30 August 2010

State of the Union: Part 03

My creative process usually
starts with a lot of thinking. This can easily be construed as procrastination, but don't be fooled. I put the idea in my head and then walk around. Things that I say, or hear, or read, or see influence how the idea grows. I usually hold it in my brain until it feels like I can actually put it into words or images before I ever sketch a thing. Sometimes an innocuous phrase or song or image will trigger something, like it all comes together, in which case I go scrambling for my sketchbook. Then once I have a basic idea, I sketch variations on it, but usually by this point, it's been incubating so long I'm pretty sure where I want to go with it. Sketching is more just for the sake of visual layout and design rather than brainstorming. Eventually I settle on a sketch, and sketch it bigger. I work mostly with ink, so I ink it, scan it, and color it in Photoshop. I tend to add a lot of textures too, and when it calls for it, I'll do texture work in watercolor on a piece of tracing paper over the original drawing and composite it in post.

My process seems to work fairly well. I think spending more time thinking than drawing helps the overall concept of the piece. But at times I wish that the two were more intertwined, as there really isn't ever any record of how I got from Point A to Point B.

•••


I found this guy David Downton over the summer. He does mostly fashion illustration; models, celebrities, actresses. He's got this ridiculously elegant way of composing a drawing. It's the kind of work that makes me jealous that I can't just sit down with a brush, slap down 7 or 8 perfectly placed lines and splotches of value, and emerge with a gorgeous ten-minute illustration (that I can then sell for the cover of this week's Vogue for a cool grand).

I tracked down an interview with Downton about his process. Turns out, he does dozens of sketches of the same drawing for each illustration, picking a choosing specific marks from each to compile the final result. He actually says, "When the drawing looks right I start to eliminate, to de-construct if you like. I keep working until it looks spontaneous."

I do the same thing, but I have a tendency to add lines where they aren't really necessary. I know it has a lot of to do with the very little visual planning I do for illustrations. I like high contrast and I like minimalism. I'm not huge on fashion art but these are just too gorgeous to get picky with.

His website is DavidDownton.com.

29 August 2010

State of the Union: Part 02



This is my personal favorite piece
that I've made. I spent eight hours a day for a week working on this thing. It means a lot to me for a few different reasons. Firstly, it's the only sculpture I've made that I really liked working on and really liked the finished product. It's also supremely personal.

It's a Tree of Life, a type of Mexican folk art. I saw my first one in person in Ciudad de Mexico two years ago, and this piece was my response for the proceeding exhibition. Trees of Life act as shrines to dead loved ones. I made mine as a self-portrait (with me in the center), and the four skeletons on the branches represent four deaths that have impacted me.

It's also important to me because I built the entire thing in the Rozelle Artists Guild group studio at our original headquarters, 822 Rozelle St. with the help of my best friends. The structure itself was made from disassembling and rebuilding a wooden chandelier found in the warehouse, and the plaster base molded from a found bowl.


•••



Most people seem to like this print I made in Digital Printmaking last semester, probably because it's dark and creepy. I like it too though.

I think my tarot card deck surprised me the most. I loved doing them, but I knew that doing 56 individual illustrations--particularly about a subject matter which is both very complicated and of which I knew very little about--was going to be difficult unless I spent most of the time researching the symbolism and condensing it into a simple image, and less of the time on the actual execution. In the final result, the nearly all of the illustrations were drawn at the print size, some even enlarged, which is not typical. They ended up looking simple, but not unfinished. I'm pretty proud of the way they turned out, and I'm still kicking myself for accidentally deleting the original PSDs...


•••


These are five sketches I like as much as any of my finished pieces:



28 August 2010

The State of the Union: Part 01

I spent the first four semesters of art school trying out as many different mediums as I could. I learned that I hated large-scale sculpture (although at times therapeutic, it was more often than not frustrating, and resulted in awkward objects not easily stored or ever properly displayed) but liked small-scale. I'm drawn to mediums that don't require mathematical precision, but rather can take on charm in their flaws.

I love working in collage. However, I no longer have the time to sit in my floor, meticulously selecting scraps of paper, fingers covered in rubber cement, carpet perpetually filled with tiny paper shreds, slowly yet methodically filling up hardbound sketchbooks. (The collection has dwindled considerably over the course of several moves, but I still have a surplus of shoe boxes filled with interesting bits of paper, which many close friends will attest to loathing on move-in days!)

I have since relearned to love the quick accessibility and simplicity of drawing with ink. I love working with watercolor, and get very impatient with acrylic and oil. I also really enjoy using Adobe programs to enhance drawings, and drawings to enhance digital art.


•••



I have been at Memphis College of Art for four years now,
and for the first two, I had a very... absentminded advisor. This resulted in my taking a multitude of unrelated classes with no real plan in mind, hence the necessity of my fifth year. That being said, I'm just interested in a lot of different stuff. I think the most beneficial non-Illustration classes I've taken at MCA are as follows:

Art of the First People: Mexico with Dr. Ramsey. Anyone who has seen my art over the past few years could guess this. Although the course itself is a little dry, it opened the door for me to a persistent aesthetic and conceptual obsession.

Digital Imaging with Howard Paine. This was really the first class I had taken that allowed (and encouraged) work that was photographic, digital, illustrative, and all three combined. I did great work in this class.

Life Drawing with Fred Burton. I know that Drawing: Composition is a required course for Illustration students, but I think Life Drawing should be also. Exaggerated characters and cartoons can only benefit from a foundation of understanding the proportions of the human form.

Forms of Fiction: Horror with David Burton. I really enjoyed this class because it basically consisted of reading great literature and talking in depth about it. We spent a lot of time decoding symbolism. I loved it.

Abnormal Psychology with Dr. Shaw. I feel like this class (along with its pre-requisite) really helped me with character development, scripting, body language, and dialogue with my ongoing comic.

Cultural Anthropology & Anthropology of Art with Deborah Halstead. Both of these classes are also very dry in their presentation, but intensely interesting, particularly concerning human behavior and relativity of normalcy.


•••




I wouldn't say I have a particular modus operandi
when it comes to what I make art about. I think that's kinda the beauty of being an illustrator--the freedom. It's not like being a fine artist working in series or a designer working commercially. Illustration falls into this odd shaped gap in the middle of the two, not limited to one medium or concept.

That being said I make a lot of work based on my interests. History, psychology, anthropology, and the aformentioned obsession with Mesoamerican and Mexican culture have/still are culminating into my ongoing "graphic novella". Human nature and human behavior also really interest me. I like drawing "odd-looking" people, and I like taking note of how my interpretation of "odd" changes.

I think the influence the work of my peers has had on me has remained consistent: I like watching them get better as I get better. Every student in the Illustration program right now has a completely unique style that has been carefully (yet also hurriedly) nurtured.



•••



As far as music goes,
I'm an emotion junkie. I've been listening primarily to the same five or six albums for years. I like familiar noises and words and actually have to be forced into listening to a new band. I hardly ever listen to music purposefully, as odd as that may seem.


•••



Non-art related hobbies, interests, and skills.
I'll try to condense this section.

I've been an avid writer for a long time. I always scored well on English exams, aced papers, and have kept a blog (&/or some sort of collection of writings) since age fourteen. I love writing, in all different forms too. This comic I have been laboring over for the past year is the first work of fiction I've attempted, however, and it's proving to be very challenging. I've also acted as the Senior Editor for the Black & White for going on four years now.

Of course, I started an arts collective my first year of college with a couple of other art students. I say "of course" not in an egotistical sense that you or anyone really should even be aware of our existence, but that if you know me, you know that it's such a big deal to me, I at one point chose to have a icon for it permanently inked into the skin of my wrist. Rozelle has afforded me a medium through which to do a lot of things and meet a lot of people I otherwise would probably not had the opportunity to do or meet. It's also put me in a position of responsibility for items of business I never would have expected, like financial planning, sponsorship, public relations, and event planning. Through that, I've also gotten a great taste of the business side of art-making and art-supporting. In all honesty, I'd be just as content with an organizational job in the arts as I would a real art-making career.

I've had some experience in other realms of the arts; I curated student exhibitions for the Brode Gallery at MCA for two years. I completed a curatorial internship with Power House Memphis a couple of years ago, and also aided in event planning, public relations, and private exhibition tours before they dissolved in 2009. I've worked for Indie Memphis overseeing the festival, organizing volunteers, and basically making sure the filmmakers and directors kept on schedule. I've worked on a few movie sets doing art direction and set dressing, also, through those contacts. I've sat in an empty silent gallery, bored, my fair share of hours.

But aside from that, I've worked in the food service industry since highschool; waiting tables, bartending, and catering. I like the work because no where else can a semi-intelligent, inexperienced twenty-something make three bills a night, and it reminds me why I'm in school--to avoid doing this as a career.

I think food service industry and administrative/organizational duties fall into the category of something I like that not many others do.


•••



If I could own any three pieces of art in the world,
they would be as follows:

Michael Jackson and Bubbles by Jeff Koons, 1988. This is one of the best sculptures ever created. Aside from the fact is solid porcelain and painstakingly goldleafed, it's just amazing. I think it's one of the most succinct works I know of that captures the pop culture-obsessed air of the 1980's; celebritizing meets idolizing.




An Olmec Head; specifically what's referred to as "Head 1" from the discovery in San Lorenzo. I love the sheer mass and bulk of the heads, the facial construction and feature exaggeration, but I especially love that they are shrouded in a lot of mystery as to who they are, why they were created, how they were transported, and what their purpose actually was. I like this one's face the most.




Surrogate by Patricia Paccinini. Because, I mean, look at this thing.

13 August 2010

Superhero Coco: Skeletor

My buddies from Illustration class at Memphis College of Art have been geeking it up again. The latest collaborative baby is Superhero Coco, a blog where illustrators are encouraged to submit redesigns of comic book characters. Every 2 weeks, they pick a character, and everyone submits. The results are posted every other Saturday. I haven't yet participated because, frankly, although I don't refute that I am a dork, I just don't know shit about comic books. I always had my nose in a Calvin & Hobbes anthology or a Mad Magazine as a kid. But as this week's character was Skeletor, I decided to give it a shot.

12 August 2010

Happy Birthday, Derrick!

So, Mr. Derrick Dent just turned 24 today! Derrick is one of my best friends, a fellow founding member of the Rozelle Artists Guild, the mastermind behind Project Sketchbook, and the male counterpart to the portrait artist for hire super duo known as Holterdent. Other than that, he's also a badass illustrator and could be accurately described as giggly. So in celebration of his conquest of his twenty-fourth year of life, I drew him up a little gift.



Did I mention he also shares an enthusiasm for Law & Order? It's the two of us as L&O detectives. HAPPY BIRTHDAY, D-ROCK!

16 July 2010

The Curse of Yama

I got this commission for a book cover in May, but being as my summer has been chaotic--filled with jobs lost, new jobs started, commission orders doubling, apartment hunting, packing, moving, & unpacking--I'm just now getting to it. So voila!




[CLICK TO EMBIGGEN]

10 June 2010

Yard Sale this weekend!



My roommates and I are moving out of our enormous house, and trying to get rid of all the extra stuff we've accumulated over the past year. Come on over this Saturday from 7am-1pm and look through our wares!

09 June 2010

Curse of Yama: Book Cover



Preliminary sketch for a cover illustration for Curse of Yama by local author K. F. Ridley.

28 May 2010

Ving Tsun


I designed a business card for my friend David, a private Wing Chun instructor.

23 May 2010

Kickstarter.com


Alice at VINI turned me on to Kickstarter.com today. It's a funding platform for independent creative projects. Basically, you submit a proposal for a project you need money for, set a funding goal, and site visitors can become "backers" and pledge donations to your project via Amazon. If you reach your funding goal within the time limit (between 1 and 90 days), you get 95% of the money pledged; if you don't, you get nothing and none of your backers are charged. It's still in beta, but I they're accepting proposals. I think I'll be putting something together soon.

CHECK OUT THESE PROJECTS:

Reading With Pictures is a project looking to get comics into schools via one big compiled textbook. They made over $4,000 over their $10,000 funding goal.








Fresher than Fresh is Kansas' first all natural snowcone stand. They're raising funds to renovate their snow cone trailer.







Almost Super is the third book by Matthew Buckley. He's more than halfway to his $5,500 goal to pay for self-publishing. He's giving away first edition prints at the ridiculously cheap price of one per $10 pledge. His first chapter is available for download as a PDF. I'm in the process of reading it now: it's smart and quirky.

10 May 2010

Conjoined Twins Woodblock Print



I printed my conjoined twins woodblock print. The color/texture is a digital print on Somerset Soft White.

07 May 2010

Tarot Cards



I HAVE FINISHED MY TAROT CARD DECK!

Well, I finished the 4 suits. There are still trump cards to illustrate. But I completed what I needed to for the assignment (a deck of 52 cards), and this makes 56 out of 78 cards in a tarot deck.

You can find them here on my gallery: http://laurenrae.carbonmade.com

05 May 2010

Skull Papercraft

I finished my skull papercraft. There are still some revisions to be made, but this is the first successful print & assemblage.

This is one of my tarot card illustrations that I decided to three dimensionalize:




& assembled:

22 March 2010

In Progress Screenshot



I just found this screenshot whilst clearing off my desktop. In progress of the Jay Reatard Obituary illustration & the color comp thumbnail.

Click here to see the finished illustration.

21 March 2010

MILIEU: Collaborative Installation Exhibition



This is poster I designed for an exhibition I am a part of that's opening on April 2nd at Marshall Arts. The very talented Derrick Dent did the illustration.

20 March 2010

Serpent Feathers: Chapters 1&2 on sale!



Chapter 1 & Chapter 2 are now available for purchase! They are 6x9in, softcover books printed through Lulu.com, so they're high quality. I'm giving them away at $9.99 each + shipping.

Visit my Etsy Shop to buy!

19 March 2010

Mind Wanders

Everything seems unsettled. This week seems to exist outside the perameters of reality; an alternate dimension, where nothing quite makes sense. Rules seem flexible, schedules seem amorphous, things are floating, breathing, rising and falling in their own paces,
without me
without my hand.
My hands.
They feel idle and brittle, shaking and uncertain. My grip is lax and minimal on the objects I grasp. Glasses. Is this water or wine?
Pills. Are these red or blue?
Money. Is this real? Does it matter?
A tiny bacterium nested in my stomach. The status quo is altered. Pills and chemicals scribbled on green paper, folded neatly and shoved down my esophagus. Synapses widen. Organs respond. Tears about nothing, laughing at silence, doors locked but windows open. I cannot settle!

Mind wanders.

This skull houses wads of silly putty. It oozes from side to side, occasionally nestling against a crevice to take on it's shape, if only temporarily. Crevices that create mounds. Irritants. Jagged edges. Discoordination. Serated blades that catch in your hair.

Have I been biting my cheek all night? Whose blood is this?

I am a system, I am a machine, I intake and produce. Everything is scrutinized, weighed, measured, evaluated. These decisions are heavy and numerous and frequent.
Every breath is a choice. What will I breathe in?

My head. My head feels long and escaping. These pores have failed me. These guards are sleeping on duty.
The phone is ringing again. There is someone at the door. Someone needs something. Someone is hungry or lonely or intoxicated. Some emotion somewhere walks into a party. He has a martini and introduces himself to money. They sleep together and regret it forever.

Can you really befriend that which rules you? Do relationships ever really end?
The end of one, the start of one, an event, an e-mail, a porch, a glass, a sandwich, a document in my mailbox. Who planned this party for Wednesday afternoon. Whose handwriting is this? Where is my mind? I left it in this drawer by the pistachios and painkillers.

Caffeine. Nicotine. Alcohol. Marijuana. Barbituates. Benzos. Sex. Ice. Air. Water. Solar energy. Pizza.
Who is on the guest list? Does this party end? Someone, please, flip the breaker. There's a man in my house and he won't leave. There's a man in my house but he isn't there.

But we get up anyway. We brush our teeth, we open the curtains. Light reflects dust. Morning exposes evening. We do our dance, sometimes the Shuffle. A made bed is a clear mind. Tight shoelaces mean business. I am never out of contact. I am never unavailable. I am the most reliable person in the whole universe. I answer my phone on Mars.

I'll check in. I'll retweet. I'll update, respond, resend, rescind, reskin. This silly putty pulls levers and flesh obeys. It is weak and melting. It houses chaos. These lions should fight to the death in a cage under a shroud. You will hear the ferocity, and the whimpers, and the pure pure pure fear.

Listen and wait.
Admire it's purity. Shut off four senses.

Allow me to introduce myself. I am the man in your house who does not exist.
I am the ghosts of beginnings and endings. I am a frightened bird, a ferocious lion, a pepperoni, a vaccuum cleaner, a marionette making sandwiches. I have spread myself thin enough to carpet a sunny porch, a sanitorium. Walk upon me and do not look at your feet.

I am harried and crying and all of the streetlights are too bright. I am smiling and relieved and the hardwood floor is familiar. I am walking and it's raining and I break down to call him. I am unsure until I realize I have been staring at a wall for hours. I am angry that it did not speak.

I live in jars and bottles and boxes and pots. Walk through this landscape, against waterfalls of lime and tonic, springs of gin, boulders of chemically hardened powder, green beans that squirm in the sunlight, a floor of fibers and it's all my hair.

It's unsightly. It's itchy. It's weak. It's medicated. It's crying. It's trying and trying and trying and trying.
It's a matter of weeding and tending, picking and choosing, and every decision is the biggest decision of your entire life, because it affects your right now. Right now, right now is all that matters.

And the decisions are heavy and numerous and frequent.
And every breath is a choice.
What will I breathe in?

10 March 2010

28/52 Demons

I finished the Cups Suit:


& drew all of the Coins Suit:

02 March 2010

Census 2010

So about a week ago, amidst a typical busy day of classes, meetings with cohorts about all of the silly arts & music projects I'm working on, and generally stressing about my dwindling bank account, I stepped into the elevator at school and was greeted with an obnoxiously hot pink flyer. Though it had multiple typos and a predictable misuse of punctuation, it caught my eye. Well, the part about "flexible hours" and "$17.50/hr" caught my broke, starving, desperate art student eye. It was an ad for jobs with the 2010 Census.

So, I applied. I filled out an application, I gave them my drivers license, and I took a ridiculously easy 22 question test to prove I could read, write, and do simple math. I suppose that's really all you need to be able to do in order to perform the duties of a Census taker--fill out paperwork. Now, up until this point, I really hadn't bothered to delve too deep into the political discussion concerning the Census. I knew what it was for, basically, and all I really wanted to know past that was How much do I get paid?, and What do I have to do?.

The Census Bureau employees I met with were pretty vague about the job descriptions, and horribly unorganized. They let most of the art students sitting in this lecture hall fill out their I-9s before telling them they would be shredded if they didn't have their passport, birth certificate, or Social Security card handy, which of course no one did, as no one told us beforehand we would need it. They instructed us to fill out some questions on the application in a manner that completely contradicted the instructions. The meeting took about an hour too long and I rushed out as soon as I finished the bubble answer test.

I knew that I would be going door to door asking people questions about their households and families. I knew that I would be knocking on doors in my neighborhood, and not shipped off to Orange Mound or somewhere else that an unarmed white girl with a government badge probably shouldn't be at night. That all sounded reasonable enough.

But lately, I've been getting flack from my peers. I suggested the job to a friend of mine who is unemployed, severely broke, and without a car, as I thought it would suit him quite well. In fact, if he worked the maximum 40 hour weeks, He could make enough to pay his bills until mid-Summer in one month. His response was that he refused to be a government lackey, and that he wasn't going to sell out because he didn't agree with the Census. I've heard this from a few people now, but none have them have really been able to tell me what it is about the Census they dislike--not in any specific terms.

So, I decided I should probably go research this. So I did. I sat in front of my laptop for two hours straight and read articles, forum discussions, reviews, rants, arguments, and interviews from CNN, NPR, NY Times, etc. And honestly, I had to really dig into the bowels of Google to even find dissenting opinions. And when I finally did, it was as vague and empty as the arguments I've heard on the street.

Let me pause here and say, I'm not necessarily for or against the Census. I'm deciding.

I'm not going to bother going into the details of why the Census exists. I think the average person knows that it was written in the Constitution by our founding fathers as a headcount of the population every ten years. Most people know that this count is to periodically revaluate the Congressional and Senatorial seats each state gets based on their state's percentage of the national population. If you want to brush up on the basics, check out U.S. Code, Title 13, Ch. 5, Sub. II, Article 14.

Why would people be opposed to that? I've categorized (pun intended) those opposed to the Census into four main groups.

ONE) Ignorant racists. When the Census is taken, it's taken without bias. The government wants to know how many people are living in that house right now, regardless if they are guests, or cousins, or illegal aliens. A lot of illegals don't file with the Census because they think that information might be used to later find them and deport them--but it isn't. Census information is not publicly available to anyone than the Census Bureau for 72 years after. In any case, that means that the population of illegal aliens is figured into the total state population, and therefore electoral seat distribution can be affected by illegal populations. So, say a state like Texas or California, which is right on the border, is going to have a greater percentage of their population be illegal aliens, as opposed to somewhere like Wisconsin or Tennessee, where there are much fewer. Those opposed believe that the Census should not take into account illegal aliens, because they will then reap the benefits of the Census, such as the reallocution of state funds for schools, hospitals, and roads, but without ever paying into the taxes that pay for those things. However, those same people in opposition also believe that the Census should be used to hunt them down and kick them out. And, of course, their logic for why Obama allows aliens to be counted and not deported is that he is an illegal alien himself. Although, firstly, he isn't, and secondly, Obama did not create the Census. Thomas Jefferson did, dude. (You can check out that article, interview, & ignorant comment here: New Obama ATROCITY against U.S. citizens)

TWO) Uninformed minorities. Yes, the Census does want to know what race you are. If you are one of the houses lucky enough to get the long form, you'll also be probed about your immigration status and what country you lived in ten years ago. But like I said, and like anybody can look up for themselves, the information taken in the Census is confidential for 72 years after it's taken (check out FAQ #32 on 2010.census.gov's Constituent FAQ). Elected officials and priests have been known to preach against the Census in minority neighborhoods. The National Coalition of Latino Clergy & Christian Leaders just last year had rallied nearly 4 million of their followers to boycott the Census as a means of protesting for citizenship. They don't want to be counted without first be legalized, which you must admit is noble, but do they not realize that the Census is not even close to the right arena for this fight? Do they not realize that those enormous populations of illegal Latinos in California will be ridiculously under-represented if not counted? Check out this article in response: National Latino Group is Wrong About the Census. Some black community activists tell black citizens to mark only "Black" under the question concerning race, among the myriad of other answers, even if they are mixed with some other race, because it "threatens to dilute funding" to answer honestly. What's ironic about it is that up until the Civil Rights movement, blacks were only allowed to check "black". Check out this article about it: Isn't It Time to Make Peace With Your Friendly Census Bureau?

THREE) Conspiracy theorists. The most dominant anti-Census voice on the internet are aging hippies that are obsessed with missing microfilms and the shooter on the grassy knoll. One of the most established I've come across is Gary D. Barnett, who appears to be an all-around disgruntled government employee that moonlights as a "rebel". You can read his anti-Census article here (In Preparation for the 2010 Census!), but I must first warn you that it is typical of a fifty-something year old guy that used to protest in the streets about the Vietnam War while stoned out of his mind that now has expanded his vocabulary, cut his hair, and taken a desk job that he justifies by shittalking it on the internet at home. I've found a lot of this kind of opposition, and it's mostly paranoids that think the government wants to know when they leave for work in the morning because they're going to sell the information to petty thieves and burglars. Much of it comes down to the ever popular and rarely backed-up stance of "WELL WHY DO YOUUUU WANNA KNOW?", except they are the types who are never going to be satisfied no matter what answer you give them. To clarify, I'm not saying it's stupid to question the government--I think that an intelligent citizen should, and a good government is one constantly questioned--but I also think some people just like questioning things to question them, and that they are not at all interested in the answers.

FOUR) Wannabes. This is the first group of opponents I encountered, and I can only categorize them as such. These are basically the young version of the conspiracy theorists. It's not so much that they think that the government is tapping their phone lines or raping their babies, but they think because they're a generation raised on the internet--and I am one of that generation--they know what's really going on all the time. Also, whether or not you realize it, because of our age, this generation has a much heavier personal responsibility to know what's going on in the world, what it means, who it involves, and how it affects them personally than their parents. I feel like all of these twenty-something kids talking about "selling out to the government", "being a lackey", or how they "don't agree with what the Census does to people" have all been reading articles written by assholes like Gary D. Barnett and his generation. They don't have a real argument past some cited incidents from the internet, and who the hell can trust that anyway? Most of these people are the type that aren't going to send their Census forms back because they think that it makes them rebellious or individualistic, when in reality they're just asking for a dreaded Census worker--like me--to come knocking on their door. And most of them won't be so defiant and rebellious in the face of a living, breathing, tired Census worker, who is just trying to get through a shift and go home. And even if they are rude and defiant to that poor art student that's just trying to get rent paid, they're even bigger assholes. Harassing the waitress doesn't make your steak magically cooked right. Shooting the messenger doesn't solve anything, it just stains the carpet.

When it comes down to it, the only real, substantiated argument I can find against the Census are against the Census takers--poor assholes that have to go door to door harassing people. And really, if you read up, an overwhelming majority of the horror stories associated with Census takers are fakes--the workers, not the stories. The Census is taken on April 1 in years ending in a zero. The forms are sent out in March, and nobody comes knocking on your door unless you don't send it back. So if some guy comes to your door in February, introduces himself as a Census worker, and then asks what color underwear you're wearing, it's just some creep. Likewise with groups of "Census workers". Census takers work alone. There's a pretty decent list of what to know about Census workers here: Avoid Census Taker Con-Artists.

Like I said, shooting the messenger just stains the carpet. It's not as if harassing the poor schmuck knocking on your door is going to abolish the Census, it's just going to make another human being's day that much more awful. I think when it really comes down to it, it's just that the Census Bureau is kind of retarded--and by that I mean unorganized, clumsy, and officiously bureaucratic, but not malicious. I think most people hate it because it's mandatory, and everyone deep down has problems with authority, even if what they're rebelling against is something aimed at helping them. And a lot of people are stupid, and paranoid, and gullible.

I think the best bit of wisdom I've run across is from a Time.com article by Jessica Reaves, who is in favor of the Census because:
If we don't define ourselves, the government will do it for us.

23 February 2010

Jay Reatard Obituary: Finalized

I finished my spread on Jay Reatard's obituary. I really like the front page illustration. As always, click for a bigger image.


22 February 2010

Ex Libris: Color Comp

I did some test prints of my Ex Libris litho plate today. It looks okay. Hopefully it'll print better the more I ink it. Here's a test print and the Photoshop colored version. I'ma print the color parts on Epson & print the plate on top. & learn how to register in the meantime. Woo!