Just waiting on the domain to be transferred to the new host.
I really hope you found the White Lion link in there.
You feel that sting, internet? That’s just pride fuckin’ with you.
Alrighty, here’s the rundown on my second batch of prints for the Spoke Art Quentin vs. Coen show.
This was the natural progression from the first round of prints I contributed on the theme of The Big Lebowski in the Ralph Steadman aesthetic.
When I started brainstorming concepts on the colossal theme of “Quentin vs. Coen” I naturally had a million ideas but I wanted to do something I figured no one else had thought of because you never know what everyone else is bringing to the table in these kinds of shows. Somehow the idea of Walter and The Dude driving around in a piece of shit car overlapped in my head with Hunter S. and Dr. Gonzo flying around in that convertible in Fear and Loathing. It’s apples and oranges in a lot of ways but the similarities are two guys in a car on an insane adventure, the protagonist is on a mission while his sidekick means well but mostly just complicates things.
I started playing around, doing my best Steadman impression and it worked out. But in the middle of the process before I landed on what became the pieces on Walter/The Dude, The Stranger and Donny, I was trying the same aesthetic on other movie elements under the Quentin vs. Coen umbrella to see what fit. The illustration of Marsellus Wallace in the basement with Butch was actually one of the first things I started working up but set it aside when the Lebowski stuff started coming together. I knew I liked the illo of Wallace but didn’t know where it was going.
So when I found out there would be a second wave of Q vs. C I figured I should finish what I started with Butch and Mr. Wallace. Thing was, the Lebowski prints were specifically, intentionally a Fear and Loathing/Steadman homage. That tongue in cheek angle wasn’t necessary for a three piece art print arch on the character of Butch Coolidge BUT I had already started it in the Steadman style so I figured I’d keep the illustration style rough, gritty and insanely sloppy but I din’t feel the need to go out of my way to do a tight impression of another style. I wanted it to fit with the approach of the Lebowski set but still be it’s own thing.
But anyway, let’s talk about Bruce Willis. I really think the character of Butch Coolidge(Bruce Willis) in Pulp Fiction has the most underrated storyline in that movie. Butch is for lack of a better term the “hero” out of the entire ensemble. He overcomes great obstacles to earn his freedom(kills a guy in a boxing match, nearly gets raped and or murdered in order to go back and get that fucking watch! Kills Vince etc.) and makes a clean getaway in the end, no strings attached.
Now you could argue Jules makes a clean getaway, and he pretty much does but his story doesn’t make him a “hero”. Jules is more of a bad guy who took a while to realize he was a bad guy and decided to make a change once he figured it out…but back to Butch. The thing that makes him the hero of Pulp Fiction is the way you pull for him throughout the film, he’s a guy doing what he has to do to get out of a tight spot at all times, he has a love interest and a strong sense of honor and moral compass. There are more reasons to care about what happens to butch than any other character.
He has to go back and get his fathers watch. He has to go back and save Marsellus Wallace, a man who wants to kill him. That’s the fucking definition of a good guy if there ever was one, Butch’s problems are solved if he leaves Wallace to Zed and the boys.
With Wallace dead Butch would be completely free, but he turns around, does the right thing. This is the kind of character that Willis has perfected over his career, from Die Hard to the Last Boy Scout he always adds a level of believability to these action heroes. He doesn’t make it look easy, there’s an everyman quality there. He smokes, he’s hungover half the time, he’s not excited to be in a position where his life is constantly in danger, he gets the shit beat out of him and he looks and acts like a guy who’s pushing his mangled body through these adventures on pure adrenaline because he has no other choice where Schwarzenegger or Stallone come off as robotic or wooden in comparison.
Sorry I got all James Lipton on you at the end there, internet. Sorry. Anyway here’s the official skinny on the new prints: signed and numbered edition of 80 regular prints on Mohawk cream paper and 20 variants. 5 colors, signed and numbered by moi. Get them for now at Spoke Art, I’ll have my copies available later.
In other news I’m looking to have a major website upgrade soon(if I can manage not to fuck it up) and a top secret big time interview coming up…stay tuned!
Forget about it Internet, it’s China Town.
BEHOLD, my poster for The Head And The Heart for this years Sasquatch! Festival at the Gorge. This is a late blog post, so I’m going to keep it short and sweet.
The Head And The Heart have taken the Pacific Northwest, if not the world by storm as they’ve signed with Subterranean Pop and probably played more dates than Motörhead this year. It seemed fitting to keep the design of this poster northwest centric, they represent the northwest well and Sasquatch! is one of the biggest festivals in Washington state, annually.
The main design element is a scrapbook of sorts, the main type is a literal interpretation of the song “Rivers and Roads”. The background is an old map of Washington, there are sports cards spilling out the bottom there, including Edgar, Tez and The Man Child….it was either that or a Dick’s wrapper. Them’s are the facts, don’t really have time to pontificate.
It’s a 5 color screen print, edition of only 100 pieces, signed and numbered. Available in my store at Nakatomi.
Look alive out there Internet !
Pitchers and catchers have reported, Spring Training is in full swing, a fresh baseball season is right around the corner, hope spring eternal and all that. Being in a baseball mood again and realizing I’m going to be in Texas for Flatstock and SXSW it seemed as good a time as any to pull the trigger on a limited wood edition of the long sold out Don’t Mess With The Bull(Young Man) print.
Printing on wood is not easy, we just make it look that way:
Here’s the skinny(less jokes, more facts cuz I have to get to work). The wood was pre-coated by my small hands with acrylic white paint mixed with PINE TAR. It really just adds more of a wood smell to it. In the video I squirt pine tar on one of the pieces pretty good but in actuality only a handful of pieces in the run got hit with pine tar after printing like that and it was subtle squirt not as deliberate as that. So y’know, when you get one it’s not going to be all sticky and shit with pine tar all over it. Don’t worry!
The edition size is 34 pieces(good number right Ranger fans?!). There is a slightly more limited edition of 10, the “SXSW Edition” which will be available with my posters at the Nakatomi booth at Flatstock 29. I get in to Austin tomorrow night and will sign and number them Thursday in time for the second day of Flatstock, hope to see you there!!!
Other specs: 18″x24″ on 1/4″ Birch Veneer(good wood). They turned out awesome…..here’s the link if you missed the first 2 times, AVAILABLE NOW CLICK HERE.
Look alive out there Internet !
Pitchers and catchers have reported, Spring Training is in full swing, a fresh baseball season is right around the corner, hope spring eternal and all that. Being in a baseball mood again and realizing I’m going to be in Texas for Flatstock and SXSW it seemed as good a time as any to pull the trigger on a limited wood edition of the long sold out Don’t Mess With The Bull(Young Man) print.
Printing on wood is not easy, we just make it look that way:
Here’s the skinny(less jokes, more facts cuz I have to get to work). The wood was pre-coated by my small hands with acrylic white paint mixed with PINE TAR. It really just adds more of a wood smell to it. In the video I squirt pine tar on one of the pieces pretty good but in actuality only a handful of pieces in the run got hit with pine tar after printing like that and it was subtle squirt not as deliberate as that. So y’know, when you get one it’s not going to be all sticky and shit with pine tar all over it. Don’t worry!
The edition size is 34 pieces(good number right Ranger fans?!). There is a slightly more limited edition of 10, the “SXSW Edition” which will be available with my posters at the Nakatomi booth at Flatstock 29. I get in to Austin tomorrow night and will sign and number them Thursday in time for the second day of Flatstock, hope to see you there!!!
Other specs: 18″x24″ on 1/4″ Birch Veneer(good wood). They turned out awesome…..here’s the link if you missed the first 2 times, AVAILABLE NOW CLICK HERE.
Wake up Internet, I think I got something to say to you.
As a designer of posters, one of the most common questions I get is “How does it work? Do you talk to the bands or do they talk to you or what?”.
The answer is a little bit of both. When you’re just starting out you have to blindly ask anyone you can think of, and build off of the generous souls who allow you to design anything for them. Be it a band, a club or a label, whatever. Then if you’re lucky, once you get to a point where people have seen your work then you’ll get asked back by previous clients or bands and venues will contact you out of the blue.
It’s like anything else really. If you have any degree of talent and are willing to put in the work, you’ll be fine.
So in the case of this Ke$ha poster, I was asked by the Showbox if I could get a poster done in ten days in time for the show. Not a lot of time considering I have a day job and other projects on my plate and I had no idea if it would fit into the schedule at D&L*. Not to mention I’m not that familiar with Ke$ha’s music, didn’t seem like a great fit. I declined.
In an effort to grease the wheels of production they offered to pay for the art and the printing. It was apparent they really needed this thing to happen and I was happy to help them out now that I was going to make a couple bucks off of the job rather than potentially losing a couple hundred which…happens when you have to foot the bill for printing and don’t sell enough of the posters on your own.
Okay so now I’m in but I still don’t have a lot of time and not a great frame of reference. Luckily Christina from Perfect Laughter was more than helpful throwing in various aesthetic references via twitter. I really wanted to use as many as possible, especially Rodman but I could really only work in one of them BUT the big thing is it helped me get in the proper head space designwise. Big ups to Perfect Laughter or as I say in my head “Perfy Ha Ha”.
The point of all this is, it’s not just about doing posters for your favorite bands. It’s still design work most of the time and I personally like the challenge of creating something for a client(or subject matter) that I don’t know much about at the outset because it’s fun starting from scratch. And in situations like this I’m really trying to please the client rather than myself, which is healthier than building a mountain of weirdness that only I can understand ;)
As far as I’m concerned, this is how poster making should happen. You get asked, you get payed, you do the work(don’t overthink it), please the client. I heard Ke$ha loved the poster and grabbed a ton for herself. Everybody wins!
*See kids, you not only have deadlines to get your design done but screen printing takes time and if you’re not doing it yourself you have to give you’re printer time to squeeze it into the schedule.