Francis Lymburner

Francis Lymburn born in brisbane in 1916 and died in 1972 was an artist born in Queensland. he was educated at Brisbane Grammar School and at Brisbane Technical College where he learnt art through F. martyn Roberts. he moved to Sydney later on in his life and often visited taronga zoo and drew the animals there. his paintings never really sold well, but he was did well in pushing contemporary art in Sydney.

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Owsley Stanley, born 1935 was an American audio engineer and chemist. He played a key role in the hippie movement throughout the 60’s and was known for the manufacturing of LSD and for being ‘The Grateful Dead’s’ soundman, an American rock band from the 60’s.

 

He designed the bands iconic ‘Steal Your Face’ logo, which is now used on t-shirts and was used to stamp the bands equipment. The logo was also used as the cover for the bands ‘Steal your Face’ album in 1976.

 

The cover of ‘The history of the Grateful Dead, Volume One’ created by Bob Thomas shows a number of colourful bears marching. The bears are dedicated to Stanley, who wrote beneath the cover ‘The bears on the album cover are not really ‘dancing’. I don’t know why people think they are; their positions are quite obviously those of a high-stepping march’. This is where ‘Bear’ got his nickname from.

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https://www.vice.com/en_au/article/the-trippy-life-of-the-lsd-manufacturer-who-helped-create-the-60s

 

https://en.wikipedia.org/wiki/Grateful_Dead#Artwork

 

https://en.wikipedia.org/wiki/Owsley_Stanley

 

https://laughingsquid.com/notorious-lsd-chemist-owsley-stanley-gives-rare-interview/

 

John Pashe

John Pashe is an English designer, he completed a bachelor in arts and graphic design at the Brighton colledge of art between 1963 and 1967.  John is most well known for creating one of the first logos of rock band marketing in 1969, The logo was created for the Rolling Stones. The simple impacting logo illustrates a mouth and a tongue.

The logo was then reproduced for the sticky fingers album in 2008. Johns design was voted the best band logo of all time on an online poll. John continued to work with the rolling stones for four years, he design many of the rolling stones posters and banners.

“John Pasche designed four tour posters for the Rolling Stones between 1970 and 1974 and also worked for other reputed artists, such as Paul McCartney, The Who, The Stranglers and Dr Feelgood. He works as a freelance designer in Surrey, UK, and he still remains a fan of the band, as he says “I have fond memories of a good working relationship with them. The logo is one of the strongest and most recognizable worldwide. And of course I’m proud of that.”

Pasche has done considerable design work. Among these he has designed album and single sleeves, as well as concert posters for The Stranglers; The Raven (1979), The Stranglers IV (1979), La Folie (1981), Live (X Cert) (1979), “Duchess” (1979) and “Peaches” (1979). He created the single disc picture for Fischer-Z’s “The Worker” (1979) and the album cover for Going Deaf For A Living (1980). He made the album cover for The Vapors 1980 album New Clear Days, as well as a 1979 Dr. Feelgood single.

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George Russell Drysdale

George Russell Drysdale, also known as “Tass Drysdale”, was an Australian artist born in February 1912. Drysdale had poor eyesight all his life, and was virtually blind in his left eye from age 17 due to a detached retina.

Australian art had been regarded as provincial sub-species of British art; Drysdale’s works convinced British critics that Australian artists had a distinctive vision of their own.

A chance encounter in 1932 with artist and critic Daryl Lindsay awakened him to the possibility of a career as an artist; he soon after studied with the modernist artist and teacher George Bell. In June 1939 Drysdale was recognised within Australia as an important emerging talent.

Drysdale’s 1942 solo exhibition in Sydney which was his second in point of time; his first had been in Melbourne in 1938, was a critical success and established him as one of the leading Sydney modernists of the time.

He was awarded the prestigious Waynne Prize for Sofala in 1947, and then went on to represent Australia at the Venice Biennale in 1954 where he abstract and surrealist art became a huge influence on him. Drysdale’s reputation continued to grow throughout the 1950s and 1960s as he explored remote Australia and its inhabitants. In 1954, together with Nolan and Dobell, he was chosen to represent Australia at the Venice Biennale.

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https://www.google.com.au/search?q=Russell+Drysdale+wearable+art&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjlhtnuu6rUAhWFkJQKHY_qB3sQ_AUICigB&biw=1059&bih=1020#imgdii=6PXPdqwMGViT1M:&imgrc=KkD4ztmb9CT-MM:

https://en.wikipedia.org/wiki/Russell_Drysdale

https://www.artgallery.nsw.gov.au/collection/works/?artist_id=drysdale-russell

Katharine E. Hamnett

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Katharine E. Hamnett, born 16 August 1947, in Gravesend, Kent is an English fashion designer best known for her political t-shirts and her ethical business philosophy.

Hamnett’s oversized t-shirts with large block letter slogans, launched in 1983, were adopted by pop bands and musicians such as George Michael who wore her white “CHOOSE LIFE” tee in one of his music videos. Roger Taylor from Queen. Paul Morley from ZTT. Her T-shirts were also designed to promote record label’s and worn by models such as Naomi Campbell to get messages across to the public – Naomi appeared in Hamnett shirts bearing the slogans “USE A CONDOM” and “PEACE.”
Katharine designed her t-shirts as a way of getting her message across: “If you want to get the message out there, you should print it in giant letters on a t-shirt.” Her first shirt featured the “CHOOSE LIFE” slogan. Inspired by a Buddhist exhibit, it was a comment against war, death and destruction. Katharine has spoken out several times against the slogan’s use by antiabortion activists in the U.S. She wrote on her website, “It’s not about the anti-abortion lobby. The US anti-abortion lobby attempted to appropriate CHOOSE LIFE. We are taking it back and promoting its real meaning. Ours is authentic and I believe in a woman’s right to choose.”

Outside her own label, in 1984 Hamnett was involved in the founding of Tanya Sarne’s Ghost label.

Beginning in 1989, with research showing pesticide poisoning in cotton-growing regions, and sweatshop labour a major part of the textiles industry, Katharine began lobbying for major changes in the way the industry operated. After disappointment with the results, Katharine terminated most of her licensing arrangements, and in 2005 relaunched her line under stricter ethical guidelines, including manufacturing and agricultural practices.

at that time, Katharine met Prime Minister Margaret Thatcher wearing her own t-shirt with the slogan “58% DON’T WANT PERSHING”, a reference to polls showing public opposition in the United Kingdom against the basing of Pershing missiles in the country.

In 2003, at a London fashion show, Hamnett’s catwalk models wore shirts with “STOP WAR, BLAIR OUT”, a reference to the looming invasion of Iraq.

In 2013, Hamnett designed two different t-shirts for the Campaign for Nuclear Disarmament: “EDUCATION NOT TRIDENT” and “NHS NOT TRIDENT”. As an additional sign of her commitment to the anti-nuclear cause, Hamnett joined the 55th edition of the Easter demonstration at Aldermaston, on 1 April 2013.

Hamnett was one of several celebrities who endorsed the parliamentary candidacy of the Green Party’s Caroline Lucas at the 2015 general election.

Katharine wikipedia

Tie Dye

‘Tie Dye’ is a modern term referring to the ‘tied & dyed’ technique used to create the designs. It is is characterized by the use of bright, saturated primary colors and bold patterns, including a spiral, mandala & peace sign & the use of multiple bold colours.

Although already having existed for over 6000 years as a technique in many ancient Asian & African countries & cultures tie dye was first officially known in the US in 1909 when Professor Charles E. Pellow of Columbia University acquired some samples of it.

Although various tie dye techniques were already used in Western fashion it was during the 1960s when the iconic modern psychedelic tie dying became a fad. The trend increased in popularity as rock stars such as Janis Joplin & John Sebastian wore tie dye clothing on stage. After the introduction of affordable Rit dyes tie dying became popular as a cheap & accessible way to customize clothing.

During the Vietnam War it became a form of expression as well as protest for the for the hippie, psychedelic generation who wanted peace & freedom. As the youth of America chose to rebel against authority & the conservative rules of dress of their parent’s generation they embraced a movement that valued arts & crafts, simplicity & the traditional way of making things. The technique was used to decorate t-shirts, curtains, tapestries, pants & more. It became associated with many trends from the 60s such as hippies, rock concerts, psychedelic drugs & antiwar marches. The tie dye design became an iconic symbol of the sixties & is still present in various forms today.

 

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Wearable Art Post Info

Famous Tees and their creators

bnr_1011The simple t-shirt began as a humble undergarment and is now a beacon of self expression and passions. If you love a band, you buy a shirt to reflect your musical taste. If you want to support a candidate or a cause, you get a politically-charged t-shirt. If you had a lovely time on holiday in a city you get a shirt. Self expression, commemoration – t-shirts play a role in almost anything we’re remotely passionate about.
How did that happen? Who moved these light cotton under-shirts from the background of the wardrobe to the forefront of the protest movement, as a powerful self-expression medium. We think these six designers played a huge role in that cultural shift.

Jim Fitzpatrick – An Irish artist specializing in celtic art created this iconic image as a young man. The two toned image of Che Guevara was taken from a photo by Alberto Korda. Fitzpatrick idolized the marxist revolutionary and the poster became an iconic symbol of communist ideals.

Owsley “Bear” Stanely – As the soundman for rock’n roll’s most important jam band, Stanley was faced with an problem. When the Grateful Dead was on tour all their gear looked like all the other band’s gear. Stanely needed something to distinguish the black boxes from those of the other bands. With the help of his friend Bob Thomas, Stanely created the iconic skull and lightning bolt logo.

John Pasche – Voted the most iconic band logo of all time, the Rolling Stone’s tongue and lips design is instantly recognizable by everyone on the planet not living under rocks. Pasche said about Stone’s front man, Mick Jagger, who commissioned the design for the band, “Face to face with him, the first thing you were aware of was the size of his lips and his mouth.”
The logo was originally designed for the Sticky Fingers album but eventually became on of the first examples of band branding. The Stones originally commissioned the logo for 50£ but were so pleased with it they gave Pasche a bonus of 200£, still a pretty good deal considering how much use they got out of it.

Katharine Hamnett – Taking the simple t-shirt and using it as a walking billboard for causes, Hamnett innovated the protest t-shirt of the 1980s. A british fashion designer, her popular Choose Life line is still being sold today.

Shepard Fairey – While enjoying underground fame since the late 80’s due to his Andre The Giant Has A Posse viral street art, Fairey’s more recognizable work is that HOPE poster of Obama from the 2008 election. Laura Barton from the Guardian said the image “acquired the kind of instant recognition of Jim Fitzpatrick’s Che Guevara poster, and is surely set to grace T-shirts, coffee mugs and the walls of student bedrooms in the years to come.”

https://www.bluecotton.com/famous-t-shirt-designers

Articles:

30+ Of The Most Creative T-Shirt Designs Ever

http://www.boredpanda.com/creative-t-shirt-designs/

The 100 Most Iconic T-Shirts of All Time

by Jeff Gregory in CustomInk News & Events

http://blog.customink.com/2013/04/customink-100-most-iconic-t-shirts-of-all-time/

The 50 Greatest Streetwear T-Shirts of All Time

http://au.complex.com/style/2013/11/greatest-streetwear-t-shirts-of-all-time-jeff-staple/stussy-logo

From 1985 to 1989, Christopher Menz was Curatorial Assistant, Australian Decorative Arts at the National Gallery of Australia. From 1989 to 2001, he was Curator of European and Australian Decorative Arts at the Art Gallery of South Australia, Adelaide. He is currently Senior Curator, Decorative Arts (International) at the National Gallery of Victoria, Melbourne.

Modernage Fabrics Silk and Textile Printers

by Christopher Menz

Christopher Menz, ‘1946. Modernage Fabrics’, Craft Australia, Summer, 4:1987.

Reprinted with the permission of the author.

Australian artists rarely work directly with industry, but when they do so it is generally in the production of books and textiles. In both cases the process of transforming an original design into a finished product is relatively straightforward and does not necessarily involve large costs once the printing itself is organised.

The first textile-printing firm in Australia actively to encourage artists to supply original designs was Silk and Textile Printers Ltd., of Sydney and Hobart. Formed in 1939 by Paul Sonnino and the brothers Claudio and Orlando Alcorso, with capital provided by a number of Australian shareholders, the company initially produced screen-printed dress fabrics using new Italian techniques, in a factory at Barcom Avenue, Rushcutters Bay, Sydney. With the onset of war, production virtually ceased, although some camouflage fabrics were manufactured.

After the war Claudio Alcorso was keen to use Australian artists to design fine textiles for a market largely dominated by imports, a desire that drew an enthusiastic response from local artists. By 1946, when a large exhibition was held at the Hotel Windsor in Melbourne, small trial ranges of fabrics had been produced. The exhibition was opened by Daryl Lindsay, Director of the National Gallery of Victoria, who, according to a reviewer in The Age on 2 October, ‘was interested to learn that orders for wools had been received from seventeen different countries, and that America had sent designs out here to be printed on Australian materials. Two elegant materials, Rhapsody in Blue and Saraband, had been created especially for Warner Bros.’

Encouraged by this initial success, Silk and Textile Printers decided to produce a range called Modernage Fabrics using some 46 designs from the following artists, most of whom were from Sydney and many of whom had never produced designs for textiles before:

  • Douglas Annand
  • Jean Bellette
  • James Cant
  • William Constable
  • Mary Curtis
  • Roy Dalgarno
  • Alice Danciger
  • William Dobell
  • Russell Drysdale,
  • Adrian Feint
  • Donald Friend
  • James Gleeson
  • Geoffrey Graham
  • Sheila Grey
  • Paul Haefliger
  • Peter Kaiser
  • Mary Lewis
  • Francis Lymburner
  • Frank Medworth
  • Muriel Medworth
  • Hal Missingham
  • Alistair Morrison Niny
  • Justin O’Brien
  • Desiderius Orban
  • Carl Plate
  • Margaret Preston
  • Suzanne Rogers
  • Loudon Sainthill
  • Roderick Shaw
  • Betty Skowronski
  • Carrington Smith.

The actual range extended beyond the original forty-six designs, as most were avai lable in different colourways, and some were available on different fabrics. Given the ephemeral nature of textiles, the publication of a forty-page booklet, A New Approach to Textile Designing: By a Group of Australian Artists (1947), was the most enduring result of the Modernage Fabrics project.1

The booklet both illustrates and documents the project and, with a cover design by Douglas Annand, it is much more than an advertising brochure. It clearly shows the importance Claudio Alcorso attributed to Australian design. His brief foreword sums up the nature of the venture: ‘The designs reproduced in this book are not only a new approach to textile designing; they are also the expression of a desire to introduce creative thought and beauty into the everyday things of life.’ Alcorso hoped that the interest in better design would ‘spread to other industries and that soon we shall see … the establishment of a much needed Council for Industrial Design … [and] one day [ … ] see many Australian industries seeking the co-operation of Australian artists to design their product. We believe they will be amazed at the public’s response to better design.’2

Then follow brief passages by three of the leading figures in the art world of the day. Professor J.H. Burke, who held the Chair of the Fine Art Department at the University of Melbourne, laments the general standard of industrial design and encourages industry to seek the involvement of artists.3 Hal Missingham, Director of the National Art Gallery of New South Wales (and himself represented in the booklet by a design), comments on the proficiency of Australian artists in the use of line and on its happy application to these fabric designs, which he considers to have a ‘particular statement of their own which marks them from work produced abroad’.4 Finally Sydney Ure Smith, President of the Socie ty of Artists (New South Wales), states his belief in the great potential of these fabrics for use in furnishing overseas missions as well as government offices and agencies.5


What you need to do:

  1. Select one the designers from the post, your own designer/brand or from the presented in the class
  2. Make a post of 300 words about the selected designer/brand discussing  the relevancy and the impact the works they produced.
  3. Source min 6 images related to the post.
  4. Acknowledge the sources of info at the end of the post.
  5. Tick the Categories & Tags Category “Wearable Art” before publishing
  6. Prepare a short (2-3 min) presentation about your post
  7. Note the post is due on the 5th of April 2017, presentation is due next session (after the holidays)
  8. Post min two comments (100+ words) on this posts from min two students from your group