(The following story was written by Debbie Matson of Bread and Roses after a performance for The Cedars Textile Arts Center in San Rafael for developmentally disabled adults.)

Every so often a show comes along that is really something special, and this was one of those. There was a rock n’ roll dance party going on at The Cedars Textile Arts Center yesterday, and I am honored to have been the host for this show. It might just be my favorite show in the 11 years I have been a host at Bread & Roses.

Vanilla Extract is an excellent band that played groovy 60’s music and was so happy to be performing. The place was rocking with crowd favorites such as Secret Agent Man, Gloria, Time is on My Side, Sunshine of Your Love, and Jumping Jack Flash, among others. The entire band was enthusiastic and energetic, but Joe the singer really put on quite a show. He shared the mic with members of the audience many times, and slid down on his knees to belt out some powerful Rolling Stones lyrics.

There were so many highlights I witnessed throughout the sing-along, hand-clapping performance. There were beautiful couples slow dancing and excited to introduce me to their boyfriend or girlfriend, and to tell me how much they loved each other. There were the people that were so excited to be right up front feeding off the energy from the band. There was a lovely woman just to the right of the band that rocked back and forth the entire time, and who knew the words to each and every song that was played. Her smile was infectious.

Almost everyone wanted to shake my hand, know my name, and introduce themselves, and tell me a little bit about them. There was lots of hugging and an enormous feeling of love and joy in the room. Mid-way through the performance, I was asked to dance with a woman in the crowd, and I happily jumped into the middle of the dance scene. Before I knew it, I was handed off to numerous people who wanted to spin me and hold my hands. And there were countless high 5’s with me, with the band and with each other.  A staff member told me that there were folks dancing that never usually get up out of their chairs. That is some powerful energy!

At that end of the show, there was a small rush to the band to get autographs. A few people even asked me for mine! The reciprocal joy was felt by everyone in that room.

Please visit Bread and Roses’ Facebook page at:

http://www.facebook.com/pages/Bread-Roses/43261289939

(top) A set of images relating to cyber security were incorporated into a Flash banner for ACSI. (above) A freeze-frame of the Flash movie as it appears on their website.

We created a Flash banner for ACSI, a startup cyber security company, through a series of images that rotate in and out of a three-panel matrix, one dissolving into the next, with copy points appearing as text that also appear and disappear, allowing each images to be visible in its entirety at some point during the looping, 90-second presentation. We chose images that speak to various parts of their story, such as typical users, collaborative teams, connectivity, servers, abstract images and a couple of dark images that suggest hacking, that collectively describe the world of cyber security.

Static banner for A Perfect Practice

A simpler and more immediate way to tell a story with multiple images is with a static banner, in which several images are “stitched together” in a horizontal format. For A Perfect Practice, a company who provides turnkey CPA practices and support, we created a static banner for the home page of their website. They wanted to communicate that 1) they were a Bay Area company, 2) that they catered to a specific market (the use of the 1120 form, rather than the more common 1040, was included at their request) 3) they provide the most current information and tools, and 4) they supply personal consultation and support. Each image represents one of these points, and the combination makes those points in far less time than it takes to absorb the description you’ve just read.

Composite image used on cover of brochure for Acacia Films

A layered, composite image can make a striking and powerful statement by engaging the viewer long enough to decipher the components of the image, while the image itself can be very intriguing, with an aura of mystery. For Acacia Films, an ecotouring film company, we combined images of the natural world (the K2 peak in the Himalayas) wildlife (the dolphins) and exotic cultures (the Maasai tribesmen) into a single compelling image in which each component is easily discerned. We used this image in a triangular brochure that unfolded into panels that deconstructed the image into the dolphins and Maasai, and finally into the single image of the dolphins, so that when the brochure is folded back into the triangle, the images overlay in order as the image “builds” itself.

The goal of combining images into a single element is to achieve a synergy in which the end result is more effective than the sum of its parts, and a few well-chosen images, artfully combined, can do just that.

I just read a very timely book called “The Brand Within,” by Daymond John, the force behind the FUBU clothing line, which pointedly describes this phenomenon: “From the day you’re born, you’re branding yourself as some thing or other. You can’t help yourself. Might not even realize what you’re doing, even as you’re doing it. Until the day you die, you’ll advertise your character, your integrity, your passion, your faith, your background…all on the back of every choice you’ll ever make as a consumer of goods and services and ideas, from the clothes you choose to wear to the person you choose to marry to the house or apartment you choose to occupy…Every move you make will establish or re-establish your position, and shape and re-shape how the world looks back at you.”

My partner and I are realizing that whenever we take a photograph or execute a design or illustration for someone, we are helping them establish or reinforce their brand. And a brand no longer needs to spring forth from a logo or corporate identity program…every profile photo, Twitter post and blog comment one makes tells the world something about the person sharing it. In our design and photography work, part of our job is to get to know our clients well enough to be able to translate their personal and/or professional style into work that is a reflection of their philosophy and values. And as we have clarified our mission as a company that helps our clients brand themselves in various ways, we’ve created a new tagline for ourselves: “Capturing your style, defining your brand.”

At last, the shoemaker’s children have shoes.

Fogerty delighted a crowd of adoring Boomers under the festival tent with a steady stream of fondly-remembered classics, attired in his trademark working-class flannel shirt and jeans, and looking only a bit older than the CCR frontman who penned some of rock’s most enduring classics. Playing a steady stream of different, shiny guitars that bounced the stage lighting around the tent, he opened with a late CCR gem, “Hey Tonight,” and followed that with a string of hits including “Green River,” “Who’ll Stop the Rain,” “Born on the Bayou” and “Lodi” with a compact version of “Suzie Q,” the 8-minute song which introduced his sound to radio audiences thrown in for good measure. His band featured two other guitarists, two keyboard players and a phenomenal drummer, whose propulsive drive powered the songs, while organ parts fleshed out their simple but solid arrangements.

He was in fine form throughout, soloing with the economy and taste that has always marked his guitar work, yet never settling for a simple reprise of the recorded version. His sturdy, roots-inflected style draws from a deep country tradition, and as if to underscore that point, trotted out a version of “Cotton Fields” that sounded right at home alongside his Creedence classics. A couple of train songs…”Midnight Special” and “Big Train from Memphis”…continued his excursion into his country roots, taking a detour into Louisiana with a convincing cover of Rockin’ Sydney’s “My Toot Toot” featuring zydeco accordion. The juxtaposition of traditional and country songs deftly illustrated the straight line that can be drawn from “Cotton Fields” through country music to “Lookin’ Out My Back Door.”

Mixing in a few songs from his post-Creedence solo work (such as a heartfelt “Don’t You Wish It Was True”) and more well-chosen covers (Roy Orbison’s “Pretty Woman” brought the crowd to its feet and displayed Fogerty’s still-supple voice, and he led the band through a spirited “Good Golly Miss Molly”) Fogerty stuck pretty close to the country-tinged CCR template, decorating the songs with expert guitar licks that always seemed to stop short of self-indulgence. On the more country-flavored songs, his tone and skill suggested that if his solo career hadn’t worked out, he could have made a good living in Nashville. At only one point in the show did he venture outside his trademark rock and roots sound, and that was for a brief guitar solo introduction to “Keep On Chooglin’” where his impressive, fretboard-tapping, jazzy interlude demonstrated that he had the chops to do almost anything he wanted to. But he knew what the crowd had come for, and was happy to deliver it.

As the show built towards its climax, Fogerty staked out his solo turf with “Centerfield,” which featured a guitar shaped like a fat baseball bat, and “Old Man Down the Road” before a blistering reading of his protest anthem “Fortunate Son” which closed the set. He quickly returned for an encore (there is no way he would have left without performing “Proud Mary”) and kicked off “Bad Moon Rising” which brought the entire crowd to its feet before the inevitable finale that sent home everyone with a warm, satisfied glow. Although most of the songs were decades old, and the audience’s nostalgia for them undeniable, their timeless quality and the immediacy of Fogerty’s performance made the songs sound as though they could have been recorded last week.

Openers the Tedeschi/Trucks band turned in a funky set of blues-oriented songs with a mighty 11-piece band that laid down powerful grooves for Trucks’ finely-etched slide guitar work and Susan Tedeschi’s soulful vocals, which summoned equal parts Janis Joplin and Bonnie Raitt. The band leaders’ intuitive interplay underscored their status as a happily married couple, and they expertly guided the band through a well-received set.

The concert began with Weir, on guitar, fronting a small combo on the right side of the stage consisting of Rob Wasserman on standup bass, Robin Sylvester on electric bass, drummer Jay Lane, and Jeff Chimenti on grand piano. The remainder of the stage was filled with music stands, most of which were unoccupied but for about ten in the center of the stage, where a small ensemble of string and brass instrumentalists were seated, and on the left side, a 10-member choir held forth. A colorfully tasteful light show was projected onto a large screen covering the entire width of the stage as Weir led the group through a meandering opener, “Cassidy,” and began to establish the pattern that would comprise most of the evening’s music…tasteful string motifs underpinning the rock arrangements. When “Bird Song’s” familiar angular riff unfolded to a roar of recognition, the phrase was passed back and forth between the rock group and the classical ensemble, and it would return towards the end of the first half of the show as a refrain that blurred the structural boundaries between symphonic pieces and sets of rock songs.

One of the more interesting aspects of the show was the opportunity to hear classical musicians take on improvised solos…something they don’t normally do. For the most part, they were up to the challenge, often making up for a lack of inventiveness with more precise technique than is the norm for violin soloists in rock or country settings. And it’s not every day that one gets to hear a tuba solo, either. The solos were short…no one tried to go on the sort of extended journey the Dead musicians routinely take…and often the soloist forgot to stand up to highlight their contribution, but it made for a different experience of the Dead’s repertoire to hear a series of different instruments decorate the songs with concise statements. The choir tried gamely to be heard above the crowd, which enthusiastically sang along to every number. Weir himself was in fine voice throughout, adding tasteful guitar lines on his hollowbody Gibson guitar.

They applied this formula to a series of Dead chestnuts that morphed into one another, including a stirring “Row Jimmy,” a version of “Loose Lucy” featuring punchy brass lines, and a return of the musical themes from “Bird Song.” The first “movement” was highlighted by an exquisite “Friend of the Devil” which underlined the relationship between its fugue-like descending bass line and more classical compositions.

After a lengthy intermission (needed to set up the full orchestra, no doubt) the stage lights revealed a full complement of musicians filling the stage, from expanded string sections to tympani and percussion in the back. Aquilanti appeared in the middle to conduct from a small platform, and he and Weir shared the task of directing the large ensemble. The rich, textured arrangements provided a lush backdrop to the opening (and probably inevitable) “Playing in the Band,” with everyone in step with its unconventional time signatures. This blended into a swirling “Dark Star” and landed onto a sturdy “Jack Straw” augmented with intricate orchestral flourishes in every nook and cranny. Sometimes the arrangements were perhaps a bit busy, but for the most part, they provided a huge yet finely detailed reworking of the familiar tunes. The appearance of several beach balls bouncing from various corners of the audience added a festive touch, and not something the symphony musicians have likely ever encountered during a performance.

The high point of the second half was an elegiac and moving reading of “Days Between,” one of the last songs written by Jerry Garcia and Robert Hunter before his death. The song’s nostalgic sentiments were intended, and received, as a warm and heartfelt tribute to his memory.

As the show came to a close, weaving together a reprise of “Playing in the Band” with “Uncle John’s Band,” the crowd leapt to its feet as one and showered the stage with rapturous applause. The musicians hesitated for a minute, as though they didn’t have any more numbers to play, as some left the stage. They soon reassembled for an encore of “One More Saturday Night,” the lighting director getting into the spirit of things by raising the house lights several times while the audience enthusiastically sang the line “have a good time.”

The musicians then departed, and an assembly of singers, perhaps 15 or so, gathered at the center of the stage as Weir took his place in the center. He led the group in a breathtaking a capella rendition of the stately “Attics of My Life,” intuitively leading the group with a spur-of-the-moment sense of timing as they brought the challenging song to life in dramatic fashion. One could hear a pin drop during the five-minute number as the crowd stood in rapt attention. It closed the concert in such satisfyingly fashion, I couldn’t imagine anything they could have done to follow it, and served as a fitting destination to the evening’s epic musical journey.

From the opening bars of “Crazy Love” it became apparent that the world-class musicians Simon assembled for this tour would provide supple, muscular and often deftly nuanced accompaniment to his finely constructed lyrical landscapes. Nearly every musician doubled or tripled on a dazzling array of instruments and percussion, ranging from beefy horn sections and multiple keyboards to washboard (soloing to great effect on the Zydeco-flavored “That Was Your Mother”). The new material seemed to pick up where he left off on “Rhythm of the Saints,” the follow-up to his iconic “Graceland,” featuring sinewy guitar lines, polyrythmic Afro-beats and the sophisticated wordplay at which Simon has few, if any peers.

Early on, Simon apologized for any perceived vocal shortcomings, disclaiming that he felt he was working with “2/3rds of a voice,” but he need not have worried…he sounded fine, and as the night progressed, seemed to get stronger. It may have been the reason he kept his between-songs patter to a minimum, but his music did all the talking that was needed. An early highlight was a languid “Slip Slidin’ Away” nicely framed in stately, slow-moving guitar lines. The jaunty groove of “Hearts and Bones” morphed into the rockabilly classic “Mystery Train” as Simon channeled his inner Elvis, and that transitioned effortlessly into a ringing Chet Atkins instrumental, “Wheels” as Simon demonstrated that he was as comfortable with American roots music stylings as those he effortlessly integrates from the traditions of Nigeria or Latin America.

Two new songs formed the mid-point of the set: “The Afterlife,” during which the protagonist arrives at the Pearly Gates and finds himself unable to summon any words except “Be Bop a Lula,” and “Rewrite,” a cheeky rumination by a struggling screenwriter. Performances of “The Obvious Child” and “The Boy in the Bubble” easily surpassed the recorded versions, featuring dazzling musicianship and densely textured rhythms by the two drummers and supporting percussion. After the sweetly touching “Father and Daughter” he brought the set to a climax with a monstrous version of “Diamonds on the Soles of Her Shoes,” the rich acapella introduction effectively giving way to the musicians’ entrance in a slightly higher key, threading fluid guitar lines through the bouncy African rhythm and setting off Simon’s distinctive vocal phrasing.

After exiting the stage to rapturous applause, the appealingly unassuming songwriter returned to the stage alone, picking up an acoustic guitar and plucking out an instrumental verse to “The Sound of Silence” as the audience cheered in recognition. His thoughtful and strong performance chased away the need for Garfunkel’s harmony as the decades-old song stood sturdy and tall in Simon’s solo version, garnering the most heartfelt ovation of many on this night. A complete change of pace followed with a spirited “Kodachrome” (made poignant by Kodak’s recent discontinuing of the once widespread film…a casualty of the digital age) whose gospel rave-up outro led seamlessly into “Gone At Last.”

A second encore began with a lovely and unexpected take on “Here Comes the Sun,” gracing the mostly unplugged Beatles classic with sweetly sung harmonies. The evening came to a fitting close with “Late in the Evening,” whose lyrics chart the path that Simon’s earliest musical influences took in forming the basis for his eclectic and far-reaching musical approach. With two guitarists trading molten solos over the rumbling rhythm section and Latin-inspired horn charts, the song served as a rousing retrospective of the work of a singular American treasure, who after decades of amazing music is still at the peak of his powers.

Watching Letterman last night, Paul Schaffer was reminiscing about the Brill Building, the New York songwriting factory that produced thousands of hits written by the likes of Neil Diamond, Carole King and Neil Sedaka. I happened to hear a classic song from that era, easily dismissed as a teenage girl’s frothy fantasy, “Johnny Angel.” One particular phrase struck me as memorably crafted: “Other fellas ask me out for a date/But I just sit and wait/I’d rather concentrate/On Johnny Angel.” The consecutive rhymes, not forced but conversational in nature, and perfectly placed accents reminded me of what has become somewhat of a lost art in this day and age…as when, a short time later, I heard a commercial jingle for Comcast’s Xfinity service that featured handfuls of weirdly accented lyrics and imperfect rhymes. Not to pick on them, as there are many offenders, but through sheer repetition, that level of craft becomes so familiar as to become acceptable, lowering the bar for songwriting in all genres. Much as language itself is being degraded by texting and short attention spans, this is probably inevitable, but it still makes me wistful for something that’s gone away and likely will never come back.

The Vanilla Extract

Vanilla Extract opened up with “Hang on Sloopy.” An immediate surge of energy vibrated through the audience. It was clear that many of the clients were big 1960’s fans. It was heartwarming to see the many expressions of joy. Several clients were unable to get up and dance but that did not stop them from waving their arms in the air, tapping their feet and singing along.

Both clients and staff had a good time. After the first song, audience members enthusiastically shouted “more!” Several staff members were swinging their arms above their heads, joining their clients in the celebration of music.

Lead singer Joe Paulino put his heart and soul into this concert. His stage presence was incredible; his animation and charisma brought the performance to life. Joe even added choreography and slid on his knees like he was at a real rock concert. At one point he touched one of the wheelchair bound clients on the arm and sang directly to him. The other band members, Doug Kassel, Dan Reich and Michael Woods followed suit with just as much energy, enthusiasm and heart. During guitar and drum solos the audience would shout supportively, “woo-hoo!”

One man stood up and danced throughout the entire performance; he radiated joy. When Joe announced the last song this client was compelled to come up and dance on stage. The talent and soul of Vanilla Extract truly touched many hearts that day. The overall spirit and the pervasive joy in the room embodied the mission of Bread & Roses.

Joe Paulino shared his version of the show for the band members who wanted to hear how it went:

Marin Ventures was very giving audience. They were like fuel. For the foursome that we were, I don’t think the gig could have gone much better. We show up and start setting up. A guy is wheeled in. Mostly immobile in a reclining wheelchair. I’m testing my mic singing Hang on Sloopy. He starts singing along! Then he does an Elvis impression “Thankyou… thankyouverrrymuch” etc. Dan and I sing Heartbreak Hotel with him. He sings along with every song. Many others did as well.

All told, an enthusiastic multiple disability crowd of about…what? 50? 60? including their caregivers and staff. Some people got up and clapped and waved and danced. Some did this in front of me. When people recognized opening guitar licks, there was applause and anticipatory burbles. Smiles everywhere!
One woman mostly non verbal wanted to kiss our hands and lean her head on our shoulders. One person said “I’ll never forget this as long as I live”. After every song one guy raised his hand and asked for more. The guy in the chair told us that House of the Rising Sun was actually a traditional blues song. Massive applause before, after & during each song. Hugs all around.

Walkers & crutches were left behind as mute testament to the healing power of music.

I cried all the way home. My left knee is scabbed from where my pants ripped when I did my slide, and my right thigh is bruised from where I was banging the tambourine. My ears aren’t ringing any more than they were before the gig and my throat is acceptably raspy for the morning after. If you two (other musicians) had been there as well, I’m convinced that the building would have levitated.

Sincerely, Joe Paulino

All in all, we not only rose to the occasion short-handed, but gave – and received – many blessings from a wonderful audience.

Custom Invitations

When sending out invitations, whether via mail or electronically, why not create a custom image that speaks to the honoree? Perhaps they are an avid golfer…you could put them on the cover of Golf Digest. International traveler? Place them in an exotic setting. Rock star wannabe? Insert them into the group of their choice. Creativity and Photoshop skills can go a long way towards creating an original and personalized invitation to mark a special occasion, and the image can also be printed out larger and used as a party decoration and/or given as a gift.

Life Collages

Celebrate a loved one's life with a "life collage." This example features an original poem forming a border.

A wonderful way to celebrate a life is to collect photos from childhood to the present, and displaying them in some sort of arrangement, whether as a collection of individual photos, artfully arranged in different sizes, or seamlessly combined into a collage of images. If most of the photos are black and white, give them a sepia tone or color cast to add interest. Whether done to celebrate a birthday or other milestone, or as a memorial, a “life collage” serves as a multidimensional portrait of a loved one. They can be printed onto large paper, leaving plenty of space around the outside for guests to add their thoughts and memories for a one-of-a-kind keepsake.

Slide Shows

It’s very easy nowadays to put together a slide show with music that can be played on a laptop computer or projected onto a larger screen. If you have a collection of photos in digital form (or can get them scanned…some camera stores, such as Wolf Camera, do this very inexpensively) they can be sequenced into a presentation of any length, accompanied by the music of your choice. The presentation can loop continuously for the length of a party, providing an interesting focal point, especially if positioned near an easel holding an invitation graphic or life collage with space for guests to sign.

If you are planning a special event for a friend or loved one, consider creating some Special Occasion Graphics to add to the occasion. Visit our website for some examples, and let your imagination loose. Let us help you create something memorable for your next special occasion.

Raster and Vector Art

These are the two types of artwork in which a logo is usually delivered, although as I will explain later, there are variations within these two types. Raster art is designed for screen display…the logo is made up of pixels so that it can be displayed on a monitor. Programs such as Photoshop are used to create raster art (typically as a .gif, .jpg or .png file) everything viewed on the internet is a raster file. Vector art is a different animal…it uses a complex set of mathematical instructions (created as .eps files) to define the artwork in mathematical terms, rather than a pixel grid. Programs such as Adobe Illustrator are used to create vector art, and it is most often used to create the master files that comprise a set of logo art files.

The main difference between the two is that vector images are scalable… they can be enlarged without degrading their quality. Raster images, because they are made up of pixels, deteriorate as they are enlarged because the pixels themselves are spread over a larger area without adding any more detail, making the image blurry or jagged. This can be addressed by creating raster files with lots of pixels, but this increases file size…a raster file large enough to look good on a trade show graphic or the side of a van can be hundreds of times larger than a logo on a web page, whereas the vector version’s file size stays the same (as does the quality of the image) no matter how large it is displayed. In most cases, though, raster files work fine, if they have enough pixels (are high enough resolution) to look good when printed, and because .eps files are not supported by many programs or the internet, raster files are used more often. I generally provide raster logo files in several sizes…small for typical screen display and larger for print, along with the guideline that it is always best to use a large file and scale it down to the display size in a print document, rather than increasing the display size of a small version intended for screen display. I also provide the vector files…usually the client isn’t able to work with them directly, but can supply them to a vendor if they need it to print the logo really large. It’s also a simple process to make a .jpg file of any size from the .eps vector art, but making vector art from raster art is much more difficult.

Colors and color models

Most logos start out as a simple black and white design. In addition to being the purest expression of the design, they also allow for the reproduction of logos where there is only positive and negative space to work with, such as etched glass. In addition to the black and white “parent” version, other versions can be derived that may be gray, shades of gray, one-color, or full-color versions. Since the digital revolution has made color printing the norm, rather than the costly proposition it was in the past, black and white, or one-color logos, are now used mainly for specialized purposes, such as promotional items, signs and rubber stamps, although even that is changing rapidly. Usually a client needs only a black and white and full color version of their logo, although if they request, I can make them one in gray or a single color. Although gradients are appearing in logos more and more, I tend to avoid them, as it makes it difficult to create a logo that will work, say, with etched glass or a cutout shape for a sign.

There are also different types of color files, each of which have their purpose. Nearly all color digital files use the RGB color model, which is tailored to screen display but works fine in most in-house printing environments as well. Some publications and vendors require files using the CMYK color model, which originated with pre-digital process color printing and is also the format native to .eps vector files. Gif files are often used on the web and in phone applications, due to their small file size, and have their own color model… I generally supply logos in that format as well.

Many designers are reluctant to provide the source vector art files, out of concern that their work may be altered or because they wish to control the creation of raster files derived from them. I believe in a partner relationship with my clients, providing them with everything they need, and empowering them to work with their own vendors, although I am happy to assist them as needed. Should they want to modify the logo, I trust that they will work with me, as they will rarely be able to work with the .eps files themselves.

At the very least, a logo package should consist of the following: black and white vector .eps files (if fonts are used, I set the files up so that fonts are not required to print) and raster files (.jpg and .gif) in several sizes for print and screen display. If they need a different version (such as a CMYK or version of the logo in a single color) I provide that as well. Rather than simply handing over a piece of artwork, designing a logo in today’s digital world calls for multiple versions, and a willingness to support our clients so that the best version for a given situation is always used.

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