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Rafael Espinal was just 26 when he became an elected official. For the next 10 years, he worked within the halls of government, first as a New York State Assemblymember and then as a New York City Councilmember, advocating for artists, independent workers, and underserved communities, especially his own—the Brooklyn neighborhood of Cypress Hills. In 2020, he left politics to take the helm of the Freelancers Union, where he’s putting his experience to work growing the Freelance Isn’t Free movement across the country. He spoke with us about how it feels to create real change, what fueled his major shift in career goals (spoiler alert: it was a great discontent), and how all of his work is inspired by the impact of storytelling. The post Rafael Espinal appeared first on The Great Discontent (TGD).
Brad Montague is an illustrator, speaker, picture book author, video creator, and all-around maker. He’s a self-proclaimed dreamer and doer. Above all, he’s a storyteller, “working to create a better world for kids with kids” through Montague Workshop, the creative studio he runs with his wife Kristi in Henderson, Tennessee. Everything he puts into the world, whether the viral web series Kid President, which featured his then 9-year-old brother-in-law giving soul-buoying pep talks, or books aimed at kids (The Fantastic Bureau of Imagination) and former kids (Becoming Better Grownups), radiates with a sense of poignant wonder. Here he talks with The Great Discontent about the nonlinear path of meaningful work, the power of a parade, and what it means to be a joy rebel. The post Brad Montague appeared first on The Great Discontent (TGD).
Schessa Garbutt is the founder of the Inglewood–based design studio, Firebrand. An educator, lecturer, and published essayist (see The Black Experience in Design anthology, a must-read). Garbutt works at the intersection of co-design practices and making huge, mind-bending ideas and histories ring clear as a bell. Garbutt spoke with The Great Discontent about cultural memory as the foundation for their practice, the pains of delegating, and the strength of rooting in a local community. The post Schessa Garbutt appeared first on The Great Discontent (TGD).
When Earlonne Woods and Nigel Poor came up with the idea for Ear Hustle, the podcast they’ve hosted together since 2017, Earlonne was serving a prison sentence of 31 years to life—the result of California’s three-strikes law. The two met at San Quentin State Prison where Nigel, a lifelong artist and photographer, was volunteering in the media center. For 13 seasons, Earlonne and Nigel have been sharing the experiences of those living life on the inside—“ear hustling” is prison slang for eavesdropping—and in the process have exposed listeners to countless characters, illuminating perspectives, and new depths of empathy and understanding. In 2018, Earlonne's sentence was commuted and heEar Hustle with Nigel as a free man. A fitting testament to the immense power of storytelling. Earlonne and Nigel spoke with The Great Discontent about their collaboration, process, and ambitions. The post Earlonne Woods and Nigel Poor appeared first on The Great Discontent (TGD).
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Really? Which self? The self you were when you were two years old, almost out of diapers? The self you were when you were screaming with the fans at the big game? The self you were after a long night? How about this: Become the self you’d be proud to be. Hang out with people […]
Monoprinting using an open screen is a wonderfully creative way of using your screen printing equipment for speedy, painterly prints. Neocolor Pastels are a great material to use when mono screen printing - you can draw directly onto the mesh and print your drawing through the screen. A 90T screen is ideal for printing onto paper. Arranging your screen on a hinged board helps you to register your prints, whilst holding the mesh the perfect distance from the paper when printing. We're printing onto cards, just in time for Mothers' Day! With the screen on a hinged board, lay something small under one corner (like a pencil) to hold the mesh slightly further away from the board underneath. Use the NeoColor pastels to draw directly onto the open mesh screen. We have used parcel tape on the back of the mesh to mask out an area an appropriate size for printing onto a card. You don't need to fill the whole mesh area if you don't want to. When the design is finished, apply a well of Acrylic Screen Printing Medium above the design. Use a squeegee at a 45 degree angle to push the medium through the mesh and on to the paper underneath. On the first print, some of the pastel may act as a resist, giving you interesting marks and textures. Some pastel will remain in the mesh, so print again onto another piece of paper to get another print. Each one will give a slightly different strength of colour and texture. If you're using the same medium to take a print each time, it will become muddy with the colours from the pastels, giving a coloured background - you can either embrace this, or replace the medium on the screen regularly. When you're finished with the design, wash it off with a soft sponge and cold water. Wait for the mesh to dry, and then go again with a new design! For this project you will need: Neocolor Pastels 90T screen Hinged Board and Hinge Clamps Squeegee System 3 Acrylic Printing Medium Spatula Paper to print on - we used cards Soft Sponge to clean
