Scion AV Installations recently set up a really cool gallery and shop space on Melrose Avenue in LA. Featuring artwork and products designed by a rotating roster of artists (French was first, and SSUR currently has a show up), the space also carries goods produced by artists who’ve worked with Scion AV Installations in the past as well as a curated selection of items handpicked by Scion.
We were super excited to contribute a number of products to the store, including tote bags from Part of It, some of our bookends, as well as a tote and two small books we’ve created for our newest endeavor, Draw Down Books. The photo above of the shop space has a number of these items on display, including Luck (a photo book by Isaac McKay-Randozzi published by Draw Down), our 16 pp. tote bag (celebrate small press publications!), and a Make Art Now! tote bag by the awesome UPSO, the great brain behind the ultimate art zine, Faesthetic.
If you’re in LA, check it out!
Just got in some amazing images of our art car for Scion! Last week we were in New York for the 10th Anniversary celebration of Scion’s commitment to music, art, and design, which included an exhibition of all the Scion iQ art cars. It was amazing to see our car in real life– and we loved seeing what the other artists (including David Choe, Cody Hudson, French, Dust La Rock, and the Melvins) did with theirs. Super fab to see old friends and meet some new ones as well.
We’re so grateful to Scion for giving us the opportunity to do a car like this! The Scion iQ looks like a little gem.
Spotted on the Herman Miller Lifework blog!
Images of Gluekit’s installation at Faesthetic’s first LA curated show, This Must Be The Place, at the SCION Space gallery in Culver City. Featuring the work of Gluekit, Matt Curry, Maxwell Loren Holyoke-Hirsch, Skullphone, Damien Correll, Dan Funderburgh, Joel Speasmaker & Jemma Hostetler. The exhibition features nine American artists from the Faesthetic family who represent the diverse styles appearing in the magazine, and is comprised of art centered around a theme of “Home,” and loosely limited to a 2 color palette, just like an issue of Faesthetic.
Our shelf snapshot is up at Dudes in Suits, another exciting endeavor by Mike Perry (& crew?). We were quite intrigued by the first assortment of entries— it’s fun to see what people collect and are inspired by, the kinds of detritus that builds up around creative folks. Lots of great stuff. The latest set of entries is now up, and includes our shelf! Here’s the original call for shelves, in case you’d like to get in on the action… or just compile a fun little snapshot for your own self.
2008 Stories and Art postcard for the Yale University Art Gallery series which invites families to join YUAG staff for tales of “distant times and faraway lands [to] inspire children of all ages to view art in a new way.”
We were super pleased to find an image of the Alphabet shirt that Daniel Eatock designed for Gluekit’s Part of It project in his brilliant recent monograph Imprint (2008). For more insight into Eatock’s meticulous practice and his projects, check out Eatock’s website and, in particular, the section on Imprint itself.
Recent typographic work
The February 2009 issue of Wired Magazine, currently on newstands here in the U.S., features a Gluekit illustration for their Jargon Watch column (Gluekit loves speech bubbles!). We were super thrilled to be asked to do a three-dimensional black and white illustration, which follows along in the same tradition as many of our image projects. Thanks, Wired!
2008 postcard for the Yale University Art Gallery’s Parents’ Weekend schedule of events.
During our work on the Print Magazine 2008 Regional Design Annual cover and interior spreads (!!), we generated hundreds of photographs documenting our approach and process for creating three-dimensional typographic scenes. Some of these images we loved for their simplicity–others for their spatial oddness, color play, or because of the exact moment they captured. This one? Well, we love drips crawling down a white wall. Drips and splatters do feature prominently in much of our work– tactile and messy and nearly always evidence of the process at hand. And in this photo you can also spot some of the stage markings we used to indicate placement for objects. In order to create some of the visual effects on the cover, we needed to calculate the right angle and position for the various components using a whole host of techniques.