughout history still 17:09 around today in fact in the Black Printing 17:14 workshop we used yesterday there was some Speedball products. 17:18 But I've sort of amassed these over time between stuff that has been 17:22 passed on to me and things that I've bought from eBay, but some of 17:26 the pens are actually ink pens that my father used when he went to 17:30 the very same college that I went to, and they're very special to me. 17:35 Another piece that is really meaningful to me as 17:39 well is my drafting table that's in my studio. 17:42 So couple of interesting things about this, in addition to being a hundred 17:46 yeas old, which I didnt know at the time we actually made the. 17:50 Tragic mistake of covering it with li, like a linoleum surface while I was in 17:55 college, which I regretfully do, I wish we had never done that, but I. 18:01 So, I painstakingly tried to restore it to somewhat of an original. 18:08 State and as a part of like, digging a little bit deeper I was 18:12 actually fortunate enough, I don't own this, 18:17 this document but I, I actually found 18:20 online a pretty decent resolution image of the original catalog page so that really 18:22 helped me get to a little more detail around the history of this thing. 18:27 And date the piece, and in that process 18:32 I discovered that the very same Hamilton Manufacturing 18:35 that I was fortunate enough to spend a 18:40 day walking through manufactured this drafting table as well. 18:42 I did not know that when I was on the trip, otherwise, I probably would have. 18:47 Asked around about that but, you learn things like this and 18:52 it's kind of just one of those things that blows your mind. 18:56 So here's an interesting piece. 18:59 When you talk about parallels between both of us. 19:01 We both own this book it's a show at show 19:04 card by Atkinson it's Very old, sign writing, guide, a handbook. 19:07 Almost like a textbook. 19:13 But what's more interesting about this piece, other than the fact that we both 19:15 own it, is that I found this book at the antique shop that's 2 miles from my house. 19:20 so, that's kinda one of those cosmic things that I just don't understand. 19:29 But, I had overlooked it for years and I just happened to 19:33 see it on one of the shelves that I never look at. 19:37 And I pulled it off the shelf, and to my 19:40 surprise and delight, the cards that you see on top. 19:42 Fell out of the inside of the book while I 19:46 opened it up, so again a very cosmic experience for me. 19:49 But these are, photo prints of someone's original-. 19:53 strokes, sign writing strokes. 19:58 So, means a lot to me and I haven't quite dated everything. 20:01 Jason and I have been trying to figure out 20:05 exactly what the source from these were cuz we 20:08 don't feel like it came along with the book, 20:10 but I still have some hunting to do around that. 20:12 That collection specifically. 20:16 This is another piece from my collection something that 20:18 I've been doing, just a really small side project. 20:21 These are all, I call these my Letterpress study cards. 20:24 And every time I go to a 20:28 different Letterpress shop, whether it's been Hamilton. 20:30 Or hatch or even some of the local ones that I have been to in Ohio. 20:34 I always beg them for make readies or test prints so that I can collect these things. 20:38 I have a souvenir from every letter press shop that I visit. 20:46 But what I've done is I trimmed these all to uniform sizes and I 20:50 actually brought them with me if you get a chance to hook up with us. 20:53 In the merchandise area. 20:57 Jason's got a lot of his books that he'll be happy to share 20:59 and we'll be sharing our work and you can take a look at 21:02 these close, but it's a really neat way to see how things overprint 21:05 when you're, y, when different inks are used, the impressions that are made. 21:09 And these are sort of a bit of history 21:14 and I've been collecting them For several years now. 21:15 The last piece that I wanted to share 21:20 are probably the most important pieces in my collection. 21:21 And those are my public library cards. 21:25 So there's the, if, if you're not aware of inter-library loan. 21:28 If you've never heard that, phrase uttered, it's a great program that exists 21:33 at most of the public libraries that we all have, the ability to visit. 21:39 And what interlibrary loan will do for you is if there 21:43 are books that are in, participating, libraries anywhere in the country. 21:47 And you can reserve the book, and they 21:54 will ship it to your local library for free. 21:56 So, for type junkies like us, and people that love 21:58 to pour over old type specimen books, and catalogues and 22:03 so forth, this is a great way to actually hold 22:06 books that are from the late 1800s or early 19th century. 22:09 In your hands, and there's another site called FirstSearch that's out on the Web. 22:13 And if you do keyword search like sign writing or letter press or what have you, 22:18 it will tell you the libraries that have those books in their possession. 22:25 And with that little piece of information like an ISBN number 22:30 which is essentially like the bar code number that's on a 22:33 book, through an interlibrary loan program you can ask to borrow 22:35 that book and most will send it out to your library. 22:39 >> and 22:42 that's something that's really nice too because if you don't want to spend like 22:44 all the money like I do, its the really scarce hard to find books and. 22:47 And some of them are upwards to $300-$400 so you can get 22:51 these things for free through that interlibrary loan which was really great. 22:55 And now we're gonna talk a little bit about process and how we do our work. 22:59 So you saw the stuff that we collect and that stuff really influences our work. 23:02 And this is a poster I did for war paint press, I'm not sure how many of 23:06 you are familiar with it, it's a side project 23:10 from Threadbird another pretty big printing company in Orlando. 23:11 And they had me do a poster that is based off of the movie There Will Be Blood. 23:15 I don't know how many of you've seen that but Daniel Day 23:19 Louis is awesome in it and he's one of my favorite actors. 23:22 And so I wanted to a homage to that old type that I really like while doing 23:25 some sort of fake advertisement for him as like 23:29 As a snake oil salesman or something like that. 23:33 So as you can see I did all these different ink drawings here and 23:35 each piece of it is, it's not one giant whole that I put together immediately. 23:38 I drew all these parts out and I was 23:44 going to piece them together later in my process. 23:46 And, here is what the final result ended up being. 23:48 So you can see that I rearranged everything. 23:51 I kind of resized a few of them and that's I have a printed 23:53 copy of it too right here and I really love the result of it. 23:58 It came out beautifully. 24:01 Its on French paper which is what I pretty much use exclusively. 24:02 I don't use anybody else for the most part and its a four color print and they did 24:06 an awesome job on it and that's been one 24:09 of my favorite projects that I've ever worked on. 24:11 >> Yeah and very much like Jason, my 24:14 process is gonna look a little bit familiar. 24:17 I, you know, I was, I was trained as an illustrator 24:19 so that the whole research and reference side of things is 24:21 a big part of how I work and certainly capturing all 24:25 these images out in the real world and, and finding reference pieces. 24:29 From online collections and libraries and so forth is really helpful. 24:33 But I start like most of you do with thumbnail sketches and 24:37 then I work almost exclusively in black in white with a cheap sharpie 24:40 just to get the original composition and the work done and then quickly 24:46 get it converted into Illustrator like I'm sure a lot of you do. 24:50 And then something that's happened for me personally over the past 24:54 few years is I really started to I started out you 24:58 know, being a child of the 80s, I was very much 25:02 influenced by 8-bit graphics and early video game design and so forth. 25:04 And that led me down the path very early in my career to a lot of vector stuff. 25:09 I mean, I really. 25:14 Was an illustrator junkie. 25:15 And I, I, I did stock imagery very early in my career 25:18 and I, I had sort of a okay run as an illustrator. 25:22 But I quickly shifted into design But one of the things I sort 25:26 of figured out really just about 2 or 3 years ago is that. 25:30 I was lacking something and I was really kind of struggling to figure out what it 25:36 was that the the piece that was missing from the work that I was doing and I 25:41 came to the conclusion that it was texture you know a lot of the stuff that 25:46 I had been creating was kind of flat and lifeless and the minute that I made that. 25:49 Sort of discovery it really opened things up for me. 25:55 So I will spend a lot of time in Photoshop working with texture from things that I've 25:58 also collected; vintage paper, fabric materials and so forth 26:03 that just kinda give you a really old look. 26:08 But I made the transition to starting to create dimensional pieces. 26:11 So I actually hand-weather each and every piece that I create. 26:17 I spend a little bit of time roughing it up, texturing it, I've been experimenting 26:21 quite a bit with like coffee staining and Rit dyes and so forth to give it this like 26:27 a really ephemeral look and I would love to share some of that if you guys 26:33 wanna swing by the wrestling ring area, I would love for you to see it up close. 26:38 And I want ya to pick it up and touch it and feel the texture in it. 26:43 But in addition to, you know, kind of working my way through 26:48 that, you know, I spent so many years working on screen design. 26:52 Small screen, big screen tablets and so forth, that, really it's open up 26:56 the door to me, to be able to explore as much media as possible. 27:01 So I've really been geeking out about taking letter press classes. 27:05 There's a shop in Columbus that now I've gone to like 3 or 27:10 4 times, and I'm getting, like, to know the process a lot better. 27:13 I wasn't a print designer, so, you know. 27:16 I just feel like there's this open playing field 27:19 between silk screening, and linocuts, and wood block prints, calligraphy. 27:22 I've been teaching myself a little bit of sign 27:28 writing you know, because life is not really linear. 27:30 You have the opportunity, I don't regret not learning to be a sign painter. 27:34 I don't regret not learning to screen print. 27:38 It's almost like. 27:41 I have the opportunity to tackle any of those things, and 27:42 its really kind of a exciting way to look at our field. 27:45 But probably the biggest part of my 27:50 process, and again this has been something that, 27:52 thanks to social media, I've sort of figured this out in the past few years. 27:55 Before Pinterest, before Instagram, and Flickr, and all of these services that 28:01 allow you to share photos and imagery, I was literally hoarding CD-ROMS 28:06 and archival you know, like back-up drives. 28:12 Even SyQuest, I have SyQuest drives that have old 28:19 jpg's from when the web first started taking off. 28:22 And I kinda realized after awhile that I was just sort of hoarding that stuff. 28:26 Now, it was a very calculated hoard. 28:31 I'm not a sloppy, messy person. 28:33 But I realized. 28:35 It was only doing me good right I had all these great reference materials things 28:37 that I could lean on when I was trying to look for ideas or inspirations that would 28:43 help influence the work but the minute that 28:48 I realized I had the opportunity to share 28:52 everything and I stopped being so selfish is 28:55 the minute that, really, the magic happened for me. 28:59 And I, I saw a little bit of 29:01 Justin's presentation, and he was talking about the importance 29:03 of sharing and, and getting things out there that 29:06 kinda make the butterflies in your stomach rise up. 29:09 But I have been curating stuff now for a few years, and 29:12 I try to get it out onto every social outlet that I can. 29:16 I usually start with Instagram cuz that's just like 29:20 quick and nearer and an easy method to do it. 29:23 But I have tons of Pinterest boards and I, I keep stuff on Flickr. 29:27 So if you're interested in this kinda thing please find it through 29:31 your, your favorite social channel cuz I'm literally littering the internet with. 29:36 As much imagery, and sharing my own personal work in whatever rough 29:41 stage it is, or finished work, as much as I possibly can. 29:45 >> Alright and I think Keith has a good 29:52 point about making everything available to everybody because up 29:53 until pretty recently, I've been just collecting all these 29:58 books and not really posting a lot about them. 30:00 Like, I'll show the covers. 30:02 Something like that but I actually have plans of setting up 30:03 this new website where I'll be taking photos of all the 30:06 books of every page and everything and offering them to everybody 30:09 who actually wants to see these things cuz I know they're hard 30:12 to come by and I think everybody should have a chance 30:14 to check them out but what we're doing here is we're 30:16 just picking out a couple pieces that we really love from 30:19 each other's work and I love this fedora sign that he did. 30:22 And the the clothing company one from Eagle, they're just 30:25 beautiful old style advertisements that really that really hit, you know, 30:28 all the right points for, for the things that I 30:33 really love that I find in these old books and everything. 30:35 And it looks, you know, very genuine, authentic to 30:37 the time that I'm interested in and I think 30:39 he does a great job, you know, bringing these 30:41 things to life and texturing them like he says cuz. 30:43 He takes the time to weather every piece and make sure 30:46 that it looks like it's genuinely from the 1800's or 1900's. 30:49 He does a good job with keeping it authentic and everything. 30:52 Which is one of big differences that I think in our work, a lot 30:56 of the stuff that I create while it looks old and it looks you know. 30:59 Really, Victorian in nature and stuff like that. 31:03 It doesn't really have that character that his work 31:06 does because it's, it's more produced for, for mass consumption. 31:08 It's no so much for an individual piece by piece sort of thing. 31:12 And I really appreciate the work that he puts into that. 31:16 >> So I picked a few, from Jason's collection. 31:20 The weapons of mass creations one is, One that I'm, I'm pretty jazzed about. 31:24 Aside from being a beautiful piece of hand-drawn typography 31:30 and design, it was actually used on the shirt. 31:36 And you know, I was lucky enough last year, and I'm sure some folks 31:39 know that Mike and other folks that are part of the Creative South conference. 31:43 Have ties to what's happening in Cleveland. 31:47 A very similar venue and a very similar event and it was 31:50 actually used on the T-shirt design and I didn't even know that 31:55 Jason had worked on that and I had bought the shirt and 31:58 then I later made the connection and we met in person last year. 32:01 He was a. 32:04 Back in the merchandise area selling his posters and so forth. 32:05 And we actually you know, as I had mentioned, knew each other from dribble. 32:09 And got to make a real world connection which 32:13 I think is largely what's amazing about this event. 32:15 Cuz you have folks that you follow and that you 32:17 respect and that you really enjoy looking at their work. 32:20 And then to be able to meet them in person is pretty magical. 32:22 He also has been doing some really cool letter press prints. 32:26 Again done in, in his signature style. 32:30 Very detailed with all kinds of little goodies if you get up on it. 32:34 And, and look at it. 32:37 So that's a couple of my favorite pieces. 32:38 So the big thing we wanted to say is, please come meet us. 32:41 We've, we, we brought plenty of stuff to share. 32:46 It's more about show and tell and we got like I mentioned, we have things that 32:48 we want you guys to have a chance to see up close and take a look at. 32:54 Carefully get your hands on some of his books. 32:58 >> Carefully. 33:01 >> But we, we'd love to meet as many folks as we can while we're 33:02 here and even share a little bit about our process, if you wanna hear more. 33:05 [SOUND] 33:10 >> And yeah, I've got a, a couple things that are, I've done at the booth as well. 33:12 Some of you might've seen this already, if you 33:16 follow me on Dribble or Behance or anywhere like that. 33:18 And I love to talk a little bit more about process, like Keith said, or if you 33:20 wanna just come check out our work, and see 33:24 how it's done, and where our inspiration comes from. 33:26 That's what we're really here for, is to connect with everybody, and. 33:29 See, you know, if you have guys have the same interest as we 33:32 do, and I might even be setting up a newsletter for those of you 33:34 that are interested in getting updates about me doing all those books where 33:37 I'll be posting them online, so you guys can come look at those too. 33:41 And if anybody has any questions or anything, we'd be glad to take them. 33:43 >> Yeah. 33:48 We, we were supposed to be a panel, so I think part of. 33:49 Being a really responsible panel is opening it up for questions. 33:52 Does anybody have anything specifically? 33:55 Random, serious? 33:58 Uncomfortable, quiet? 34:02 >> Talk about how big you work, because you both worked different [INAUDIBLE] 34:03 >> Talk about how big we were. 34:08 okay. 34:10 Size. 34:11 >> Yeah, we were. 34:11 Very, very small, most of my stuff is like 3 by 5, 4 by 7, and so what 34:13 I have to do is really blow that up huge on the scanner when I get it in. 34:16 Cause, like you saw with that plain view poster that's 18 34:22 by 24 and a lot of that stuff is real tiny so 34:24 I'd have to come in at twelve hundred dpi and so 34:27 and scale it up, but I'm a lot more comfortable working with. 34:29 Small format stuff. 34:32 So when I was asked to do ink Wards last year weapons of 34:34 mass creation, that was crazy to do 4 foot by 8 foot canvas. 34:36 And that was way out of my element. 34:40 It was really fun to do, but I'm really 34:42 comfortable with working with small sketches and things like that. 34:44 >> Yeah, I, I guess for me, I'm, I'm comfortable. 34:47 From working really small to I, I dont, I think like some of the 34:51 larger pieces that I've gone to really don't get much bigger than 18 by 24. 34:54 But actually my process, because everything I, 34:59 even if it starts out being hand 35:02 lettered or even a restoration piece that 35:03 I'm doing, I always run stuff through Illustrator. 35:06 So the magic of. 35:09 Being vector is, I can scale it up as big as I need to. 35:10 I've been playing a little bit more with Adobe Ideas on the iPad. 35:16 You can actually, you know, do hand lettering stuff. 35:20 It almost works like a light box and the nice thing 35:23 about that is the output from Adobe Ideas is a PDF, 35:26 so you can take that right into Illustrator, blow it up 35:30 if you needed to do a billboard or anything in between. 35:33 So yeah, I think we, we cover. 35:37 I mean, I also enjoy working smaller too, like 4,4 by 6, around that size. 35:38 Any other questions? 35:44 Curiosities? 35:47 Yes? 35:49 >> So, it feels like the style 35:49 [INAUDIBLE] something about it that captures our interest. 35:51 >> Yes. 35:57 >> [INAUDIBLE] school 35:57 involved, I was wondering if you could say what, if you put your 36:05 finger on what it is that's [INAUDIBLE] >> I'll take a swing at that. 36:12 For me personally, and it may be less about you folks. 36:13 But what's intriguing to me a few things. 36:16 When I go back and, and really, I think the stuff that 36:20 excites my mind the most would be from 1850 to about 1920. 36:23 That's sorta a big gap but there was a lot of really amazing stuff. 36:29 I look at that as being >> [COUGH]. 36:33 Sort of the intersection of sign writing and lithography and, wood 36:35 type and letterpress so lots of advertising and ephemera that we still 36:40 are fortunate enough to get a glance at in collections and things 36:45 that people are selling on Ebay and, and other online auction sites. 36:49 I think, for me, I sort of marvel, you know, being, 36:53 I grew up, I was, while I was in college desktop publishing was exploding. 36:59 And you know, like the Mac and screen typography 37:05 and layout and quirk express and illustrator and Photoshop. 37:08 All these things were happening. 37:12 I actually grew up, my dad was a sign writer 37:13 on the side, it wasn't his trade, he was a salesman. 37:17 But, he had a big sign board in the basement and I watched him 37:20 as a kid, lay out signs for different events and things on the side. 37:23 For church activities and what have you. 37:29 So I think for me growing up seeing 37:32 hand-made lettering is one part of me intrigue. 37:35 But also looking carefully at these things, 37:39 whether they're printed or you're seeing a JPEG 37:43 image of it, and knowing that it was all done without a computer in existence. 37:45 Really starts to boggle my mind. 37:51 I mean, I can, you know, I have draftsmanship, and I see the work 37:53 that a lot of you folks create, and we all share, things, in social and 37:57 on the web, but when you look at that stuff and, you think about the skill and 38:02 the precision, that went into signwriting and engraving and things like that. 38:09 I'm sort of just like blown away by that. 38:15 So that's the intrigue for me. 38:19 And I know vintage stuff is really hot right now. 38:20 In fact, when you start to see it get into more of like templates and you know, 38:24 predivine things like that, you know that it's probably about to run it's course. 38:30 But for me it's. 38:35 It's also the history lessons that go along with it. 38:37 When you think about the process and I promise you when you start researching and 38:40 digging a little bit deeper below the 38:44 surface, you make connections to really amazing things. 38:46 I always end up learning from looking at an invoice or a bill 38:50 head from the 1800s I always end up doing a little more homework. 38:53 And finding out something really amazing 38:57 about a manufacturing company, or you know, 38:59 the city that you know like Cincinnati Ohio was this Mecca for printing. 39:02 Like the US Playing Card Company, that does 39:08 like Bicycle cards and so forth, was headquartered there. 39:10 So I think it's the combination of all 3 of those things, personally, for me. 39:14 >> Yeah, I think it's really just the amount of 39:18 craftsmanship and level of detail that went into the work. 39:20 Like, people spent a lot of time on these pieces, and sometimes 39:23 they even had full teams of people that would do glass windows. 39:27 You know, gold leafing, and reverse paintings, and 39:31 etchings, and embossings, and all that kind of stuff. 39:33 And like you said, it's really amazing that they did 39:36 it without any help from any digital tools, no computers, 39:38 anything like that and even the tools that they had 39:42 then you know weren't as as great as they were now. 39:45 I mean even with the Guilder's Tips and things like that, they 39:48 were they were probably not as superior some of the more recent stuff. 39:51 I don't know if you guys are familiar with 39:55 David Smith you know the sign painter from from England 39:57 over there but he's incredible and he does great great 40:00 work that you know has kind of become lost art. 40:03 You see vinyl sign shops everywhere these days 40:06 and nobody's really taken the time and effort 40:09 to put in the leg work and do it by hand in order to train like that. 40:10 And, so to see all this stuff in these books and everything like you said, they 40:14 had to be engraved and they had to 40:17 be done extremely accurately and just hours upon hours. 40:19 Must have went into every single letter. 40:23 And just the care that they showed to 40:24 these projects was just immense and it's really cool. 40:26 >> Any final questions? 40:30 [INAUDIBLE] 40:31 >> Yeah. 40:39 sure. 40:43 I'll talk about that and then I'll give you a shot at that. 40:43 I actually surprisingly enough don't collect as much physically. 40:47 That's to make sure that my wife does not divorce me 40:52 because obviously when you're dealing with antiques and ephemera and so forth, 40:57 the pri, you know, it's really not hard to figure out that 41:01 when you see something that might the only time that you see 41:04 it, and what goes along with that is a price tag often. 41:07 Although when you go to flea markets- Why I like 41:11 flea markets over antique shops is you watch the guys 41:14 unload their trucks and you know the last things they 41:18 wanna do is load everything back up and go back home. 41:21 So you've got a much better shot at getting 41:24 a deal on something that you really want to possess. 41:26 But I, I made a conscious decision at 41:29 one point to simply start photographing this stuff. 41:33 So I actually spent a lot of time at 41:38 antiques shops and not spending any money at all. 41:40 So it's, it's a balance. 41:43 I do have things that I curate in my studio and I enjoy. 41:45 Looking at them and so forth but I don't 41:48 really buy as much as I probably wish I could. 41:51 >> Yeah, so Keith is more the hunterer. 41:54 I'm more the gatherer, I guess, because I pick up of this stuff that I find. 41:57 You know, as long as I can. 42:00 books, I have probably over 100 of em and a lot of them range 42:04 anywhere between 1850 and 1950 and they're 42:06 pretty scare, so the price tag's pretty steep. 42:09 But I also pick up on a [UNKNOWN] packaging that kind of stuff. 42:12 But I do always try to get photos of it 42:16 if its something that I can't actually take with me. 42:18 If I don't have the money for it or I 42:20 don't have the space for it but I like to make 42:21 sure that I'm trying to preserve this stuff and you know 42:23 share it socially and give it life again as opposed to. 42:27 Just being, you know, buried back in somebody's closet or, you know, 42:31 drawn back in a truck after a flea market or something like that. 42:34 >> Mm-hm. 42:36 >> And I'd rather it not disappear, I'd rather it be shared, I'd 42:37 rather it be shown because that's really the, the time period that speaks 42:40 to me the most because, like I was saying, there's a ton of 42:44 love for the craft and respect for, you know, the actual making of things. 42:47 So, I do my best to make sure that that's presented as well as possible. 42:51 >> Well, thank you so much. 42:57 We appreciate your attention, this morning. 42:58 Please swing by and see us. 43:01 We would love to talk more. 43:03 Thank you. 43:05 >> Thank you. 43:06 [NOISE] >> Yeah. 43:06 >> You guys 43:09
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