Saturday, April 3, 2010

This blog has moved


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ch-ch-ch-cherry bomb! Monday premier of The Runaways featuring Cherie Currie benefits the Rock 'n' Roll Camp for Girls


The Runaways Portland Premiere & Rock ‘n’ Roll Camp for Girl’s Benefit featuring Cherie Currie

Monday, April 5th, 2010, 7:00pm

Hollywood Theatre 4122 NE Sandy Blvd. Portland, OR 97212

Tickets $15 (all sales benefit the RnRC4G)

Limited seating, tickets available at Hollywood Theatre website and box office


Join, The Rock ‘n’ Roll Camp for Girls, KGON and Hollywood theatre for a special fundraiser and the Portland Premiere of Hollywood’s hottest Rock Movie – The Runaways!


Get your tickets at www.girlsrockcamp.org


- Q&A with Cherie Currie

- Raffle prizes to include movie swag, autographed items from The Runaway, tickets to Joan Jett’s upcoming concert at Chinook Winds and more.


Following the premiere will be an Over 21 after party at the Ambassador Lounge, 47th & NE Sandy. Come sing some karaoke --- 10% of sales will benefit The Rock ‘n’ Roll Camp for Girls.



A word from RnRC4G

This movie is rated R and contains mature content including violence and drug use. The Rock 'n' Roll Camp for Girls regrets that this prevents many of our Campers from attending the event. This is a story of women who broke barriers and struggled to find their own voice in a male dominated industry - paving the way for future generations of female rockers.

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Friday, March 19, 2010

Art Party #3


This is going to be a good one!
FRIDAY, APRIL 2nd AT BRANX: $5.
Tunnels Listen to Eruption on his myspace page--you will be sold.
Sexual Champions (all female improv brass ensemble.)
Kathleen Keogh of Woolly Mammoth comes to Dinner with White Rainbow
DJs:
Hostile Tapeover
DJ Magic Beans (Maggie Vail, VP of Kill Rock Stars)
PHOTOS BY:
A.M. O'Malley
&
Brook Dillon.
Photo portraits/booth by Lorenzo Triburgo.

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Thursday, March 18, 2010

Artist Talk Series



The second Thursday of each month offers the unique opportunity to casually explore pieces in
Portland Art Museum’s permanent collection through the inspired lens of
a local artist. Each artist
selects a work from the museum's permanent collection, talks about the piece and leads a discussion.


Free for members or with Museum admission. Reservations are not required, but space is limited to
the first 60 attendees. To ensure
attendance, advance tickets are available at the box office.
Talks occur the second Thursday of each month from 6 p.m. - 8 p.m.

On April 8th, James Lavadour will lead a discussion about Max Beckmann's oil painting *The Mill*, 1947.

Past Plazm contributors Storm Tharp, Stephanie Snyder, and Nan Curtis are all scheduled for
upcoming events. Here's a list through September.


May 13th—Jeff Jahn
June 10th—Storm Tharp
July 8th—Chris Rauschenberg
August 12th—Nan Curtis
September 9th—Stephanie Snyder

Also, a number of prior talks can be found on the museum's web site.

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Wednesday, March 17, 2010

Boul Mich!



The digital debut of Oz Cooper’s “Moderne” Broadway-esque titling typeface, Boul Mich, available now from MyFonts!

1927 was a discouraging year for Oswald Bruce Cooper, having to devote his time to developing faddish display typefaces based on others' designs in lieu of truly original work.

Though he sidestepped blame in his essay On Cooper Type Faces, Barnhart Bros. & Spindler’s General Manager Richard N. McArthur was the one responsible for assigning Cooper busywork. McArthur put together a sampling of Broadway-esque hand lettering from assorted advertisements, suggesting a very specific incising treatment.

Cooper drew the basic forms of the letters, leaving the bulk of the work to the pattern makers at BB&S, but provided the framework from which the typeface was drawn. The typeface was named Boul Mich, after Michigan
Boulevard, Chicago’s mix of carriage trade shops, elegant residences, artists' studios, and Bohemian side streets. While not a design of Cooper’s choosing, this modern typeface is a paean to the flexibility of Cooper’s skill.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

The release of these two typefaces coincides with the publication of the definitive Oswald Bruce Cooper biography by Ian Lynam, published in Japan’s Idea Magazine (http://idea-mag.com/) issue #339. Cooper’s biography is delivered in English and Japanese with numerous full-color illustrations of never-before-published work.

Boul Mich has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs. It is comprised of a capital letter alphabet, full European character set, figures, and full range of diacritics.

Boul Mich is available now via MyFonts.

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Saturday, March 13, 2010

Portland 2010 Opens Tonight


Portland 2010: a Biennial of Contemporary Art is opening tonight at Disjecta and BoxRocks.
This is the first biennial in the region since the Portland Art Museum decided to move to the Contemporary Northwest Art Award format. Plazm is an event sponsor and designed the logo, posters, ads, etc. Check it out.

There are a bunch of events running for the next eight weeks or so. The show is curated by Cris Moss. He's selected lots of great artists including Holly Andres, Corey Arnold, Pat Boas, John Brodie, Bruce Conkle & Marne Lucas, David Corbett, Ditch Project, David Eckard, Damien Gilley, Sean Healy, Tahni Holt, Jenene Nagy, Oregon Painting Society, Melody Owen, Crystal Schenk, Heidi Schwegler, Stephen Slappe, Kartz Ucci.

Full listing of all events.

Disjecta
8371 N Interstate
Portland
6 - 10 pm

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Saturday, March 6, 2010

Book Design, the iPad, the Kindle, and "formless content"



"Books in the Age of the iPad" correctly deduces that "print is dying, digital is surging, everyone is confused." Craig Mod presents a thoughtful argument on the future of print, but a primary basis of his article is deeply flawed: the idea that some content is "formless." My thoughts about this, from the writer/editor's perspective rather than that of the designer's, can be found in the (generally very interesting) comments thread.

His caption to the flowchart here reads "FORMLESS CONTENT: Retaining meaning in any container." The medium is the message, dude! Meaning always shifts with form.

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