Sarah Stephens - Graphic Design Portfolio by Sarah Stephens

www.srhstphns.com • hello@srhstphns.com • 416 427 8431

Symbol currently used by the Toronto Architectural Conservancy in their current branding, typically along side an inconsistent wordmark design.

Sarah Jane Stephens

branding Toronto architectural conservancy Rebranded identity of the Toronto Architectural Conservancy, in order to elevate image and increase awareness of their cause.

DAVE BRUBECK WAS ONE OF THE MOST POPULAR AND INNOVATIVE AMERICAN JAZZ MUSICIANS DURING HIS LIFETIME. IN THIS ARTICLE, WE OUTLINE HIS LIFE AND HIS MUSIC, INCLUDING HIS “TAKE FIVE” RECORDING.

To put Dave Brubeck in a box was an unwise thing to do. He’d just jump right out again, big, broad and strong, with those horn-rimmed glasses and that crazy, slightly cross-eyed smile. Call him cool, and he’d tell you that many of his jazz arrange-

ments were so hot, they sizzled. Lump him with players of white west-coast jazz, and he’d object that he felt more black than white. Suggest he was influenced by the pelting, intellectual strain of bebop that took over jazz in the 1940s, and he would say nope, he

didn’t listen to it; he only ever wanted to do his own thing. Call him the usher of a new jazz age, put him on the cover of Time magazine, where he landed in 1954, and he was crestfallen. Duke Ellington deserved all that, he said, but not him. E

EDITED AND DESIGNED BY SARAH STEPHENS

119

Sarah Jane Stephens

editorial dave brubeck infographic Conceptual Esquire magazine article on the life and music of Jazz musician Dave Brubeck, featuring infographics highlighting key facts.

TOP FIVE

THE WHOLE ORCHESTRA

MOST POPULAR

DAVE BRUBECK'S COMPOSITIONS

DAVE BRUBECK QUARTET

ALBUMS

CHORAL WORKS

WORKS FOR CHORUS AND ORCHESTRA

& HONOURS

TIME OUT

(1959)

ORCHESTRAL PIECES

Being a popular Jazz musician, it's no wonder that Brubeck received a number of awards and honorary degrees during his career. Here's some information about his accolades. E 2

like him: Paul Desmond on feather-light, floating alto sax, Joe Morello razor-sharp and witty on drums, Eugene Wright rocksolid on bass. Their greatest success, an album called “Time Out” (1959) that sold more than 1m copies, was a collection of breezily poly tonal pieces in wild time signatures, centring on a Desmond piece called “Take Five” written in teasing 5/4, and “Blue Rondo à la Turk”, devised by Mr Brubeck after hearing street musicians playing in 9/8 in Istanbul. These two pieces alone consolidated the quartet’s fame on campuses and in clubs all over America; but Columbia Records refused to release the album for a year, just baffled, said Mr. Brubeck impatiently, by the fact that it broke so many rules. It did, but hey, it sounded good. Whenever he sat down at the piano— an instrument as satisfying, to him, as a whole orchestra—his aim was to get

19 15

The Dave Brubeck Quartet produced some of the most popular Jazzrecordings of the mid 20th century. According to research by Google, the following are their most commonly mentioned albums online. E

AWARDS

His contrarian ways went further. Give him a few bars of Beethoven, and he’d weave a jazz riff through it; but put him in the middle of a jazz set, and he would come up with classic counterpoint as strict as the “Goldberg Variations.” Sing him a tune in C, and his left hand would play it in E flat; give him a jazz line in standard 4/4 time and he would play 5/4, 7/4, even 13/4 against it, relentlessly underpinning the adventure with big fat blocks of chords. He was a jazzman who struggled to read notation and who graduated on a wing and an ear from his college music school; and he was also, in later years, a composer of cantatas and oratorios who was proud to have written a Credo for Mozart’s unfinished “Mass in C minor”. The musicians he picked for his quartet, which dominated the popular jazz scene from 1951 to 1967, were chosen because they could break out of the box

A prolific composer of jazz and classical pieces, Brubeck wrote 290 original compositions during his career. Here's the breakdown of these works. E

TIME FURTHER OUT

K39k

JAZZ IMPRESSIONS OF JAPAN (1964)

JAZZ AT BERLIN (1953)

JAZZ AT THE COLLEGE OF THE PACIFIC (1953)

awards for his work as a composer and jazz musician.

K9k

BALLETS

STRING QUARTET

IN HIS OWN WORDS, HE PLAYED DANGEROUSLY, PREPARED TO MAKE ANY NUMBER OF MISTAKES IN ORDER TO CREATE SOMETHING HE HAD NEVER CREATED BEFORE.

He also received

honorary degrees from universities and colleges, both national and international.

JAZZ WORKS

From 1960 until 2011, Dave Brubeck received

245

(1961)

somewhere he had never got before. It didn’t matter how tired he was, how beatup he felt. He wanted to be so inspired in his explorations that he would get beyond himself. He liked to quote Louis Armstrong, who once told a woman who asked what he thought about as he played: “Lady, if I told you, your mind would explode.” In his own words, he

played dangerously, prepared to make any number of mistakes in order to create something he had never created before. Several people had set him on this path. His mother had first taught him piano when he preferred to be a rodeoroper; her rippling playing of Chopin round the house he remembered in a piece called “Thank You.” His platoon

TIMELINE F A LOOK AT DAVE BRUBECK’S LIFE & MUSIC 1920

Born December 6 in Concord, California

1940

1942

Studies music College of the Paci�ic, Stockton, California

Enlists in army and marries his high school sweetheart, Iola Whitlock

1944

1946

Leads �irst racially integrated military jazz band, the Wolfpack, while �ighting in WWII

Leaves army, begins studying at Mills College, with composer Darius Milhaud, forms Dave Brubeck Octet

1949

1951

Forms Dave Brubeck Trio and records their �irst album

Forms Dave Brubeck Quartet which features Paul Desmond on Alto Saxophone

1954

1958

His popularity inspires a Time magazine cover story - it is the second cover to feature a jazz musician

Becomes jazz ambassador to the US State department

1959

1967

Releases the recording “Time Out” – it becomes one of the best-selling Jazz albums of all time

Disbands the quartet to spend more time with family and compose classical music

1987

Re-forms the Dave Brubeck Quartet with three of his sons

120 E S Q U I R E • A P R I L 2 0 1 4

1996

Receives Grammy lifetime achievement award

2000

2009

University of the Paci�ic establishes the Brubeck Institute

Stockton Symphony premieres Brubeck’s multimedia orchestral piece “Ansel Adams: America,”

2012

Dies of heart failure the day before his 92nd birthday

121

TAKE FIVE

THE FAMOUS TRACK Written in 1959 by alto saxophonist Paul Desmond, "Take Five" is The Dave Brubeck Quartet's most famous song (chances are you've heard it in a movie, ad, or TV show before). Here are some facts about it. E "TIME OUT," THE ALBUM FEATURING "TAKE FIVE," WAS THE FIRST JAZZ RECORD TO SELL OVER

K1,000,000k

OTHER FACTS •

He has appeared in 33 TV shows and documentaries.

•

He is credited on over 20 TV and Film soundtracks.

•

When he was admitted to college in 1938, he didn't know how to read music.

•

He suffered a spinal cord injury in 1951 that forced him to change his playing style from complex, single run notes, to block chords.

•

He played so well during concert duty in WWII, he was pulled from combat, avoiding the Battle of the Bulge.

•

In 1960 the National Association for the Advancement of Colored People thanked Dave publicly for his “courageous stand against submitting your band to the pressures of immoral racial discrimination.”

COPIES

SINCE 1962, THERE HAVE BEEN OVER

ONE OF THE FIRST JAZZ SONGS WRITTEN IN

COVERS

METER

K42k

commander in 1944, having heard him doodling on a piano, kept him away from the front line. And Darius Milhaud, his teacher after the war, taught him to see jazz as the natural idiom of America and the music of free men. Mr Brubeck believed seriously in jazz as a force for democracy: in post-Nazi Germany, in the Soviet Union, in the fragile post-war world (where he toured on behalf of the State Department) and in America’s South, where he insisted on performing with his black bassist and, when he could, pushed him to the front of the stage. Yet his mission was never to make jazz freer or more popular; it was to make music, pure and simple, any way he could. He sang his first polyrhythms against the

K4/5k

steady trot of his horse as he rode round the 45,000 acres near Concord, California, where his father managed cattle. In high school, playing at rough miners’ dances in the foothills of the Sierras, he would riskily “screw up the shuffle” by adding triplets to it. He wrote on the road, dreaming up “Unsquare Dance” (in 7/4) while driving to New York, and composing “The Duke,” his tribute to Ellington, against the beating windscreen wipers of his car. All this, with his use of folk songs and hymns and blues and birdcalls, his little snatches of homage to George Gershwin or Aaron Copland, and the freight-train urging of his playing, gave his jazz a flavour less of smoky dives than of open skies and plains.

Critics attacked him for getting rich from it. He said he had never wanted more than the union scale. They said he was too “European,” too college-focused, that his music couldn’t be danced to and hadn’t got swing; he pointed out the happy feet tapping at his concerts, and the number of records he sold. Above all they found it hard to believe that the most successful jazz in America was being played by a family man, a laid-back Californian, modest, gentle and open, who would happily have been a rancher all his days—except that he couldn’t live without performing, because the rhythm of jazz, under all his extrapolation and exploration, was, he had discovered, the rhythm of his heart.

EXPENSIVO DESIGNER WATCHES

122

d in the rain”

PORTRAIRE photographers & their work / vol. 18, winter 2015 / “the mood that passes through you”

in this issue

am sitchinava leg oprisco t wisniewski

brigette bloom sophie fontaine dominique hille

Sarah Jane Stephens

jeanne madic laura makabresku ellen rogers

annie stephens maura stephens meryem yildiz

EDITORIAL PORTRAIRE MAGAZINE Portraire is a magazine published quarterly, featuring the works of national and international photographers, interviews, and techniques for shooting with digital or analogue cameras.

editor’s note

portraire

GAZING INTO A MIRROR AT TWO REFLECTIONS

chief editor jane mullen editorial consultant georgiana jones

creative director sarah stephens graphic editor kristian greve

hen we discussed who we might feature in our winter issue, which focuses on photographers whose work evokes a distinct mood, or feeling, in the viewer, my mind coursed through the many talented photographers whose work ranges from analogue, to digital, with techniques from the learned to the more experimental. My mind nestled on several unique and intriguing female photographers; these included cover photographer, Meryem Yildiz, and other featured photographers, Laura Makabresku and Annie Stephens, and the photographers we featured in our Interview and Portfolio departments, including Ellen Rogers, Brigette Bloom, and Jeanne Madis. Each of these women work in their own, uniquely beautiful ways. They create haunting imagery that explores multiple worlds, from natural world to the supernatural, home and hearth, to all-encompassing nature. More so than this, they explore themselves as individuals, and as artists. In many cases, what they find is both beautiful, and unnerving. And, as viewers, we are guided by these photographers to gaze not only at them, but at ourselves. The process of looking at their photos, looking at their reflections of their physical and psychological selves, in an almost voyeuristic light, allows us to

editorial department mary jones advertising donald rapier pr management jennifer jackson circulation holly lundgreen

PORTRAIRE / WINTER

www.portraire.com portraire is published quarterly by portraire house publishing, 3199 lake shore blvd w, toronto, on m8v 1k8, telephone 416.345.6432, fax 416.432.2345. periodicals postage paid at toronto, on, m8v 1k7 and additional mailing offices. copyright 2015 by portraire house publishing. all rights reserved. reprinting in whole or in part is expressly forbidden except written permission from the publisher. POSTMASTER

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then step back and reconsider our own selves, and our own worlds, either the physical ones around us, or the psychological ones that we have consciously or subconsciously forged throughout our individual lives. I invite Portraire readers to meditate on the works of the artists featured in this issue and observe their own reactions; what do they tell you about the artist, but, more importantly, what do they tell you about ourselves?

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jane mullen

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portraire

/ winter 2015

& TIPS FOR SHOOTING FILM Shooting analogue is one thing; shooting analogoe with vintage cameras is another beast altogether. In this article, Johnny Dunn walks through the ins and outs of shooting with vintage cameras, and gives his own tips and tricks on how to use them.

nvisible images are recorded on small sheets of plastic coated in crystals of silver halide salts when the shutter on a camera with film in it is pressed. Chemical processes are then applied to this film, which can get fairly complicated if you’re developing the film with your own hands, that render the images visible. Film is a fragile thing. Accidentally expose a roll of film to light, even if it’s only for a split second, and the whole roll of pictures can be ruined, and you would never even have known how they could have turned out. Film photography resides in an entirely different world than digital photography. There’s no convenience of a storage card or a nice, colorful screen on the camera to preview your pictures on. Most film rolls can record only 24 or 36 images, while a single memory card can hold hundreds or thousands at a time. With film, you have to finish an entire roll first before you’re able to change film types, whereas ISO in digital cameras, like everything else, is virtualized, and can be adjusted with the touch of a button. Any digital photographer that makes the switch to film will tell you how much more difficult and tedious it is to see results (but it can be so rewarding too).

TECHNICAL PROCESS But because the technical process in taking a photo (Adjusting aperture, shutter speed, etc) is the same, your skill development in film photography will transfer over to digital photography. Aesthetic and design rules, for the most part, are consistent as well. Some things, such as sharpness and depth of field, do require different techniques or at least different thinking in analogue photography, but for the most part, you would practice shooting with a vintage film camera the same way you would with a DSLR. Digital pictures emphasize sharpness, clarity, and other aspects of technical perfection whereas film photos are judged more for their fundamental aesthetics and candor. This is the reason

Film and digital photography are like two separate art forms capable of creating the same piece or image, just using different instruments with their own distinct styles.

A REWARDING EXPERIENCE The seemingly inconvenient drawbacks you’ll encounter in analogue photography, however, can become the driving force behind a creative mechanism that’s not feasible in digital photography. The limiting aspects of film forces you to slow down your workflow and processes. Add development times and costs on top of that and it can become rather difficult for the very casual photographer to continue pursuing analogue ambitions after the initial waves of retro reminiscence and nostalgia pass.

photograph by chris ford

photograph by khairil faizi

technique

written by johnny dunn

portraire

/ winter 2015

Sarah Jane Stephens

Promotional materials produced for the martial arts / noir film Socho. I was responsible for character drawings, typography, playing card designs, game instructions, and rectangular invite, and shared art direction duties. film promotion socho (TEAM PROJECT) NEW LINE CINEMA LIONSGATE FILMS ANG LEE GODFREY GAO KEN WATANABE — — TADANOBU ASANO “SOCHO” KERRY BARDEN GUSTAVO SANTAOLALLA JOHN A. DUNN CHRIS DICKENS YOHEI TANEDA XAVI GIMÉNEZ ERICA STEINBERG MARK WAHLBERG GUILLERMO DEL TORO HIROSHI FUKAZAWA ROY BUTTON SARAH STEPHENS ROY BUTTON SARAH STEPHENS ANG LEE PRESENTS A

PRODUCTION

PICTURE

CASTING BY

AND

COSTUME DESIGNER

MUSIC BY

EDITED BY

PRODUCTION DESIGNER

STORY BY

AND

PRODUCED BY

AND

EXECUTIVE PRODUCER

DIRECTOR OF PHOTOGRAPHY

DIRECTED BY

AND

SCREENPLAY BY

AND

GODFREY GAO KEN WATANABE TADANOBU ASANO IN AN ANG LEE FILM

Back of playing card

When Yoshimitsu When Yoshimitsu Sekigami's Sekigami's brother is murdered brother isinmurdered a card in a card game gonegame wrong,gone he vows wrong, he vows vengence onvengence the one man on the whoone man who is to blame, isdiving to blame, deeper diving into deeper into the Tokyo crime the Tokyo scenecrime alongscene along the way. Histhejourney way. Hiswould journey would lead him to become... lead him to become...

NEW LINE NEW CINEMA LINE CINEMA PRESENTS PRESENTS AN ANG LEEANPICTURE ANG LEE PICTURE STARRING GODFREY STARRING GAO GODFREY GAO

KEN WATANABE KEN WATANABE AND TADANOBU AND TADANOBU ASANO ASANO

NEW LINE NEW CINEMA LINE CINEMA PRESENTS PRESENTS AN ANG LEEANPICTURE ANG LEE PICTURE STARRING GODFREY STARRING GAO GODFREY GAO

KEN WATANABE KEN WATANABE AND TADANOBU AND TADANOBU ASANO ASANO

PRODUCED BYPRODUCED BY

GUILLERMOGUILLERMO DEL TORO DEL TORO AND HIROSHI ANDFUKAZAWA HIROSHI FUKAZAWA – – “SOCHO” – – “SOCHO”

Number and face cards

NEW LINE NEW CINEMA LINE CINEMA PRESENTS PRESENTS AN ANG LEEANPICTURE ANG LEE PICTURE STARRING GODFREY STARRING GAO GODFREY GAO

KEN WATANABE KEN WATANABE AND TADANOBU AND TADANOBU ASANO ASANO

NEW LINE NEW CINEMA LINE CINEMA PRESENTS PRESENTS AN ANG LEEANPICTURE ANG LEE PICTURE STARRING GODFREY STARRING GAO GODFREY GAO

KEN WATANABE KEN WATANABE AND TADANOBU AND TADANOBU ASANO ASANO

PRODUCED BYPRODUCED BY

GUILLERMOGUILLERMO DEL TORO DEL TORO AND HIROSHI ANDFUKAZAWA HIROSHI FUKAZAWA – – “SOCHO” – – “SOCHO”

Bonus cards with film information

HIKI-KABU Number of Players: 2 or more Cards Used: 1 full deck of 40 kabufuda cards Game Length: Not set Goal: To get as close to 9 as possible At the beginning of each round of play the dealer is decided by having each player draw a card from the deck. The player with the lowest card becomes the dealer. The other players should sit in a circle in the order of their drawn cards, from right to left. Play now begins. The dealer shuffles the deck and passes it to each player. Any player can shuffle or cut the deck as they wish. Once they are all satisfied, the dealer deals one card face-up to each player including himself. Each player bets the same amount as their card. If they have a 5, then they bet 5. Once each player has placed their bet, the dealer deals each player one card face-down. The players look at their cards and add the total of the two cards. The goal of Hiki-kabu is to get a total of 9 or as close to 9 as possible. If the total is 10 or greater, the first digit of the number is ignored. So a hand of 17 is the same as a hand of 7, and a hand of 10 is the same as a hand of 0. Once all the players have learned their current totals, the dealer asks each player

(going right to left) if they would like any more cards. If they do, the dealer deals them a third card face-up. There are two rules in Hiki-kabu concerning taking cards that apply to all of the players (including the dealer): players are not allowed to take a 3rd card if their current total is 7 or higher, and they are required to take another card if their total is 3 or less. Now for the showdown. The cards are revealed. The player with the highest total wins the pot. If there is a tie, the players split the pot evenly. If all players have the same total, then the dealer wins the pot. There are two more special rules for Hiki-kabu. If a player has three identical cards in their hand, their hand counts as a 9 and all players have to pay triple their bet. The other rule applies only to the dealer. If the dealer's first card is a 9 and his second card is a 1, he wins regardless of what cards the other players have (even if its a three of a kind like above). If his first card is a 1 and his second card is a 9, this rule does not apply.

Card game instructions

あなたの翼に私の子供をカバー天クレーンの群れ

WORLD PREMIERE January 21, 2014 7:oopm - 10:oopm EL CAPITAN THEATRE 6838 Hollywood Blvd, Hollywood, CA 90028

January 21, 2014 at 7:00pm EL CAPITAN THEATRE 6838 Hollywood Blvd, Hollywood, CA

APPEARING Stars Godfrey Gao & Ken Watanabe Director Ang Lee

Invitation pieces

Sarah Jane Stephens

PACKAGING SPECIALTY TEA BRAND PACKAGING Tea packaging (dieline, graphics) for Uxbridge, Makers of Fine Tea. Features unique compartments containing loose leaf tea and accessories.

Sarah Jane Stephens

editorial Neutraface Slab (stick) A type specimen book showcasing the House Industries typeface, Neutraface Slab, and inspired by the slapstick comedy of silent film actor, Harold Lloyd.

Sarah Jane Stephens

branding blue ruin gin Blue Ruin is a new spirit made in Toronto using long forgotten, and ruinously strong traditions for distilling gin. Custom bottle and packaging was created for product and in-store and print campaign designed to promote brand.

— traditional gin distillers —

London Dry Gin

— traditional gin distillers —

Old Tom Gin

— traditional gin distillers —

INFUSION

BOTANICALS

TRADITIONAL and wild-grown of

 

44% ./.

TRADITIONAL and wild-grown of

 

44% ./.

Wild Sloe Gin TRADITIONAL

and wild-grown of

 

26% ./.

— traditional gin distillers —

blue ruin’s london dry gin was concocted using a found recipe that originated in the mid-to-late 1800s, when gin still had a fairly taboo reputation as a ruinous beverage. Here, we deliver you a delicious drink made up of 10 botanicals, including Juniper, Coriander, Cassia Bark, Orris, and Bergamont Orange peels.

blue ruin’s old tom gin takes you back in time to the early 1800s, when gin was soft, yet strong and sweet — and was dangerously infectious to all. Unlike other Old Tom gins, ours hints at the darker side of gins, bringing with it a stronger kick, a more biting flavour, while still maintaining its sweetness and softness.

blue ruin’s wild sloe gin is a traditional English liqueur based on old recipes. Wild sloe berries are handpicked from the Blackthorn Tree during the late autumn, when the frost is able to lock in the sugary flavours. They are then steeped in our gin for several months to create a rich, delicious plum-flavoured liqueur.

produced and bottled by blue ruin distillers, toronto canada. product of canada please enjoy responsibly.

ingredients: gin, water, sloe berries, sugar

750 ml • 44% alc./vol. www.blueruingin.com

London Dry Gin

2 112345 678900

Old Tom Gin

2 112345 678900

Wild Sloe Gin

produced and bottled by blue ruin distillers, toronto canada. product of canada please enjoy responsibly.

550 ml • 26% alc./vol. www.blueruingin.com

2 112345 678900