For the past decade, the libraries we knew as children with the Dewy Decimal System and the Card Catalogue have been approaching the brink of extinction. We live in an era where the Kindle and the iPad challenge the need for physical books, and libraries and bookstores face the daunting task of attracting the readers’ attention just to stay in business.

From the sketchbook of, Kelcey Beardsley Portland, OR, United States | "Things found on restaurant napkins"

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Granted, those who are surviving have found some sort of niche to keep the interest going. For example, the bookstore Barnes & Noble has always had a sort of coffee-house atmosphere where people actually go to enjoy an experience. Amazon.com, already online and a threat to physical bookstores, quickly became a source for digital media along with its physical media. So, how about the local library? What has changed to keep it in the running?

From the sketchbook of, Kelcey Beardsley Portland, OR, United States | "Things found on restaurant napkins"

The Brooklyn Art Library is not exactly a traditional library, but more of a co-op gallery. It does provide a library-type experience, but with so much more. The library acts as a physical extension of Art House Co-op, a library featuring artistic talent from around the globe encompassed in sketchbooks.

Folding Sketchbooks - source

Art House opened its doors in December of 2006 initially as a pay-to-play gallery, but it didn’t do so hot. Scrounging for ideas to keep the business going, the co-op started the first ever, “A Million Little Pictures,” meaning a million photographs and one cross-country exhibition.

“A Million Little Pictures is a community-supported exhibition of snapshots captured around the world. By joining together thousands of specific moments to create a single immersive environment, A Million Little Pictures imagines a communal story from the images of our lives.” - arthousecoop.com (A Million Little Pictures)

The exhibition did okay, but it didn’t help fully support Art House’s gallery. The one thing it did do was give birth to idea of “The Sketchbook Project”—a traveling library of artists’ journals that is open to anyone around the world. The Art House gallery has had three locations and finally resides in Brooklyn, NY, as the Brooklyn Art Gallery—the home of many sketchbooks from around the World.

Art House Co-op & The Library

The library acts as the physical extension of Art House and is home to the Sketchbook Project. The walls are lined with shelves of sketchbooks from The Sketchbook Project. Visitors can check out a pile of books or simply peruse sketchbooks from around the globe. How amazing it must be to sift through so many varied mediums and talent.

The Brooklyn Art Library

Sketchbooks are individually catalogued and bar-coded so that they can easily be found (by artist name, location and theme). Authors can also choose to have their books digitalized, which means they are scanned and become available online at the Art House Co-Op online in their Digital Library.

The physical library is also a storefront for, you guessed it, sketchbooks, notebooks, art supplies, stationary and vintage trinkets.

From the sketchbook of, Jackie Mangione Williston, VT, United States | Storybook

The library’s purpose is to connect artists from all over the world and encourage the Art House community to interact with one another face-to-face, while showcasing members’ artwork to the local Brooklyn audience. The library hosts readings, discussions, workshops and performances. (source)

A West Coast US location may be opening up in the San Francisco area. Participants in the 2012 exhibition would be included in the launch of the West Coast hub.

The Sketchbook Project

When you sign up for participation in The Sketchbook Project you will get to pick from 40 themes. Themes are there to give you a little boost in the creative direction of your sketchbook and are not restricted to any specific rules. Basic participation costs $25 (USD). This gets you a sketchbook and helps in the expense of the entire project overall. Other optional expenses include requesting that your book be scanned for online viewing ($20 USD) and/or a Sketchbook Project t-shirt ($20).

From the sketchbook of, Gení§ay Aytekin Istanbul, Fatih, Turkey | 

From the sketchbook of, Jackie Mangione Williston, VT, United States | Storybook

I signed up for the Category, Monochromatic and plan to either stick with a single color in many different mediums to create my sketchbook artwork as a whole or use a different hue in single color creations for each page. I am considering a way to incorporate COLOURlovers color swatches.

From the sketchbook of, Jane Kim Los Angeles, CA, United States | Coffee & Cigarettes

Unique Folded Sketchbook - source

Take note that these sketchbooks are not restricted to the format of a regular book either. Creative foldouts, popouts and any type of mixed media is acceptable with a warning to adhere things strongly since these will be handled and viewed from people all over the world. Your book will be well traveled.

source

What a great outlet to work on your creative style and promote your name as a creative individual be it Graphic Design, Illustrative Design, Mixed Media Artist and any type of singular art such as drawing, sketching, painting, inking, stamping and so on. I am looking forward to participating and experimenting in varied mediums.

source

Apparently themes fill up fast with over 10,000 people in participation. You must sign up no later than October 31, 2011 in order to participate for the 2012 exhibition. Deadline to turn in your finished sketchbook is January 31, 2012 (postmarked by) and the Tour starts in April 2012.

The business card: Your most powerful self-marketing tool. From basic black and white to lavish die-cut, colorful pieces of art, they all do just about the same thing—they introduce and retain your personal or business brand. In some countries they are traded with no formality while in others they are exchanged with great ritual, you probably have at least two or three in your wallet right now, they are EVERYWHERE! Probably the single most used marketing tool in the world today, the business card has been utilized for centuries as a means of introducing oneself. So, how did this simple rectangular piece of paper come to infiltrate the business culture of today? (source)

This post made possible by Next Day Flyers, the online poster printing company offering fast turnaround times and amazing prices.

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Using patterns in print design can really punch up a project. It's nothing new, but I'd like to point out a few different variations you might see as key benefits.

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Single Use Design Pieces

Simplify a project by using patterns. In this design, the abstract pattern with the perfect color palette, truly resembles a feel for the arts. It doesn't restrict the design to a certain type of art where the festival might cover anything from painting, sculpting, fiber arts and more. Using an artistically geared pattern keeps that visual open.

Print Magazine's, Color in Design Awards (2011) / Poster Design by Dave Whitley

Coordinating Design Pieces

Using patterns in coordinating print projects can easily lend a hand in matching sets of items such as wedding invitations which usually contain a main element, the invitation - plus response cards, enclosure cards, save the date cards and thank you cards. Not to mention possibly following through with the design on wedding day programs, seat placement cards, etc.

autumn textile by weddingpaperdivas.com

Reusable & Customizable Design Pieces

When working with products you want buyers to customize, simple two-color patterns make it easy to do so. This makes it a snap for you to go in and adjust the pattern palette before shipping a digital file or physical product off to a client.

Tea Invitation by FLIPAWOO (customizable pattern invitations)

No matter what type of print project you have, these are a few benefits to using patterns to speed up your design or business process, not to mention a great way to add a ton of interest in your work.

Using COLOURlovers Patterns in your designs...

Here at COLOURlovers you can download an .SVG file of your pattern designs as long as you were the original Pattern Template creator. Additionally, if you have Seamless Studio, you can export designs as: .SVG, .JPG or .PNG to be able to use in other graphics software for design.

The Giveaway - How to Earn Your $75

This is a random giveaway picked from those who leave a comment. You have two choices:

Link to and place an image of a project you have designed with patterns. This can be from a yesterday or today, real or fake and must be a complete looking project. Does it fall under one of the three examples above?

OR

Link to and place an image of a print piece or pieces (such as a wedding invitation set) you adore and think is a prime example of one of the above three examples.

In addition, I'd love to know why you like using patterns in your design or why you like seeing patterns in design.

Entries will be collected through Sunday, August 28th, 2011 (by midnight PST). 

Next Day Flyers, the postcard printing specialists will be providing gift a credit of $75 to the randomly selected winner!

***THIS CONTEST IS OVER***

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Businesses large and small have embraced big color full force. Commercial Artist, Chuck Anderson, is a Photographer and Digital Artist. He has been a unique resource for many businesses since 2004, breaking the rules and becoming a design phenomenon. In more recent years, you might have seen Chuck appear in interviews as the Windows 7 brand designer for Microsoft.

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'humanlike' - on Npandco.com

"I don't honestly think I ever actually decided to become a designer. I've just always been an artist - since I was a child. It's always been a part of me to create things." - interview from mocoloco.com

photos from interview with rapidgrowthmedia.com

What I've learned about Chuck is that he's just a regular guy and he was a regular kid (starting at 17) with a strong passion for creating, using color to the max and experimenting outside the box. Many interviews ask him how he got where he's at and he would answer that he still doesn't really know. From what I can see, hard work, being unique and obviously having a super cool personality has taken him a long way. We've pulled together some questions for Chuck that might help you, as an aspiring or even seasoned creative find inspiration and resources from. Enjoy!

The Interview

COLOURlovers: At the age of 17 you defined your image as NO PATTERN to give yourself some flexibility in who you were as an artist and what type of work you did. You are currently known for your freeness of style and expressive work with photography, light and color - do you still consider yourself as undefined as you were when you were 17 or 18?

NoPattern / Chuck: Yes and no. On one hand it's clear I've developed a distinctive style that I've come to be most recognized and hired for. I don't deny that, but I don't think it's in any way a bad thing. When I was just starting out at 17, 18 years old, I was so raw and completely still finding what it was I was going to be most drawn to, which meant a lot more in the way of experimenting. Now that I've hit a sort of groove and found what it is I'm generally best at, I just do my best to continually evolve that style and continue to develop it. However, the name NoPattern, at it's core, is the idea of always being in flux, never staying exactly the same and continuing to grow. I think that's something that I try to hold to in every project I do.

Introducing...PLYWERK, an eco-conscious photo mounting and art panel company based in Portland Oregon. They work with professional artists, photographers, interior designers, point and shoot photographers, parents, and everyone in between!

Art pieces are a made up of your print adhered to a Plywerk Panel to create a beautifully natural piece of wall art. Gorgeous bamboo or maple are offered for the wood options.

Plywerk Anatomy 101

Bamboo & Maple Plywerk Panels

COLOURlovers has recently become a Pro Partner of PLYWERK. Why is this super notable to mention? Because you're going to get the best, most amazing deals ever when you create an account (which is free). These deals are customized to COLOURlovers Members Only under the Prodeal membership (which is also free). Pretty sweet huh?

If you’re a big film, tv, or theatre buff, you’ve probably witnessed a fair amount of subtext. This principle can be applied to more than just those mediums though! Today, we explore how you use the lens of subtext to look at your website and improve your digital presence by uniting your color scheme with your actual text.

First though, what is subtext? Think about it as the underlying theme or message in a conversation. In film, it can be seen with lighting choices, costumes, a character’s body language and really anything that isn’t apart of the actual dialog. I’ll use the movie Jurassic Park as an example.

Business or fan pages on Facebook are becoming increasingly used by small businesses. They allow for exposure to prospective customers as well as continued communication to current clientele, so their popularity is pretty justified!

If you're looking to create a fan page for your small business, your best bet is to present a polished experience for your fans (and potential fans) by designing a landing page for your profile. It’s a chance for you to tell users what you’re about, what you’re doing on Facebook, and ultimately why they should “like” you. We had the pleasure of creating just such a page for our client, Sterling Finance Company.

There’s no doubt that it’s valuable, but creating that page also presents you with a number of variables to decide on. This post explores several solutions via our favorite topic at COLOURlovers: Color!

Like so many houses on so many home makeover shows, some business’ websites simply need a makeover. Getting a website redesign doesn’t mean that the business itself doesn’t deliver amazing work, they could even be the best in their industry, it just means they aren’t articulating it digitally...yet!

While there are many aspects to a successful makeover, the most important is color choice. Think back to those TV shows. Arguably the largest change in the house with a purple exterior and bright teal accents was the switch to mature, subdued pebble-tones accenting a calm, cool columbia blue. Or the living room done in carnation pink with lemon-yellow daisies transformed to buttercream trim on pale moss walls.

Whether dealing with a house or a website, color is the most visually transformative aspect of any makeover. While content, layout, and user experience are inextricably tied to great digital design (I can’t even begin to explain how important each of those are...), the use of color will be our focus today in examining digital metamorphoses.

From Craptacular to Banktacular!

When we were approached by Central Florida Postal Credit Union to give their brand and their site a facelift, we had our work cut out for us. After initial strategy meetings, we were able to suss out what they wanted their digital brand to say about them: CFPCU is reliable and caring. That meant that a visit to their site needed to be enjoyable, educational, and easy to navigate.

Unfortunately, their old site did not relay that clearly.

While the colors present aren’t the most clash-worthy I’ve ever seen (they’re simply a muted variation of primary colors), those colors say soft, calm harmony as opposed to trusted, attentive, and dependable.

There are some colors, when paired together, that just look good. They make sense, they match. There are also those colors which, put side by side, make your eyes burn. Ok, maybe not actually burn, but you know what I mean.

The question is: why? Why do certain color combinations look serene or exciting and others garish or completely boring? I want to explore the why of color combinations, some of the science and some of the psychology and how you, as a business person, can put those colors to work for you.

Covering Some Color Basics - Intro to Color Theory 101

Before we dive into the “why” of certain color schemes and how to use them to speak to your potential clients, let’s cover some color basics to make sure we’re all on the same page. COLOURlover pros and veterans, feel free to jump to the next section.

For the purpose of this post, I’ll be using the Red/Yellow/Blue color model as the primary colors on our subtractive color wheel (this subtractive wheel is what painters and artists use). For a look at the use of the Cyan/Magenta/Yellow color model used by printers, feel free to take a look at our recents posts discussing RGB versus CMYK conversions.

The Red/Yellow/Blue color model is what most of us grew up learning. Arranged in correspondence with the wavelengths of light, the original color wheel was invented by Isaac Newton. We wrote a complete history of the various color wheels recently, if you are curious and want to know more.

The color wheel that most are familiar with usually looks like this:

Secondary colors on this wheel are made by combining 2 primary colors. Likewise, tertiary colors are formed by mixing a primary and a secondary hue.

Source: Eva Williams

The logo design process is intriguing, both from the designer perspective and from a client’s point of view.  That said, it is a very different process depending on which vantage point you are looking from!

On the client side, I’m told the whole operation tends to go something like this:

• Meet with the designer
• Designer goes and does some “stuff”
• Poof! Logo options appear!
• If needed, meet with the designer again to go over any changes
• Designer does some more “stuff”
• Poof! I have a logo!

Well, COLOURlovers, I’d like to let you in on what that process looks like for your designer. Because, as any designer will tell you, we’d love to have logo creation be as simple as saying “Poof!” But, it’s a wee bit more difficult than that. I want to peel back the curtain to demystify how we move from a blank page to a logo that works on Blackberries, billboards, and business cards. Go ahead; you’re allowed to peek.

Step 1: Initial Consultation

When a client comes to us saying they need a logo designed, the first thing we do is sit down for an initial chat. In this earliest meeting, we aim to figure out what kind of logo they are looking for.

Do they simply want a logotype or a pictorial mark? How about something that combines both?