Just you wait...
OK, I gotta go, I'm in Portland at my friend's house.
Lotsa love... oh, and please note, I could make a list of about 25 folks in Seattle alone that are nine times more talented than I can ever hope to be. I'm just funnin' around.
Ahh, I only brought to the intern suites, on the lower level. My "office", if you can really call an entire city block an office, is upstairs. Now that I know you, next visit I'll let you see from where I pull the puppet strings.
I met this young man about two years ago. At that point he was about to do his first poster (the one with the big guitar on it). He was introduced to me at Sub Pop by the guy who helps put on a lot of the shows that these posters advertise. He claimed to be a "big fan" of me and Patent Pending. Fast forward two years to gigposters and I see all of these great posters for the first time. That's about all I know. He and I have spoken a few times since our initial meeting. I've never seen these hanging anywhere but that doesn't mean they didn't (I have children and I avert crowds so I don't make it out much).
The sense of regionalism IS disappearing I think,largely due to sites like thist. I am exposed to a more vast ocean of work than before when I only saw stuff in books, or things that were sent to me. Also, I don't know about other places but missing in Seattle now days are places like The Rocket Magazine that acted as a kind of hub, or "meeting place" for designers, cartoonists, and photographers. People would gather and share ideas and experiences. This is also where Art and I met and began to singlehandedly craft Seattle into the design mecca that it has become. However, with Art's departure, I have been left with the odious task of propping up the empire all by myself. That's why it's a relief to see folks like this Andrio person come along and help take the pressure off. It's lonely at the top...
Venice and Santa Monica are gonna be the new Seattle for a while because of that Dogtown movie. Guess I better ca$h in while I can.
I started doing flyers because of Marc Rude and Pushead. I started doing posters because of Kozik and Uncle Charlie.
stnky - i never said it was exclusive to seattle at all. in fact i think your work is part of the merging style.
as for jermaine language position, i agree 1000%. i've always looked at this as a language.
as for frank's astute insider assessment of seattle's scene - whatever.
as for jeff an me creating the 'old seattle look' together, well, you can only imagine how i feel about that statement. i got 15 years on my former assistant in that style.
as for a lot of the other comments - huh?
good bye .
I don't know why I started doing posters..I had been dabbling in 'mail art' for a while and was really into like Re/Search and RAW
and shit...all my friends where in bands..it sort of just devolved onto my non-musical shoulders...
I sorta see what Art's saying but I don't think this look is exclusive to Seattle. Pre-gigposters this may have been something that could be credited to a regional thing but now kids all over the world can see what's going on. Patent Pending is doing lots different stuff know than Jeff was doing even a couple of years ago. Before gigposters I was doing stuff that looked like old Kleinsmith work. Now our stuff has started to evolve due to influences from AA, Seripop, Methane, etc... Seattle also has Jacob Covey and Tyler Stout who are nothing like this stuff. There's Jeff Matz, Heads Of State, J. Goldberg, Jason Munn, Thomas Scott, vibranium... all doing similar stuff all over the country. Seems to be way more than regional and it seems to be a constant evolution...
And this in no way means to discredit what's going on in the NW. I've said it before the scene Art and then Jeff evolved is the reason I wanted to start doing posters.
i think you can compare it to language, personally. Like, the 'N' word...that horrible label that Black Americans were labeled with for years. The word was genrally used in slave days to be demaning...but actually became 'descriptive'. So like, even kids who didnt know it was a slur used it to classify blacks because, to them, thats what they WERE. Well, in the early 20th century, to use the term in the South could be a slur AND descriptive, while in the North, it was primarily a slur. Fast forard to the 40s-60, where almost universally in the USA, the word became a slur. Enough light had been shone on the term, and now people realized that it was, at the very least, offensive. Since the late 70's-present, the word has been usurped by many black Americans, primarily as a term of affection amongst each other. And a recent phenom, other races (orientals, white kids, etc) have begun to use the term amonst THEMSELVES...also as a term of endearment.
I think art in a 'scene' does the same thing. The reason a kid in Seattle might make a Chantryesque or Kleinsmithish type image today doesnt necessarily have to have ANYTHING to do with why those original scenesters produced the art.
Some may try to tap into the original feelings that influenced the original scene...others may simply be copycatting. Others may be doing a bit of both...or even doing it out of nostalgia. It was like that in Texas, too.
It's very similar to words in a language...especially slangs...cause like...slangs spring from peoples reaction to circumstances.
This is hard to put into words in this forum, so excuse my ramblings.
there is a no posting law in austin and the way that i always saw work up until now was at record stores and clubs. now, i see work daily, and i'm influenced by it all. another thing i might suggest is that some people might have been influenced by that look, and maybe haping to coincidentally live in seattle. i dunno. i'll shut up now.
Seattle (I think) has a relatively active 'scene', contains at leat 1 'important label' and has 2 quality weekly papers plus numerous venues, hangouts etc. I get the feeling everyone knows each other and therefore even 'non posted' work can 'get around'.
frank - i know pretty damned well what you're talking about, but this something more than that. most of these posters in seattle DO NOT get posted. so how do they see them on a wall?
i think some of the most amazing posters in the world are coming out of seattle (and the northwest) right now. there are other places/people producing very similar work elsewhere, but seattle is the center of what is turning out to be the new look. at least that's my guess.
my vote for poster of the year is: damn near anything coming out of seattle.
I am not passing critique but merely examining the actual vector.
example..I see something like this and it looks cool, so then I think..maybe I will give that
postwar psuedo surrealist style a shot. at the same time a few others do it as well..in an attempt to 'stay fresh'. if my area has an active 'scene' over a short period of time a new paradign emerges.
no mystery..hell..one good poster
in a good position..say an important record store can be viewed by a thpousand people in a week...if 3 of them doo posters and it triggers them...
answer: you are a young dude in Seattle. You see a certain style os posters...say the Chantry/Kleinsmith/Patent Pendinge style in record shops, peoples homes etc...you figure...that style is connected with a 'cool scene'. You want to be connected to a 'cool scene', and by extension 'be cool' so you do stuff in that style as it seems to be accepted and desired by the 'cool people'.
boring. I like it when people like Seripop start doing weird out of place stuff better because then the 'cool scene' is forced to deal with somwthing new.
and thank you (especially frank) for your insightful dismissal of my question - which remains unanswered.
i think it's an interesting question? how does a look like this evolve so regionally? how do the players (in such a small competetive city) interact to create something olong these lines? i can think of a dozen ways that it can happen - and not a one of them involves paul rand or the internet. so, i'm curious, that's all. i'm interested in this stuff. i'm a student of posters history.
is that ok with you guys?