Grateful dead font photoshop
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At one point, after I couldn't continue to make those smaller inkjet paintings we talked about, I started thinking more about the bear and where it comes from. So in a way, you're a Grateful Dead superfan. As you likely know, the Grateful Dead had a relationship with the idea of "open-source" before the internet and with regards to their fan's recording and trading shows. How did you get hooked on the bear? I've read that you were interested in it as a symbol, completely divorced from its context that could be sort of played, invented, or re-invented in an infinite number of ways. JS: You sound a little "Dead-agnostic." Like you'll take or leave the actual band, which is sort of wonderful because you spend your time surrounded by their iconography. And I think making a distinction regarding Deadheads who listen to the music is important, as that is obviously the most important aspect. TB: There are many things surrounding the Grateful Dead, but, specifically, it's the bear that I find fascinating. Somebody once said to me, "You don't have to be into the Dead to be a Deadhead." So, I guess I am that kind of a Deadhead. TB: As far as I can judge, I’d say so far you’re doing rather well. I assume you've become something of a scholar-you know where this iconography comes from, you've entertained a million questions about it, you've cruised through setlists and album lists to come up with the titles of the paintings. I'm curious about your work appearing here in the United States for the first time, and not in Europe, where you live. But I came to the band after moving to California, and they're so embedded in California mythology. So I can either do this conversation well or terribly. JS: It's funny to be talking to you because I'm a curator who happens to have the dubious and potentially unhelpful distinction of being really into the Grateful Dead.
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Tina Braegger, Slouching towards Bethlehem, 2021. The book with the title The Grateful Dead was published in 2013 by Forde.
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I then made a collection of all the bears I've ever printed and put them together in a picture book. I did that for one year or so, and when I updated my Photoshop, I could no longer make those 80 x 90 cm paintings because the bug was fixed. It gave the picture a psychedelic look, like a visual translation of a chemically induced hallucination. But I had a bug in my Photoshop version at that time, and the Oil Painting Brush made the painting look nothing like an oil painting. I was working with Photoshop, and there was a filter called the Oil Painting Brush, that I used to re-render the image. The images I had collected were small, thumbnail-sized, and when I made them bigger, they got all pixelated. It's an inkjet print on watercolor paper. The piece behind me is the very first bear I ever did. I found new versions online every day from the Deadheads, who uploaded images of T-shirts, bumper stickers, and badges to their webstores. I found different versions of the bear when I researched it a little and I started collecting them. My dad listened to the Grateful Dead when I was younger, but I wasn't aware of the bear until my friends made flyers with it on them, to advertise a party where they were dj-ing, and I thought the bear looked funny. TB: The first time I came across the bear was in 2011. JS: If you made that in art school, then you've been working with the bears for nearly a decade? JS: There are a lot of artists who live with their own work, which I've always thought is a little weird. I gave this to him a few years ago when I was in art school, and he hung it behind his desk, where it still is. That's not something I have in my own house (laughs). Tina Braegger (TB): I'm in my dad's office at my parents' house. Jordan Stein (JS): Tina! Where are you? And what’s that tiny bear in the background?