DECEMBER 2010

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CommonCr ativ COMMONCREATIVATLANTA.COM DECEMBER 2010 COMMON GROUND FOR CREATIVE PROFESSIONALS IN ATLANTA AND NOW IN NEW YORK!

COVER ART BY JON ARGE PAGE 60

FEATURING +CORA SEYMOUR +CARRIE MCCURRY +ELIZABETH NELSON +JOSH NIX +BLAKE BURTON +JON ARGE +JOHNNY YOUSSEF +EVAN KUNTZ +ANASTASIA HENKE +JOHN STRANGEWAY +ANASTASIA BARTOLUCCI +MORE

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NOW HIRING CommonCreativ ATL is now hiring managers, writers and photographers.

Join in our cause as we make creativity common again ;) HIRING IN BOTH LOCATIONS: NYC AND ATL Find us on Twitter @CommonCreativ and Facebook (CommonCreativ ATL).

To get information on the magazine, contests and other fun stuff, visit commoncreativatlanta.com. (Also, check out commoncreativnyc.com!!)

Send us an e-mail at SUBSCRIBE@commoncreativatlanta.com.

We are a group of talented folks, from professional editors and publishing veterans to local artists and students. Join us!

Contact us at INFO@COMMONCREATIVATLANTA.COM.

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CommonCr ativ “THAT IS NO WAY TO WIN FRIENDS GREEN GIANT ROBOT,” 5” X 10” X 1/2” COLLECTION OF STEVE GILLEY + STACEY ALBRECHT. ARTWORK BY JON ARGE.

THE DIY ISSUE

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CORA SEYMOUR IS CREATIVE BEYOND CONTROL RESIN PRINTING MADE SIMPLE COVER STORY: OMFG JON ARGE BRILLIANT GUIDE TO BLOCK PRINTING (FOR DUMMIES) SHE’S CRAFTY! CARRIE MCCURRY MY FIRST QUILT SHE’S A REAL GEM DIY GIFT GUIDE!

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“JOY!” 16” X 16” X 2” COPYRIGHT, JON ARGE 2010.

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CommonCr ativ EDITOR IN CHIEF

Maria Yanovsky

CREATIVE DIRECTOR

Kristina Dutton

MANAGING EDITOR

Kathryn Jonell

EDITOR AT LARGE REGIONAL ACCOUNT EXECUTIVE

Meredith Pruden Lauren Stiles

CREATIVE MARKETING ADVISOR

Kenneth J. Hughes

MULTIMEDIA EDITOR FASHION EDITOR TECH ADVISOR CONTRIBUTING EDITORS

CONTRIBUTING WRITERS

Lindsay Oberst Brittany Heaton Noel Madali Jennifer Brown Jessica Edens Nathan James Kevin Perri Ryan Schill Helen Staffard Rachel Stevens Anastasia Bartolucci Kristina Dutton Scott Haynes Brittany Heaton Anastasia Henke Kathryn Jonell Elaina Lonidier Josh Nix Lindsay Oberst Ryan Schill John Strangeway

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CommonCr ativ ATL / NYC

KATHRYN JONELL President

MARIA YANOVSKY Executive Editor

TIARA HINES Vice President of Editorial

Contact: info@commoncreativatlanta.com. We are a group of talented folks, from students to professional editors and artists to publishing veterans. CommonCreativ is an Atlanta-based forum for local professionals. Our media group has many contributors from all over Atlanta, and the Southeast. In addition to the writing staff, some of the content is blogger-driven.

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To join our staff of professional writers, artists and publishers, please visit our site. Help us build a virtual cultural district. Want to get the news on commoncreativ as we expand to other cities? send your name and e-mail address to subscribe@commoncreativatlanta.com. Thanks!

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CONTENTS

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THE DIY ISSUE

04 Editor’s Note

LIVING 06 Steampunk Dreams 08 Artistic Chaos 10 Emotional Response

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READING&WRITING 12 Melodious Wordings 14 Eugene Merrimont 18 Shelf Fillers 20 Slammin’ Poetry

MEDIA/ DESIGN 22 Kudos To Kuntz!

26 A Brilliant Mind

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PHOTOGRAPHY 30 Moment In Time

SPECIAL 52 The DIY Issue

FASHION 114 A-Hem! Change Your Style 118 East Atlanta Chic

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EDITOR’S NOTE

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

A SPECIAL NOTE FROM NEW YORK TIARA HINES EDITOR IN CHIEF (COMMONCREATIV NYC)

WELCOME TO COMMONCREATIV NYC

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We want to cause a cultural uproar for a good enough reason. We’ll be so frank, honest and truthful that people will call us obscene. We’ll be provocative and we’ll hold the subway doors because we don’t care if you’re late to work. What can I say, we’re New Yorkers.

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n old friend contacted me a few weeks ago with an opportunity.

The friend’s name is Maria Yanovsky and we worked together a few years back. About five weeks ago she launched CommonCreativ, a fantastic online platform that is single-handedly unearthing the creative, artistic scene in Atlanta. And now she wants me to help launch CommonCreativ NYC. New York City is a marvelously creative place. As New Yorkers, we go to class with boys who wear necklaces made entirely of dolls’ heads and arms.

We have Greenwich Village which has been the home of bohemians like Isadora Duncan, Jack Keroac and William De Kooning. We have The MoMA, The Met, Guggenheim, Gagosian, the Paula Cooper Gallery, Studio-X, Mary Booner Gallery, The New Museum on the Bowery and that street vendor above the Prince Street station that sells collaged manikin legs.

But New York City has been getting a little too commercial as of late. And the creativity that used to be so available is becoming harder and harder to find. Hopefully, CommonCreativ NYC will make true, honest creativity common again. And if not at least we can say we tried.

Here at CommonCreativ we want to get back to the true meaning of creativity.

We want to cause a cultural uproar for a good enough reason. We’ll be so frank,

honest and truthful that people will call us obscene. We’ll be provocative and we’ll hold the subway doors because we don’t care if you’re late to work. What can I say, we’re New Yorkers.

Here at CommonCreativ NYC you’ll find intimate profiles on the most creative people in the city that you just haven’t met yet. You’ll find DIY posts so you can have high art on a budget.

You’ll have access to content specially created for CommonCreativ NYC by local artists, writers and generally creative people. You’ll continually be inspired by our exceptional staff, our incomparable subjects. Eventually local artists, fashion designers, writers and anyone else with something to sell will be able to sell their goods through our online shop.

If CommonCreativ NYC were a person it would be Kanye West, James Franco, Joseph Gordon Levitt, Lawrence Grobel, David Foster Wallace, Vanessa Del Rio, Peter Beard, Ruth Gruber, Pee Wee Herman, Henri Cartier Bresson, Andrew Garfield, Hunter S. Thompson, Diana Vreeland, Abbey Lee Kershaw, Freya Beha, Carine Roitfeld, Patti Smith, Rachel Feinstein and everyone else that has done something different, something brilliant, something creative.

With that being said, welcome to CommonCreativ NYC. Glad to have you.

ATTN: ATLANTA PHOTOGS

HERE IS YOUR CHANCE TO BE SEEN IN A NEW YORK CITY PUBLICATION! CommonCreativ ATL would like to introduce our third contest!

Only this time, the winner will not only get published in our next mag, but will get published at CommonCreativ NYC! We want our Atlantans to submit their best photography from The City, and we’ll publish the best three submissions! The top submission will receive a profile at CommonCreativ NYC.

SUBMIT YOUR BEST NYC PHOTOS TO SUBMIT@COMMONCREATIVATLANTA.COM CommonCr ativ 3

LIVING

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

JOHN STRANGEWAY CONTRIBUTING WRITER

TURNING STEAMPUNK DREAMS INTO REALITY

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hether it be music, fashion, literature, art or movies, steampunk has managed to influence each medium of expression in its own unique way. Penny Dreadful Productions (PDP) is a group of fabricators and artists in particular that have played a role in most of these areas. This Atlantabased group has brought attention to steampunk within the local community, and in fact, their work has developed a following nationwide.

Led by Matt Silva and Erin Bushko, the crew of PDP have shown their take on steampunk through fashion and custom props which have been used in films as well as showcased at major conventions across the country.

Each member adds their creativity and passions to support the different projects that the group has undertaken. Working as the Art Department for Whitestone Motion Pictures, they have helped bring to life the directors visions of several of Whitestones projects, most recently “Heartless: The Story of the Tinman” and “The CandyShop” featuring Doug Jones.

In the local scene, PDP has lent their unique talent and knowledge to a number of events such as the Alternate History Track at Dragon*Con, the

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Artifce Club’s Mechanical Masquerade and AnachroCon. They also support local artists, such as the band The Extraordinary Contraptions as well as photographer Dim Horizon Studios in their endeavors to bring the vision of their respective fields to the steampunk world.

In addition to the leads Matt an Erin, PDP’s staff contains a number of talented artists. A brief highlight includes Joe Hernandez , who helps conceptualize the projects, as well as among the team of fabricators that create many of the props, Joe brings intricate ideas to the table. KT Cunningham – if there is metal, watch out. KT specializes in turning steel into art. Her style stretches into numerous outlets for each project. Another member is Diana Shepherd , who acts as a model for the costumes made by the group and has quite the eye for fashion.

These are just a few of the motley crew whose work makes PDP stand out as individualistic expressions of their take on the steampunk subculture, allowing them to live up to their company’s motto, Turning Dreams Into Reality.

They can be found online at www.getdreadful.com , as well as with their work for Whitestone at www.whitestonemotionpictures.com.

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PHOTO BY DIM HORIZON STUDIOS.

LIVING

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

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ANASTASIA BARTOLUCCI CONTRIBUTING WRITER

INNOVATION AND ARTISTIC CHAOS

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hat happens when you bring together 20 creative geniuses with multiple quirky personalities and one small Maltese, all within a 7200 sq. foot studio space in Atlanta’s one and only Goat Farm? Artistic Chaos–the greatest and most innovative type you can imagine.

P.C.S is a collective, fuel-injected multimedia and marketing machine built to exceed any and all expectations. POINT.CLICK.SHOOT thrives off integrating traditional media with web 2.0. Our company is a buffet of services, allowing businesses and institutions to pick and choose from our vast marketing combinations according to budget and need. We possess all of the necessary ingredients to launch a number of aggressive multi-level marketing campaigns, rolled up into one delicious money-making burrito for you. Why travel aimlessly from one niche marketing “store” to the next when P.C.S has it all under one roof?

This is what many companies have come to understand, as P.C.S has partnered with not only several

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national companies, such as Tekla and Texas Utility, but has also recently aligned with the Woodruff Arts Center to create the Southeast’s first children’s film festival. Currently, P.C.S is also producing a documentary, endorsed and led by Wanda Smith from V103, to initiate a national women’s movement that will ultimately, come January’s production and New Year, propel their goal to be the first pioneers of new film dimensions.

We believe that the eminent goal is to create an impervious brand name and bring your company—locally, regionally, or globally—to staggering new heights.

We shall adamantly advance the creative frontier and evolve the world of multimedia marketing. Integrating traditional media with web 2.0, the Company will provide a vast myriad of customizable marketing combinations. POINT.CLICK.SHOOT believes in transcending the “industry archetype” while still continuing to blueprint the innovative future.

Anastasia Bartolucci is the Director of Operations at POINT.CLICK.SHOOT.

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LIVING

CRAFTING AN EMOTIONAL RESPONSE

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aybe you’ve seen them around. The new pieces of art around town that have been around, well, forever! The work that every one’s been twittering (and, yes, tweeting) about. Don’t know what I mean? An example is waxed, pointed and black on High Museum of Art signs throughout the city of Atlanta. Also, it tickles if you take the risk to kiss it. What is it?

Facial hair.

And the human body is the canvas.

Facial hair above the lip has been a method of expression for a long time. In America, the hairy additions originated in the military, but now we see them on anyone from corporate guys to rock stars.

They can be iconic and sometimes become part of the legends we remember from history.

Salvador Dali, as hinted at above, is one eccentric example. He borrowed his flamboyant hair style from dictators at the time.

Did most of these mustachioed heroes and villains think about creating art as they shaved? Perhaps not, but they were trying to create some sort of reaction or impression.

Something that art attempts, as well.

When groomed properly, mustaches become stunning works of self-expression.

Consider that styles with names such as handlebar, undercover brother, the Zappa, the Belvedere and the freestyle, require weeks of care to achieve.

Besides being fun, mustaches are also being used to make a point. Today, many men around the world are choosing to stop shaving for the month of November to raise awareness and money for men’s health. Movember is what the movement is called. Even people, who don’t call themselves artsy, admit to admiring the creativity of mustaches lately. I’ve also seen mustache bling and mustache art created by local Lovelane Designs.

The manliness of facial hair engages the competitive spirit of some guys. They grow their hair as a group, laugh at each other and make bets as to whose stache is the best.

Sean Mathews, a recent design graduate of The Creative Circus, calls a mustache “face art,” because each one takes time to craft and illicits an emotional response from those who experience it.

Haven’t you seen a mustache and thought, “potential sex predator,” “wannabee hipster” or simply “wtf?”

See there it is, the emotional response. Art at it’s finest.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

LINDSAY OBERST MULTIMEDIA EDITOR

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WRITING

MELODIOUS WORDINGS

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ell-written prose is often compared to painting, the critics marveling at the writer’s ability to produce images in the reader’s mind’s eye. In many cases, the writing is considered effective when it is most successful as a surrogate visual medium.

I fell in love with words not just because they could paint a pretty picture, but because of their ability to create music in my head. The click, pop and onomatopoeic cadence of beautiful prose or the appealing alliteration of an elegant sentence; both create sounds in my mind that tell me the words are working as they should, like the purring of a tuned-up engine reminding you that your car is running efficiently. I know it when I hear it.

Every word has an audible quality, a phonetic character, which it imbues into the surrounding sentence.

Rappers and spoken-word poets understand this. They spit out each syllable like a chisel carving out space in the air around them. They make music and rhythm with words.

Words should be used like a paintbrush to render gorgeous scenery with deft strokes across the canvas. After all, this is what words are for. They are symbols that we fill with meaning, puzzle together and share; they are tools for our communication. But like so many tools, words can be transformed into musical instruments and given a power to change the way we feel and to alter the tone of our lives.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

RYAN SCHILL CONTRIBUTING EDITOR

WRITING

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

SCOTT HAYNES CONTRIBUTING WRITER

WHO CREATED EUGENE MERRIMONT?

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hat’s more creative than writing? To many Atlantans, the preferred form of expression is fiction writing, and we’ve found an emerging talent for you! Josh Nix is a funny guy bursting with talent and potential. He’s currently working on his first novel, and we’re hoping when he’s rich and famous, we’ll get an autographed copy of it (How ’bout it, Josh?)! Until then, here’s a little taste to show you what to expect from Nix, the next big name in fiction.

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DEATH VS. EUGENE MERRIMONT JOSH NIX CONTRIBUTING WRITER Eugene Merrimont was the world’s greatest obituary writer. People paid thousands of dollars, from countries around the globe, just to have them write one short, sweet paragraph about their lost loved ones. His obituaries were so widely read, they were picked up for newspapers all over the country.

He was one of the most well-known newspaper writers to have ever lived.

As revered as Eugene was by readers, he was just as despised by his fellow staff members at the Daily So-And-So, the newspaper he wrote for.

And with good reason. Eugene Merrimont was arrogant (“Great skill comes with great pride,” he would say), overpaid (“I don’t think it’s unfair to charge $250 per letter, considering my words are like knives, cutting to the very core of a person’s soul,” he would say), and overhyped (“When you win two Pulitzer Prizes for the daily horoscope, Jenette, you can ask me to get you a coffee,” he would say). He was, in the simplest of terms, a jerk.

It wasn’t as if he had started off a humble, meek little guy, toiling away at his word processor, struggling to find the words to properly sum up a person’s life. He’d always been a smug, cocksure person.

Of course, if personality factored into a famous person’s likeability, then John Mayer would rightfully be treated like the intellectual hobo that he is.

So what if Eugene Merrimont was frequently an insensitive tool in interCommonCr ativ 15to the views? That didn’t matter

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waiter or department store employee.

One gloomy day, sitting in the study of his loft in the city, fingers flying over the keys, trying to find just the right words to describe the person in the picture pasted to the monitor of his laptop, he coughed.

He coughed again. His vision, sharp and criticizing, went soft. There was a great, horrible feeling in his great, horrible chest. A terrible pain shot up and down his left arm, as if being stabbed by a letter opener like that time at the Christmas party. And then it went numb.

“Dear God,” he thought, his breathing ragged. “I’m having a heart attack.”

He fell backwards in his chair and collapsed into a rotten heap on the floor. He clutched at his chest, surprised. “That always seemed the type of thing that a person suffering from a serious cardiac infarction in a movie or cartoon would do,” he thought, biting clear through his tongue in pain. “I didn’t think it was an actual thing.”

His chest heaving, a cold sweat matting his brow, his head swimming, he turned onto his back, staring at the ceiling. The sound of his own heart pounded in his ears. “Thepain!” it exclaimed. “Thepainthepainthepainthepainthepainthepainthepainthepainthepainthepain.”

Eugene became only vaguely aware, his brain dizzy and tired, that he was dying. Eugene Merrimont was dying.

“The papers will have quite the laugh,” he thought. “‘World’s Greatest Obituary Writer dies of a heart attack,’ they’ll say. ‘Good riddance.’” Suddenly, a thought darted in and out of his mind, driving him mad.

He leapt to his feet, like someone who’d been lying on a bed of nails, being told to “wait, just a little longer, lie there just a little longer,” for minutes that felt

Illustration by Kristina Dutton

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

people, clinging to their newspaper clippings, where their dear aunts, or cousins, or sons, or sisters were so beautifully remembered.

Eugene was a very eloquent person. He spoke with an educated diction, enunciating every word and ending every sentence with a lilt that insinuated that what he had just said meant more than you thought, and you could read and read and study and study for a hundred years, but never quite figure out what meant by, “Please, get out of my way, you great buffoon.”

Many speculated that the reason Eugene was such an awful person to be around had to do with his face, which was equally as awful. He had a large, hooked nose, the kind you might see on a villain in a young adult’s adventure book. His tiny, beady, dark eyes sat behind two small frames, held onto his face by the bridge of his vulture beak-like nose. In his youth, he had let his hair grow long and wild, but now that he was nearing his sixties, he was beginning to bald. As some sort of gross midlife crisis, he had let the top of his head bald, while the sides and back continued to grow, resulting in the most grotesque of all hairstyles: the skullet. He smelled of mothballs and Hall’s throat lozenges. He wore tight fitting suits, no matter the time or day. In the breast pocket of every suit he ever wore, he kept an old, rusted pocket watch, carried by his father, and his father before him. The pocket watch unnerved those who got close enough. It didn’t seem to tick so much as tsk, as if disapproving of everything about them, every second.

The general idea is that Eugene Merrimont was never a very well liked person. Revered, yes. Respected, yes. Liked, no. “Two of those three things actually matter,” he would say, whenever this was brought to his attention by an angry coworker or barista or

AND IT HAD OCCURRED TO HIM. HIS ENTIRE LIFE, HE’D MADE ENEMY AFTER ENEMY AFTER ENEMY. WHO WOULD HAVE ANYTHING NICE TO SAY ABOUT HIM?”

WRITING

like hours. At least, the pain upon standing was com- 856y9053yjupomhjbbhnjdkl” to his obituary, parable. But Eugene had become a machine, intent on would simply not do. one and only one objective.

He grabbed for his mouse and highlighted the errant Lying on the floor, ready for death to take him, he’d gibberish, deleting it as fast as he could. Time was asked himself, “I wonder what my obituary will say?” running short. He’d been suffering a heart attack for And it had occurred to him. His entire life, he’d the last three minutes. “At least God is on my side a made enemy after enemy after enemy. Who would little here,” he thought. have anything nice to say about him?

Wiping the tears from his eyes and smearing blood There was a slim chance that the papers would run a across his brow in the process, he took a look at what stock obituary that read along the lines of: “Eugene L. he had.

Merrimont, 63: Obituary writer. Died Wednesday of “Eugene L. Merrimont, 63: Without a doubt, the RYAN SCHILL natural causes, alone in his home. He is survived by World’s Greatest Obituary Writer. Tragically taken CONTRIBUTING his cat, Alphabet.” EDITOR before his time, in his home last Wednesday, due There was a far greater possibility though, that one of to natural causes. Winner of two Pulitzer Prizes his colleagues, snarling and grinning and howling like and nominated for another three, which he una hyena, would take to a word processor and defecate justly lost to a nasty little man covering the war in all over his memory.

Iraq. Eugene L. Merrimont was a treasured asset “Eugene L. Merrimont, 63: Despicable person. to this manypieces papers, his is probably the fifth or sixth draft of this article. I come byand finished the to his community, and Almost likeEach a cartoon that theeach world, even.a skirHe will be sorely missed by hard way. story isvillain. a war, Told each children paragraph a battle,to and sentence Santa Claus doesn’t exist.

Lousy tipper.

Never gave everyone.

He is survived mish. I write, delete, re-write, trash the whole thing, start over, walk away, and by his cat, Alphabet, who a gift once in his Hemore. is survived and will be will riches.” then come back andentire writelife. a little Eventually, battered and inherit bloody, his I find I have a missed by absolutely no one, and good riddance.

A He grinned, his jaw trembling. He fought tooth and finished story. I love it. party will be held in celebration.

Call Dave in acnail against his own inevitable I have read many, many books about writing and it seems the majority advocate a cer- death to make sure he counts billing for deetz. Peace out.” Find a blank pagewould bewrite remembered the way he wanted to, the way tain loose& free-ness in writing first drafts. and just for 30 minEither way, his death would not get the treatment, he was convinced he deserved utes without worrying about typos, grammar, or aesthetics. Maybe this works for some to, and with that, fell to the special care himself over had given many floor, satisfied. people, but not forthat me.he I agonize every so word of the firstthe sentence.

I may re-write it undeserving slobs his entire life.

He deserved at least There was great epiphany for Eugene Merrimont a dozen times before I am happy and can move on. The second sentenceno is no different, that, he felt. as he lay on the floor, clutching at his angry heart. No and the third after that. himself at his beganEach to fire off moment where henext thought ButThrowing each sentence leads medesk, to thehenext. paragraph suggests where the will to himself, “I should have adjective after adjective in his honor. been nicer to those around travel. I find the story through the act of writing it. I cannot understand something un-me. I should have been He groaned in pain, blood spilling out of his kinder andthe lessactcritical, I should have been warmer til I have tried to write about it. While I certainly write because I love of writing, mouth andtoonto theitkeys of his and more even if I were loathe I would stilllaptop. write; itTears is how I understand the open world.and welcoming. I wish I’d found love. welled up and sprung from his eyes.

He typed I wish I’ d loved been loved. I wish I had children.

When I began this piece, six drafts ago, it was about something completelyand different. fast as lead he could, which, he discovered, was been closer with Theasprocess me here.

Perhaps one day I will write aboutI wish what I’Idhad intended to my parents.” still plenty fast, even with only one useable arm.

No, lying there on the maroon carpet of his study, initially. Maybe not. fingersone slipped onwriting the dark red almost black his last was: is“Inot could have gotten to a hospital IHis do follow piece of advice, however: “Write what you thought know.” This blood ondecision. the keyboard, adding “klgnwry9246byunderstand now.” a conscious I cannot help it.

In fact, I may not fully it until I am

WAR OF THE WRITE

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finished writing about.

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READING

BOOKWORM & ILLUSTRATOR SHARES MUST-HAVE SHELF FILLERS

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PHOTO BY KRISTINA DUTTON.

very great artist has an expansive book collection. I know because I’m constantly on the lookout for great additions to my personal library, whether I get them from Amazon, thrift stores, or the average (kind of over-priced) bookstore. Yes, my nerd is showing, but I thought I’d share my favorite finds so far and maybe your inner-nerd can appreciate them too! You never know what will inspire your next project!

So let’s start with the basics: art history books.

Some of my favorite places to look for art history books are thrift stores. I’ve found tons from Raphael to Aubrey Beardsley, but my hands-down favorite has been Gardner’s “Through the Ages.”

It’s just a great, massive book.

I think one of the greatest trilogies for artists are the “Index” books: Layout, Color, and Idea. Great references when you’re stumped and starting a new project. I also don’t think any artist could live without the “Graphic Artists Guild Handbook for Pricing & Ethical Guidelines.” This book is a lifesaver, everything you need to know about artist agreements, pricing and the law. It even has sample contracts! I have to also recommend “Stop Stealing Sheep and Find out How Type Works.”

For a change of pace, I’m guilty of holding on to Children’s Literature and comic books! “Eliose” is one of my favorites, so simple and well thought out. And of course, if you don’t know me, I collect Alice’s Adventures in Wonderland books. I think my count is in it’s twenties now, but who can resist Tenniel’s classic illustrations! New editions, old editions, altered stories, I’m not picky!

They are timeless!

One of my favorite favorite comic book stores to go to is Dr. No’s (located at 3428 canton road, Marietta, GA 30066). I’m notorious for dropping entire paychecks in one visit and dropping in on the midnight releases. My favorite comic series of all time has got to be “Wormwood A Gentleman Corpse,” by Ben Templesmith. It’s perfect for the quirky dork who loves the undead along with dry humor. Templesmith is a phenomenal illustrator, and you might recognize him from the more popular “30 Days of Night” series. “Fables” is also a great series, the covers by James Jean are always beautiful. If you can get your hands on a copy of the “Fables Covers,” I’d recommend snatching it up! They are hard to come by these days.

Inspired to start your library yet?

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KRISTINA DUTTON CREATIVE DIRECTOR

CURVES

I love the way you look at me even though I’m clearly not straight from a magazine my jeans are not the latest season but that doesn’t give you any less reason to love my curves Every Sarah, Sally and Sue deserves someone like you when they can’t catch up with Maybelline when they don’t look like Seventeen that doesn’t mean that someone doesn’t dream about loving her curves what kind of world is this where women live in fear trying to attract a positive reaction searching for satisfaction in the bathroom mirror exactly where were headed, I’m not always sure For now I’ll just thank you for loving my curves.

FRAT-TASTIC

Look at you, Mr. Polo never even heard of Solo Dolo too caught up in your pastel charade to get her wasted, upstairs, and get you laid Hat backwards bros, future CEOs destined to marry a pearl-wearing ho a third generation Kappa kappa douche fratastically inclined to call yourself a friend of mine I got news for you, I’m another kind And no I’m not down to watch your sixth round of pong or bump to your remixed top forty picks frat boy songs i’d offer you a penny for your thoughts but I can read them on your shirt your labels scream “class flirt” a stigma too easily bought i’m sick of your Alpha male games You keep calling me ‘baby’ cause you cant remember my name show me a guy that I cant find in aisle five a Tom or Joe that’s read something cover to cover I don’t need another monkey boy lover so tell meCommonCr Delta Tauativ something or other… do you have an older brother?

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WRITING MEDIA/ DESIGN

SLAM POETRY A DECLARATION HELL YEAH, OF EMOTION HELVETICA

Notebook design by Kristina Dutton, available at commoncreativatlanta.com

KRISTINA DUTTON CREATIVE DIRECTOR

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hate the word “poetry.” It always sounded pretentious to me. I would certainly never call myself a poet. Before I would even call myself a writer, I would label myself as an observer. Effective writing is rooted in genuine feelings and observations of the world around us. I write slam poetry when something moves me so intensely that I don’t know what to do with the feelings. Sometimes it’s sloppy or gritty at first, but I will sit on it. I polish and buff it, chop out awkward words and try to find a smooth rhythm.

Slam poetry is a reflection of my observations; it’s like an emotional narrative. I write for

the same reason that people eat, fornicate and breathe: it needs to be done in order to move on to the next thing. Nobody has to listen, but I have to write.

F. Scott Fitzgerald once said, “Don’t write because you want to say something, write because you have something to say.” My words are more than figments of my imagination. They are like a heartbeat, pulsing in the rhythm of my life. Putting my thoughts into prose or verse is like checking my pulse.

Slam poetry is an engaging combination of wit, rhythm, and rhyme. It is a declaration of emotion, a love letter, or a call to action. It’s in all of us.

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ANASTASIA HENKE CONTRIBUTING WRITER

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KUDOS TO KUNTZ!

ART BY EVAN KUNTZ.

Photo by Christopher Wong

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ative-born Atlantan illustrator Evan Kuntz has quite the portfolio. There is a diverse range of shape and line throughout, all the while staying true to his personal style. It has a very sci-fi quality to it, reminiscent of a man-meets-machine kind of theme. He states that his method of creation is one that combines the real with the surreal, as he enjoys playing with opposites. Kuntz’s collection of traditional art can be classified by monochromatic environments, juxtaposed with bright colors on the subject in order to direct attention. With this technique, the flow of viewing is non-existent but it works wonderfully, so there is no need to incorporate the element of flow. His digital art shows a mastery of line and space (both positive and negative) which actually gives his work more of a flow in this specified arena. This also demonstrates how well-rounded he is an artist and explains why he won best in show for his portfolio in 2009. In addition to this, his collection of graphic design is clever, fresh and modern with works of graffiti-inspired t-shirt designs to metallic abstract designs to trendy soap packaging.

Overall, the mood of his work portrays a sense of isolation and solemnity. In one of his works, the

PHOTOGRAPHY

MEDIA & DESIGN

ELAINA LONIDIER CONTRIBUTING WRITER

KEVIN PERRI CONTRIBUTING EDITOR

MASTER FLASH PHOTOGRAPHY UNDER $30

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ow do they do it? You know, the professional photo phers who always achieve the impossible lighting?

DOORS!? I’ve never seen a professional photograp struggle with those hideous shadows that you get with the typical flash. and natural lighting can’t possibly work in ev environment, so what’s the secret?

In order to get that soft lighting, you need to bounce you flash. And the cheapest way to do that (avoiding the $400 flash, umbrella, etc.) you need to get a lightscoop! Possibly greatest invention to aspiring photogs, Professor Kobre’s L scoop does the job of a fancy flash for you.

Yes, it’s totally true-- We’ve tested it out and it works won ders! Next time you’re at home, trying to get a cute photo your baby in the dim living room, just snap on the Lightsc and BAM! Avoid getting any shadows, avoid that bright sh face effect, basically everything YOU HATE about flash. P Magically gone. And in place, a perfectly lit, natural photo that truly captures a real life moment. Under $30.

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ART BY EVAN KUNTZ.

color scheme is dark and the subject is literally shattered and dripping with sorrow—no pun intended. Many of his pieces show elements of organic lines and shapes with lines of symmetry and vivid color amongst muted surroundings.

His work is of a variety of mediums and displays a marriage of techniques.

He says that he is “really exploring who [he is] as an artist, experimenting with new mediums and trying new things.” He combines pastels with ink and paint, pairing abstract shapes with harsh and blended edges, and layering detailed pen work over the top. Kuntz also enjoys working with charcoal, scratch board and pen and ink. As he is a man of many techniques, he is also well traveled.

Kuntz has spent time in Flagstaff, AZ, and other various places in America to fuel his creative juices. He has also spent a season in Germany and Italy to submerge himself in Europe’s art history and culture. He is currently back in Atlanta and, no doubt, plotting to take it by storm.

Check out his work at http://evankuntz.daportfolio.com.

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MEDIA & DESIGN

A BRILLIANT MIND: FROM ARCHITECTURAL DESIGN TO PHOTOGRAPHY

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t’s always rare to find a multi-talented visual mastermind, because usually, in order to be great, an artist must focus on one thing, one medium.

That is not the case here, not at all, because Atlanta’s Johnny Youssef is extremely creative, and all over the place.

He dabbles in all sorts of creative hobbies because it’s fun for him and we think he’s unbelievable! He’s a painter, photographer, photo editor, digital painter, wood sculptor and professionally, an

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NATHAN JAMES CONTRIBUTING WRITER

PHOTOGRAPHY BY JOHNNY YOUSSEF.

architectural designer.

And though it all comes to him effortlessly, he blows us away with his skills.

And we love that Youssef started his stunning portraiture photography to make his friends happy! Who doesn’t admire that?

You can see Johnny’s work at vvmasterdrfan. daportfolio.com. Immediately, you’ll notice his spunk and attitude! From the design of the site to the originality of the first graphic that confronts you, you’ll realize exactly what makes Johnny so special, and why he’s a valuable Atlantan.

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A VERY IMPORTANT MOMENT IN HISTORY, CAPTURED BY ONE OF THE VERY BEST ATLANTA PHOTOGS CommonCreativ received many submissions for the BEAUTIFUL ATL 2010 Art Contest. The idea was to collect as many different visual (or literary) representations of Atlanta, from the perspectives of our finest writers, designers and artists.

Out of all the wonderful submissions, one photographer stood out above the rest. Blake Burton’s pictorial of the uninhabited monstrosity on Ponce de Leon, City Hall East, blew us away.

Burton took the photos between February and April of this year. He says he “Was fascinated by such a large, historically significant structure that was mostly untouched since Sears left it.”

Burton brought out exactly what we wanted to accomplish with this contest: We wanted to let an artist to bring attention to something historic, something not necessarily beautiful, but damn well interesting! We’re grateful that Burton submitted his haunting depiction of an abandoned monster. Of course, leave it to an architect to notice it and explore this place.

“The building seems to be overlooked when it comes to the architectural history of Atlanta,” he says. “And with the impending renovation in the next few years, I felt that it was important to document it in its current condition, which we may never see again.”

Burton’s photography is excellent in general, just visit his website (blakeburtonphotography.com) and try to keep your jaw from hitting the floor. The variety is unachievable to most, making him one of the most versatile photographers we’ve seen in Atlanta.

We’ve selected 11 photos from his collection (we couldn’t decide on just ten, the number we were originally going to feature) for you to enjoy. This is definitely an important statement and a valuable moment in time that, thanks to Burton, we can all feel like we were a part of.

“Walking the building and seeing the relics of its past is truly a remarkable experience,” says Burton.

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THE DIY ISSUE 3

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SPECIAL

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

NATHAN JAMES CONTRIBUTING WRITER

CORA SEYMOUR IS CREATIVE BEYOND CONTROL

C ART BY CORA SEYMOUR.

ora Seymour wants to share her “happy” with you.

She’s one of Atlanta’s most creative artists, and that might be due to the fact that she’s not overly concerned with impressing everyone. Her art is pure and fun, not overly moody and twisted. She’s just simply creative beyond control.

She’s mastered it all: Graphic design, illustration and painting. And she’s a crafty lady, too! Her Etsy has some of her greeting cards that we absolutely love! But nothing comes close to her jewelry, which is classy, elegant and unique!

Her work is whimsical and dreamy, with a twist. Loaded with personality, her art is refreshing.

Check out her website or prepare to spend some cash at her Etsy!

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(RESIN)ATE FINE ART BY YOURSELF!

SPECIAL

RESIN MADE SIMPLE

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PHOTOGRAPHY BY KRISTINA DUTTON.

eing a woman of many trades, I set out to find cheap ways to create artworks that are one of a kind, and lucky for you, I documented my newest adventure!

Creating professional looking jewelery doesn’t have to be expensive or require a special certificate, there are plenty of great and affordable materials out there that are easy to use and look fabulous.

Resin settings are a good start! I think the best way to describe resin, in my words, would be that it’s a liquid plastic. Most resins for jewelry are a two-part system, you have the resin and the hardener, and then it’s as easy as mixing and pouring! You don’t really need special equipment, the average cost is about $20 for the material itself, and it’s incredibly versatile.

YOU WILL NEED: -An epoxy resin kit (found at just about any local craft store, most sold as two liquids).

-Your future jewelry pieces (I’ve used everything from original tiny paintings, cardstock prints, stones, pretty much anything that is kind of thick and has a flat surface) -Paper or plastic cups -Tooth picks -Something to stir the mixture that can be thrown away after use, I used chop sticks -Clear nail polish (just in case!)

-Shoe box, or any box that’ll easily cover your items, show boxes are good because the lids are great for workspace.

CommonCr ativ 57 -Plastic gloves

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KRISTINA DUTTON CREATIVE DIRECTOR

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

STEP ONE: Gather all your materials, set up your workstation (make sure the resin won’t be able to ruin anything just in case it spills! and that it’s in a spot where it won’t be moved for awhile), and put on gloves! Your resin kit will come with instructions, but most of them are pretty simple: mix one part resin epoxy and one part hardener (it’s safest to distribute the two into separate cups, then combine them at the same time in a third cup), and stir quickly. After I mixed mine together I had small air bubbles in it, so I just let it sit for about a minute before I started using it, but you really don’t want to let it sit for very long, it sets up really quickly, you’ve about roughly 10 minutes before it’s too thick. So hustle!

STEP TWO: Now that you have your mixture, and you’ve arranged your workspace (it’s best to work on a piece of cardboard, so if you need to move it it’ll be sturdy enough and not move your items too much), it’s time to start pouring! The best way to not mess up is to squeeze the cup slightly to make a spout, and pour your resin very slowly onto your material. Start off with a small amount, you can always add more in a minute or so if it looks like it won’t cover the entire surface, but if you add too much it’s a disaster!

STEP THREE: After you’ve used the resin on everything you wanted to use it on, discard your cups and stir stick. Most of the time the mixture will produce bubbles, this is totally normal! The easiest way to remove them is by poking them with tooth picks. Sometimes there are tricky ones that just don’t want to disipate, that’s fine just let them settle in for about a minute and then attack them.

STEP FOUR: Once everything looks good and settled, comes the patenience test! Cover all your gooides with a shoe box and let them sit for at least 72 hours before doing anything with them. Some brands of resin don’t harden as well as others, so if your gems are slightly sticky after the waiting period putting a thin layer of clear nail polish over it will do the trick!

STEP FIVE: When everything’s dry and ready to go, assemble into jewelry! Adding a pin to the back, putting one or more on a chain, or applying them to a ring or hair pin will make the perfect addition to your collection, and best of all, it’s 100 percent you!

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OMFG JON ARGE PRODUCED BY MARIA YANOVSKY/ EDITOR IN CHIEF & WRITTEN BY SCOTT HAYNES/ CONTRIBUTING WRITER

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7" X 7" X 1/2" | COLLECTION OF HAYDEE ALONSO.

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ARGE IS FUNNY, BRILLIANT, CREATIVE, ORIGINAL, HANDSOME, CHARMING, UNBELIEVABLE AND ON OUR COVER! Patience is a virtue, right? Let’s ask Jon Arge.

His creations are truly the most meticulously crafted, unique and exciting that we’ve seen in Atlanta.

And here at CommonCreativ, we feel honored to have the privilege of featuring Arge on our cover.

It’s hard to imagine the amount of time, effort and creative ability that it takes to successfully do what he does. If you look at his artwork, consider that it is made up of tiny pieces of colored paper, put together to create the masterpiece you see. This is perfect for our DIY issue because it really is

the ultimate craft.

This sort of creativity is BEYOND me. I’ve attended many art shows in the past and have never been this blown away. His collection is entertaining, from the artwork to the witty names of the pieces, so make sure you pay attention to those, too! (We made them really big for you). And if you want to congratulate Arge on being an incredible human being in-person, catch him at Kai Lin Art Gallery on Dec. 10 at 7 p.m. for an exhibition of truly epic proportions.

Contact Arge at www.jonarge.com.

Read on for our Q&A with our new favorite Atlantan!

“HAYDEE, HAPPY AT LAST NOW THAT HER MIELE S4 POLARIS HAS MADE EVERYTHING ALL CLEAN.” 3

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©ARGE 2010 | 5" X 7" X 3/4" COLLECTION OF TONY DICARO.

“AT WHICH POINT BETTY JACK DEVINE INSTRUC

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CTED HER DRIVER TO TAKE THE PARTY BACK TO HER GRACIOUS INTOWN MANOR MORNINGWOOD” 3

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©ARGE 2010 | 9' X 12" X 1/2" | COLLECTION OF JOHN JEFFERY + RICK WESTBROOK.

“A FEW MINOR ALTERATIONS AND MADAME WILL BE GORGEOUS!”

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“THE ANGEL, BUTTERS”

7" X 7" X 1/2" | COMMISSION BY BABZ SUGA BRITCHES FOR HER SISTER CAROL HAND.

COMMONCREATIV: WHERE DO YOU WORK? JON ARGE: While I enjoy the municipal luxury of my underground penthouse best, I can actually work anywhere.

I have a kit I pack with my supplies and, while I miss my action smashed studio, I honestly find inspiration in any remote location that allows me access. I have come to really enjoy being “in residence” places. 2010 saw me edit and prepare my life so that I could travel more in 2011. I have such good friends and collectors in every corner of this country and it is a crime I haven’t taken them up on their kind invitations to visit and create there.

CC: DO YOU HAVE A STUDIO? OUT OF YOUR HOME? ARGE: A year ago last September, completely aware that art was to forever be my greatest passion and sole interest, I hosted a Lifestyle Liquidation Sale and sold 90 percent of what I owned. I kept only my most beloved treasures and, of course, archives. This created just one perfect room

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“SO I SEZ TO ROBERTO I SEZ . . .”

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©ARGE 2010 | 7" X 12" X 1" | COLLECTION OF MARTHA DIXON.

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“THE ABONIMABLE SNOW MONSTER IS GETTING PRETTY TIRED OF EVERYBODY IN THE NORTH POLE HATING ON HIM JUST BECAUSE HE’S A CARNIVORE WHO FEEDS ON REINDEER AND HATES EVERYTHING TO DO WITH CHRISTMAS” is my studio. It’s my favorite place in the world. I am completely surrounded by a lifetime of everything I adore. Because I enjoy the ability to tumbleweed, I just rent a large, sunny front room in the house of two very dear friends who graciously opened their home to me. I am further blessed that this address has many years of happy memories for me within the walls. ©ARGE 2010 | 7” X 7” X ½” | COLLECTION OF MARTY BRANNON.

CC: TELL ME ABOUT THIS EXHIBIT IN DEC! WHAT'S SHOWING? ARGE: Last July I was invited to participate in an exhibition at Kai Lin Art in Midtown Atlanta. The owner, Yu-Kai Lin, and I hit it off fast and furious and it quickly became evident we were a perfect fit for one another. Soon after, I became the gallery’s “resident” artist. I do the window displays for all his shows and he constantly maintains an inventory of my art. The upcoming group show is titled “JOY!” and it is a year end celebration of all the best this past year has brought both the gallery, and the artists involved.

I will be presenting an all new collection consisting of both figurative and abstract pieces. Opening night will be Friday, Dece. 10.

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“JOY!” (NOTE: This piece is brand new and will be in the December exhibit Joy! at Kai Lin Art. Please contact Yu-Kai Lin at 404.580.8430 for more information)

CC: WHAT INSPIRES YOU? ARGE: Everything that is true.

Especially the cornered, forgotten, passionate or defiant.

I enjoy chaos, but not drama. It disappoints me when artists seek to burden the viewer by exorcizing their personal demons through their craft. It’s been said I prefer to exercise mine.

16"X16"X2" | ©ARGE 2010.

CC:WHEN DID YOU BEGIN WORKING AS A CREATIVE PROFESSIONAL? ARGE: The moment I was born. And that lifetime full of reckless self-promotion eventually lead to an invaluable four-year apprenticeship in North Carolina with an internationally recognized oil painter. I left there in January 2009 to travel back here and I have been on my own artistically since then. Doing so was the hardest inevitability I have ever had to simply accept and led to one of the most difficult periods ever of my life and career. I love the irony that it’s also been, by far, the most rewarding.

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©ARGE 2010 | 6"X8"X1/2" | COLLECTION OF MARIO PIEDRA AND ALEX DARLING.

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“DAMN YOU WONDER WOMAN. DAMN YOU!”

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“THAT IS NO WAY TO WIN FRIENDS G

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GREEN ROBOT!”

5” X 10” X 1/2” | COLLECTION OF STEVE GILLEY & STACEY ALBRECHT.

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©ARGE 2010 | 8" X 8" X 1/2" | PLEASE CONTACT YU-KAI LIN AT THE KAI LIN ART GALLERY, 404-580-8430 FOR MORE INFORMATION.

“I NEVER LISTEN TO ANYTHING YOU SAY ANYHOW SO IT REALLY DOESN'T MATTER IF YOU EVER REPEAT YOURSELF SINCE EVERY TIME YOU TELL ME SOMETHING IT'S THE VERY FIRST TIME I'M NOT HEARING IT.” CC: DID YOU STUDY ART? ARGE: Art was the only program I enjoyed, or showed any enthusiasm for, during the entire time the State mandated I must attend school. I went on with a scholarship to attend The Savannah College of Art & Design. Curriculum and standards failed miserably to mix with my tenaciously singular visions and, after 3 years, I was asked, nicely, to leave. (I had no idea what I was doing – I still don’t – I just know I have to do it all day every day.) I realize now how blessed I was to have a number of sympathetic instructors who did their best to test, direct, and support me. The exit discussion I had with then President Richard Rowan was one of the greatest I have ever been involved in. I still draw on his words to this day.

CC: WAS IT ALWAYS YOUR PASSION? ARGE: I was designed solely for self-expression. I have grown to appreciate I am simply a hollow space with a shiny exterior. I reflect only what I am shown. I find so much beauty in distilling themes and conveying meaning in the fewest shapes possible. My mother recently confided to me that she and my father, when I was very young, had already come to the conclusion I would one day grow up to be very successful. Proud regardless, they just hoped it was at something legal.

CC: HOW DID YOU GET SO GOOD? ARGE: Thank you but honestly, that’s for others to comment on. My only plan appears, 20+ years later, to have been to simply keep doing whatever it is I do over and over and over and over until everyone else was either dead or had given up in disgust.

CC: HAVE ANY SECRETS? ARGE: Yes. Many.

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©ARGE 2010 | 8" X 10" X 1/2" | COLLECTION OF URI VAKNIN.

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SPECIAL

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

KRISTINA DUTTON CREATIVE DIRECTOR

A BRILLIANT GUIDE TO BLOCK PRINTING (FOR DUMMIES)

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PHOTOGRAPHY BY KRISTINA DUTTON.

hese days “hand made” is the way to go, and the appreciation for handprinted items is at it’s peak! Printmaking is a fine art; whether it’s screen printing, stenciling, or block printing, putting the extra effort into your piece is well worth the work! Where do you learn how to master these techniques? LOTS OF PRACTICE, and your good friends at CommonCreativ of course!

Our Creative Director shows you how to make your own business cards, stencils, etc!

You will need: 1. Good quality paper (I recommend Strathmore WaterColor Paper, but really it’s up to you, just be aware of how the grade of the paper directly correlates to the quality of the final product).

2. Linoleum block (Pre-made in various sizes at most fine art stores) or Stamp Block. 3. Block carvers with various sized tips (should be easy to find in the block printing section). 4. Block carving desk hook (Very important, it allows you to apply pressure to the block so that you can avoid horrible injuries!). 5. Acrylic

paint (In this tutorial, I use acrylic paints, the cleaning and preparation processes are very different for actual block printing inks so be careful!). 6. Small sponge roller. 7. Spoon. 8. Paint palate.

LET’S GET STARTED! STEP ONE: Come up with your design and transfer it to the block. It’s very VERY IMPORTANT to note that when you transfer to the block, your image needs to be backwards so that when you print your image, it is facing the right way! There are tons of ways to do this: draw/sketch/scan in your design to Photoshop and simply flip your image horizontally, print it and use the transfer method of your choice. I decided to transfer my image by using a graphite stick, coloring the entire backside of the image, then taped the page to the block and used a pen to draw over the lines I needed to transfer. To ensure I wouldn’t lose my image, I used a permanent marker to draw over my graphite lines directly on the block.

STEP TWO: Once your image is on the

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

block (and backwards!!) it’s time to get down to cutting. This is the tricky part! You’ve got to be careful, it’s a fine art but a very dangerous one at times. Place your desk hook on a sturdy, heavy, table top/ desk top and pick out the right size cutting tool for your image. I like to start out with a small tip, carve out around everything, then use a larger one to carve the bigger spaces, it helps avoid accidentally cutting into your design. Remember: You carve away the negative space. What is left is what will be printed on the paper! Do not cut out your design, cut around your design (unless you intentionally meant to flip the negative space).

Once you think about it for a minute, it’ll become very clear.

STEP THREE: Tips on cutting: You want to firmly grasp the tool (get your head outta the gutter!) with both hands to start. To carve, you want to sort of scoop in, make sure you don’t carve too deep, or too short, you want a nice happy medium. Test out the most comfortable way for you to hold your tool/carve in an open area of the block where even if you mess up it won’t affect your image. For intricate areas of the image, you can use one hand to hold the tool, and one to hold the block down, but be careful, do not put your hands anywhere in the line of fire of the blade just in case you slip! Always keep your noncutting hand behind the cutting tool! Play around with it for a little while, it takes some time to get used to it! And don’t worry or get discouraged if you don’t get it at first! It will just add to the character of your print! In the event of a slip, you can fill the hole/cut with some polymer clay for

temporary fixin’.

STEP FOUR: Once your image is cut out, and you’ve blown off/swept off the cutting debris, you can gather your printing supplies! Get your paper, paint, sponge roller and spoon ready! If you don’t have a paint palate, styrofoam plates work wonders! Put a nice, thick strip of paint on your palate, cover your roller, and apply to your block until the image is covered, but not sopping in paint. Don’t over do it.

STEP FIVE: Carefully apply the paper on top of your block. First rub lightly with your hand to secure the paper to the paint in order to avoid any shifts. Using the spoon, rub over your design, this helps push the paint onto the paper. You want to apply gentle pressure. Do a few test prints, and see what works best for YOU. Printmaking is a personal thing, different parts of it are different for everyone; for instance I place my paper on top of the block, it may be better for you to place your block on top of the paper, it’s just a personal preference sort of thing. You’ll get the hang of it eventually, don’t worry.

STEP SIX: *Drum roll please* This is the most exciting part! Gently remove the paper from the block to reveal your beautiful print! Let the paint dry, and sign/number if desired.

STEP SEVEN: Cleaning up. Be sure to thoroughly clean out your sponge roller in order to ensure a long lifespan. Gently clean off your block with some warm water while the paint is still wet. Do not let the paint dry to the block, or you may be re-cutting some areas! If taken care of properly, your block should have a long, happy life!

Now, take a moment to reflect on the awesome art you’ve made, and breathe a sigh of relief if you managed to do it pain-free!

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SCOTT HAYNES CONTRIBUTING WRITER

HANDMADE LIVING

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n her search for something relaxing to do (and as a substitute for expensive home goods), Carrie McCurry of Bridgemill set out on a craftfrenzy. First, she made hair clips (gorgeous, might I add!) for her friends and after word spread, and the compliments rolled in, she started making a variety of precious goods that Etsy fans could only dream of! If you spend a second with PHOTOGRAPHY BY CARRIE MCCURRY.

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house,” says McCurry.

“And it be something that I haven’t seen anywhere else.” And she’s right about that one; her decorations are so unique that I wish I could browse an antique mall and find something so special.

So many of us will see something that we really want at a design store and we just can’t afford it! Well, that’s not an obstacle for someone like McCurry. “It was a lot easier and cheaper to make my own [things] and I was able to stick with [an] idea and color theme I wanted.”

She’s made hair clips, jewelry, stationery, decorations. You will be able to purchase her items soon from her new Etsy account (Ruffled Feathers) and nobody is more anxious for that than our team at CommonCreativ.

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SPECIAL

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

JESSICA EDENS CONTRIBUTING EDITOR

MY FIRST QUILT

O

ne day in April or May of this year, I was sitting in the living room at my parents’ house perusing some quilt books (my mother owns plenty) when Ben and I came across what would become my summer (and 2009) project.

The modern design of the quilt he chose (it was to be his Christmas gift) was created by a quilter named Dixie Haywood that was featured in the 2000 book Quilting Masterclass: Inspirations and Techniques from the Experts.

This design, “Soho Sunday,” would pose a particular problem to my mother and me upon beginning: the asymmetrical rows of uniquely shaped quadrilaterals meant there was no simple pattern by which to guide me. The book didn’t give any sort of pattern, nor dimensions; as

far as size, we measured another fullto-queen-sized quilt and then looked around to find something we could use as pattern pieces.

We found some leftover pieces of 13×20 (or so, not sure exactly what size those are) poster board that my youngest brother had used for a class assignment. Tape three pieces together lengthwise, and boom, we had one row across. Do that nine times, you’ve got nine columns. For each row, I matched the angle I had cut in the one above it so that when combining rows later on, they would match up. We started the angles for the columns just on our eye, making sure the angles weren’t too large that the bottom would end up looking silly with distorted rhombuses.

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PHOTOGRAPHY COURTESY OF JESSICA EDENS. ILLUSTRATION BY KRISTINA DUTTON.

time for Christmas. All that was left was the binding, which I again learned from my mother. I used a nice stone-colored fabric for the binding, and hand-stitched the entire back side as I learned this final step.

The entire quilt was a learning process. Every little technique was taken into this larger project as an essential and important skill, one that must be accurate and provide the professional touch that learned quilters look for. Learning from my mother, there was no way I could do things in an amateur way, which is why piecing each square was just as important as reverse applique, and little things like seam allowances had to be accurate. Those skills translate into many other areas of sewing and design, and knowing how things are made when I see them only makes me want to start all over again with a new design. But I’m not quite so crazy; I’ll give it a few months at least. I have mastered the mitered corner (OK, I’ve only somewhat grasped it) and learned some tips and tricks on making a professional-looking doubledover binding. Along the way, I also bought my own sewing machine (having grown up using my mom’s trusty Viking) and have definitely mastered threading and cleaning that thing.

This quilt has been a labor of love, and it has been guided under

the loving tutelage of my mother, who has studied and created some amazing quilts herself. It has been rewarding in more ways than the resultant blanket on the edge of a bed, and has really brought me further into a realm I have always hung near only by association with my mom. More years of projects like this and much smaller ones as well provide us both the companionship and satisfaction of the craft and help further my own personal identity within textile arts. I don’t have the goal of matching my mother, but simply of absorbing everything I can from her breadth of knowledge so that I have the ability to create, to add to the things that surround and inspire me.

From Jessie’s blog: Betheink.com.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

For color scheme, I wanted to keep the palette close to the pastel and pale dominating colors that bound the original quilt, because that base is what makes all the bold squares really pop. Right as the fall semester was starting, I finished the eighth and final row on the quilt front (nine would have made it disproportionately long, so I opted to stop at eight).

A few weeks later, I bought the backing fabric, a funky Amy Butler design I found at my local Red Hen Fabrics. My mom taught me a mitered corner, and I successfully created a bold black frame around my quilt front. It was ready to be quilted.

Around mid-November, I brought the quilt and backing fabric in to Alta at Red Hen, their professional quilter, who took a particularly difficult and unique stitching design and bound these two layers around their batting, creating the black graphic motif that was essential to the entire mood and design of the quilt.

Black had bound each square to its brother, each row to its neighbor, and all of them into a cohesive work of art; now it would wind its way throughout each little canvas of color.

She called me with the good news about three weeks ahead of my estimated completion date, which meant that after everything, I was going to finish the job in

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THE ‘UPCYCLED’ ELEGANCE OF LEMON IRVING JEWELRY

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SPECIAL

RYAN SCHILL CONTRIBUTING EDITOR

SHE’S A REAL GEM

J

PHOTOGRAPHY BY RYAN SCHILL.

ewelry is the beauty of math crafted into tiny, shiny, pieces of dangly art.

With an eye toward the unique, Nelson is recombining familiar fundamentals into pieces that look and feel fresh and exciting.

Nelson’s recently opened Etsy store, Lemon Irving, is home to her original designs, offering everything from necklaces and bracelets to earrings.

“One of my favorite parts of making jewelry is taking old necklaces and chains and crafting them into new pieces,” Nelson said.

This technique, known as “upcycling,” is what gives many of Nelson’s pieces a timeless look. They are both old and new without succumbing to trendy retro cliches. The Lemon Irving “look” is classic and hip.

“I have always been creative but not necessarily artistic and jewelry-making allows me to be crafty and hands-on. I like being able to say, ‘I made that,’” Nelson said.

As her inventory grows Nelson is able to say “I made that” more and more and these days she will often be found making jewelry with her 13-year-old brown chihuahua mix Irving, her store’s namesake and occasional model, lying at her feet.

Ryan Schill and Nelson have an ongoing personal relationship.

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DIY GIFT GUIDE WRITTEN & PRODUCED BY KRISTINA DUTTON/ CREATIVE DIRECTOR

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PERFECT GIFT FOR ANY HOSTESS THIS HOLIDAY SEASON

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PHOTOGRAPHY BY KRISTINA DUTTON.

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

TREAT SOMEONE (OR YOURSELF) WITH THIS NEAT GIFT!

N

othing says “Southern” like a mason jar.

Impress your friends, family and in-laws with this simple (but amazing) tutorial on how to make the perfect hostess gift for any one this Thanksgiving! And best of all, it’s not only simple, but incredibly cheap!

You will need: -A mason jar, new or vintage (as long as it has a lid!)

-A bottle of soap of your choice -A pump (I used the one from the soap I bought to fill the jar. Two birds, one stone!)

-A drill + safety goggles -Epoxy glue or hot glue gun -Ribbon (optional, but AWESOME!) STEP ONE: Gather all of your materials and find a good place to work. Once you’re settled in, unscrew the soap pump to see what the widest part is. Once you’ve got a pretty good guess, put on some safety goggles and drill a hole in the middle of the lid to the approximate size. You can completely eye ball this, it doesn’t have to be perfect, just try to not make it too large that you can’t cover it up with the pump. Be careful.

STEP TWO: Once you’ve got your hole drilled, clean the jar and lid thoroughly. It’s very important to make sure there are no metal shards, it’d be terribly painful if it got mixed in with your soap! This is a very important step! Safety first. If your lid has

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some stray metal pieces hanging down, simply sand it down some, or take some sharp scissors and cut it away.

STEP THREE: If you haven’t already, now is the time to screw the top onto the jar. Remove your soap pump from it’s former home, clean it thoroughly, and then dry with a towel. See if your pump fits in the jar. If not, just trim away some of the length.

STEP FOUR: Once your soap pump fits well inside of your jar, it’s time to assemble! I used E6000 epoxy just because it’s super strong, water resistant and you can work with it before it sets in place. Keep in mind, epoxy is very strong so you only need a little bit, no need to over do it. If you don’t have any epoxy on hand, a glue gun will work just fine. You want to get the glue just on the edge of the pump’s cap, be careful to not have it overflowing or visible.

If you’re using epoxy let your jar sit overnight to ensure that your pump won’t slide around.

STEP FIVE: Now that your soap jar is fully functional and ready to be equipped, fill it with your choice of soap! If it’s a gift, you could easily leave it empty and add a ribbon or gift tag around the top.

TIPS AND OTHER OPTIONS: If you want a nicer version of this, it would be a great idea to buy a metal soap dispenser from your local department store.

Vintage mason jars would be beautiful! Check your local antique stores for some colorful ones, too. But bring a lid with you just in case (that way you can see if it fits right then and there).

ENJOY! Ah, the gift of giving.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

DREAMER, MAKE A DREAMCATCHER

E

ver since I was little kid, dreamcatchers have always reminded me of fall in the mountains of North Georgia. Trips to Dahlonega and Helen are a favorite past time of mine, and I was thinking this holiday I want to surprise my mother, who took me on all those fabulous trips, with a handmade dreamcatcher. This project gets a little tricky, but no worries, it’s all about getting that organic look so it’s hard to go wrong!

YOU WILL NEED: -Ribbon, Fabric, String, Sinew or whatever you’ve got on hand -Craft hoops; metal, wood, plastic, anything will work -Hot glue gun (optional) -Feathers -Beads STEP ONE: Gather all of your materials and find a good place to work. Start by wrapping the craft ring with fabric or ribbon, I used a long slice of fabric I had left over from another project. Start where ever you want to on the ring, I used hot glue to glue the fabric down at my starting point so I could pull tight, and wrap your ribbon around the entire ring. Once I got back to my starting point,

I used the remaining fabric to tie a loop so that it can be easily hung when it’s complete.

STEP TWO: When your craft ring is totally wrapped and your loop is in place, it’s time to start making the catcher! I bought artificial sinew, but any string will work just fine! Cut off a long piece of string and tie one end of it at whatever point you want to start from. Now’s the time to place any beads you’d want onto the string. I used glass and pearl beads.

STEP THREE: This is where things get tricky, you want to wrap the string around the edge of the ring, as many times as you want. If you only wrap it around a few times, pull the string tight, however, if you start by wrapping the string around many times you can leave it lose (this is probably your best option, I took the hard route). Continue wrapping the string around the center of each loop you created, it’s best to go clockwise, and keep going until you get all the way to the center. Once you’re to the center and can’t pull your string through anymore, just knot it and cut off any extra string.

See photo for a visual to help out!

STEP FOUR: Attaching the feathers is the easiest part! I added some beads to the end of mine, and then just used the string to tie them at the bottom of the loop.

PHOTOGRAPHY BY KRISTINA DUTTON.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

TICK, TOCK, MAKE A FREAKIN’ AWESOME CLOCK!

C PHOTOGRAPHY BY KRISTINA DUTTON.

halk board paint is a fun and inexpensive way to change up usual house hold goods.

Being in need of a kitchen clock, I set out to make the most of my money, and the end result: A multi-use chalkboard clock!

YOU WILL NEED: -A piece of wood, any size/shape/style you want!

I chose an oversized one for mine, it’s a cluster of wooden blocks I glued together a long time ago and never found a use for.

-Clock Movement Kit -Chalkboard paint -Paint Brush -Drill

STEP ONE: Drill a hole that’s the appropriate size for your clock piece in the location you want your clock to go. Then paint your piece of wood with the chalkboard paint, usually two coats looks the best. Allow to dry completely between coats for a more professional look.

STEP TWO: When your new chalk board is totally dry, put in your clock part. Some of them are a little tricky, but should come with instructions.

STEP THREE: Apply with the wall hanging that suits the needs of your new chalkboard clock and break out the chalk to add the numbers for the clock and maybe a small list of groceries!

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I

t’s a fun way to spice up fabric, plastic, pretty much anything!

STEP ONE: Gather your supplies! here’s all the stuff I picked out of my collection of art things. This was my first time doing this, so I wanted to be on the safe side, but really all you need is: -one of those cross-stitching frames (I got a nifty wooden looking one so i can hang it on the wall later) -waterproof glue (I picked up mod podge at Wal-Mart) -screen fabric (the best is something like a sheer curtain, the tighter the weave of the fabric, the better. Tulle works too.)

-paint/ink (Versatex is recommended for fabrics, but I used golden acrylic since it was on paper Just make sure the paint is thick and not watery or it’ll bleed) -sponge brushes, junky paint brushes and a pencil.

PHOTOGRAPHY BY KRISTINA DUTTON.

STEP TWO: Put the “screen” fabric onto the frame. Remember, you can always remove and cut away excess fabric, but you can’t exactly replace it, so I left about two or three inches all the way around the frame. Make sure it’s pulled tight, too!

STEP THREE: Create your design and trace!

I recommend not doing what i did, haha, the bigger and more organic your subject is, the better it’ll turn out! i didn’t have a printer so i placed the frame directly over my computer and lightly used a pencil to trace the design.

You want to make sure you’re drawing on it so that the screen is flat to the surface for which you’re tracing.

STEP FOUR: paint around your design!

The ink will not be where the glue is not,

so paint all of the “negative” space with the glue, not the design. That’s very important!

It doesn’t matter what side you do this on, I just continued using it so that the screen laid flat to a surface. Just be careful when sitting it down, the glue will get on everything! This is the hardest part, which is why I say, make a larger one! Mine was only like six inches tall!

STEP FIVE: The easiest way to check and make sure you’ve got the glue over the entire surface is to hold it up to a light or window. I was outside so I just used the sky. As you can see, Sharpie pens totally lie! They do bleed!

STEP SIX: I used watercolor paper, sprayed a spot of paint for the background of the image, let it dry, then placed my screen on top.

You want to lay your screen so that it’s flat to the surface (again!).

STEP SEVEN: Paint your image. I originally wanted to try a foam roller (turns out, not such a good idea on a small one) so I ended up using a sponge brush and dabbing the paint into the open areas of the screen.

Make sure your screen stays in the same place and steady! FIGHT THE URGE TO LIFT IT UP TO PEAK, WAIT UNTIL YOU’RE DONE COMPLETELY! It never hurts to add more paint, you want to make sure you get it all covered as much as possible.

STEP EIGHT: Lift your screen up to reveal your print! Each one will be unique and the screen should be good for a long time if you take care of it properly! I rinsed mine off after every two prints, in cold water, lightly, then dried it with a paper towel. If it still looks dirty thats fine, you don’t want to rub the glue off, just make sure the bulk of the paint is off.

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

CHEAP, NEAT WAY TO CREATE A FAUX SCREEN PRINT

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FASHION

ANASTASIA HENKE CONTRIBUTING WRITER

A-HEM! PICK UP A NEEDLE AND CHANGE UP YOUR STYLE

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y mother taught me how to sew when I was seven. I learned making wine bags at first, which she would take to dinner parties with a bottle of grocery store Chardonnay. I would make them out of scraps of silly flannels and holiday tablecloths. It didn’t matter what they looked like; she was proud of whatever I made. This inspired me to create things out of anything I had. I fell in love with fabrics from the start. And thus, a love affair with a needle and thread began.

Now, I spend my free time altering vintage fashion pieces and making sundresses from pillowcases. That’s right, pillowcases! I find some of the best stuff to use at thrift stores like Goodwill (or oftentimes, my mom’s closet). When looking for things to alter, consider the classic mu-mu dress (at Goodwill). With that much fabric you have a lot to work with, and they usually come in the most interesting patterns.

I cut the dresses to fit my shape; hem them into style; and add all sorts of details, such as metal studs or festive buttons

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EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

“

TELLING PEOPLE WHAT I’M ACTUALLY WEARING IS THE BEST PART! from local craft stores.

The pillowcase dress came about last summer. It was almost a hundred degrees outside every day. Meanwhile, like everyone else, I always felt like I had nothing to wear.

I’ve always loved the whimsical patterns of my mom’s linens; they make the perfect feminine sundress.

I took an old pillowcase and cut the shorter, already sewn end open. With the open hem at the bottom, I pulled it up to my chest and cut a 5-inch vertical slit. I tied the dog-ears together and walked out the door. I can’t believe how many compliments I got! Telling people what I’m actually wearing is the best part!

HOW TO MAKE IT FIT I would rather make a dress than buy one. Unfortunately, like most girls, I have curves. Some curves are not in the right places, and this can make fitting a dress a challenge.

I refuse to let this get in the way of looking fabulous. Using duct tape, newspaper, and a large pvc pipe, I made a mannequin with the same boobs, waist, and hips as me. First,

I put on an extra long t-shirt that I didn't mind ruining. In other words, I put on my brother's shirt. I then awkwardly wrapped myself in duct tape from my chest to mid-thigh.

Things got interesting when I solicited my boyfriend to cut me out of the skintight mess. I taped up the back and held the cast in front of me.

It was a little creepy. I stuck it on the

pipe shrunken-head style and stuffed it with old newspapers. I draped some costume jewelry around the neck and took a step back to admire my work.

Molly Mannequin still makes me jump when I see her in the middle of the night on my way to the bathroom, but my custom clothing sure does fit better!

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FASHION

EDITOR’S NOTE / LIVING / WRITING & READING / MEDIA & DESIGN / PHOTOGRAPHY / SPECIAL / FASHION

BRITTANY HEATON FASHION EDITOR

EAST ATLANTA CHIC

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ere at CommonCreativ we try to look on the bright side and that means fashion, too. As much as we may avoid the newest trends currently circulating in some areas, we make ourselves see the deeper expression and creativity beneath the statement. Take for instance the up-and-coming East Atlanta area affectionately dubbed “The Village.” EAV is often compared to Little Five Points in the sense that it is a bit quirky, and heavily influenced by music.

The day and night life scenes are also quite comparative but much different from one another. In the village, the day time hours seen to slow just a little.

The walk from the now closed Ace Hardware to Urban Cannibals’ boutique market is pleasantly interrupted by a look around Bound to Be Read Books, a lovely little shop where you can pick up your neighborhood happenings flyer. Each and every establishment on the block is bursting with community pride. Sitting on one of the many strategically placed benches, perfect for people watching, you can take in a live bluegrass performance or

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just lean back and soak up the sunshine. The day time is extremely laid back here, dress-wise. There aren’t people hustling and bustling through the streets interrupting your mid afternoon day dream like you might find in some other areas of Atlanta.

Similar to this mentality, East Atlanta’s daytime fashion is very leisurely. Casual daytime style is what it is all about. In an area where everyone knows each other on a first name basis, there is no need to try and impress.

But flip-flops and tee shirts make way for slinky little dresses and skater-chic style after hours. This three block paradise boasts nine night life venues. From tiny dank dive bars to one of the best known hipster hang outs, the Village catches a lot of foot traffic on the weekends, which means more people dress up.

Sitting on that same comfy bench you can catch an eye full of everything from the modern day pin-up to redneck chic to a complete Urban Outfitters catalog.

That is one of the reasons people flock to the beloved Village, so many choices.

SNEAK PEEK

NEXT MONTH’S ISSUE: MEDIA & DESIGN 3

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COMMONCREATIV

W

CHECK OUT NEW YORK

e’re fortunate to live in Atlanta, where it’s 80 degrees on Thanksgiving and we can drive pretty much anywhere we want and not worry about parking (or pedestrians). But there’s a whole ‘nother world out there folks! Witness the new CommonCreativ NYC.

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In order to include our Atlanta artists in this, we’d like to offer you an opportunity to get published at the NYC location!

Send us your best pics from your trips to NYC. We know you always have your camera with you so come on, share with us! And get published in NYC!

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