Gig Poster - All That Remains
Image by Nirazilla
Adobe Illustrator.
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I love All That Remains. They, along with Killswitch Engage, In Flames and Soilwork were among the easily accessible metal bands that I was introduced to and fell madly in love with during my four-year tenure through the hell the world knows to be high school. When I wasn't emo-ing out to City & Colour or superficially contemplating "subversive," music like Nine Inch Nails (I was a stupid kid, okay?), I was headbanging privately to the sweet, testosterone-infused hell yowling that makes up metalcore. And All That Remains led the way.
That being said,I didn't get this right at all. Somehow, I remained oblivious to the fact that they were coming to Columbus until a week before the show, which, as of this writing, happens next Tuesday. Consequently, I had to bang something out for them. Quickly. I couldn't let one of my nearest and dearest mainstream metallers leave my fair second city of Columbus without an offering. So I resorted to using something I hoped I'd never have to ; an old drawing.
This may not seem like an enormous deal, but it sort of is to me. I take a certain amount of pride in doing the best designs I can specifically for the bands I'm doing said designs for. This part of my practice had to be negated and it makes me slightly sad. It's a bit of a regression image-wise as well. For those of you who have loyally followed me for about a year (or who are un-lazy enough to peruse my archives) will find that this style (swept, masked out facial features, a heavy concern for anatomy culminating in stylized, physical agony) was pretty integral to me last year. My Derek Hess phase. I look back on those images without a shred of regret, but it feels a bit weird to have to resort to re-tracing a drawing I did almost a year ago. I even had to crop it to make the figure fit. You're not seeing the network of veins and sinew and muscle that make up the dude's arms. It's very blase compared to what it was and that hurts me even more. Not only did I effectively assign a once-beloved drawing the position of stock imagery. I also butchered it compositionally. Bleh.
On the other hand, I'm beginning to get a better handle on how I can incorporate textures and extra effects into the posters. No longer am I relegated to mere line art and clumsily-placed block type. I'm getting my ascenders right. I'm leaving some breathing room. I'm concerned with the graphic design elements more and more as time goes on. It's my hope that one day I'll be able to marry my illustrative abilities with improved design skills. But for now, this will do.
For now.
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Listening To: All That Remains: Chiron.
.milestsang(dot)com.
.facebook love.
The Ascent
Image by elycefeliz
The Ascent, Covington, Kentucky
The facade is a graphic pattern of pre-cast concrete and blue-tinted glass that extends up one elevation, across the slanted, curving roof, and back down the opposite elevation.
Daniel Libeskind has designed museums around the world and was the architect chosen for the new Freedom Tower in New York City. However, The Ascent is his first residential high-rise building in the United States. He recalled visiting Cincinnati often while he was an instructor in the University of Kentucky School of Architecture in the ’70s.
www.daniel-libeskind.com/projects/show-all/the-ascent-at-...
www.arcspace.com/architects/Libeskind/ascent/ascent.html
www.covingtonky.com/index.asp?fn=news&id=1897
www.kypost.com/news/local/story.aspx?content_id=e2483ee6-...
www.yourascent.com/
The Ascent
Image by elycefeliz
The Ascent, Covington, Kentucky
The facade is a graphic pattern of pre-cast concrete and blue-tinted glass that extends up one elevation, across the slanted, curving roof, and back down the opposite elevation.
Daniel Libeskind has designed museums around the world and was the architect chosen for the new Freedom Tower in New York City. However, The Ascent is his first residential high-rise building in the United States. He recalled visiting Cincinnati often while he was an instructor in the University of Kentucky School of Architecture in the ’70s.
www.daniel-libeskind.com/projects/show-all/the-ascent-at-...
www.arcspace.com/architects/Libeskind/ascent/ascent.html
www.covingtonky.com/index.asp?fn=news&id=1897
www.kypost.com/news/local/story.aspx?content_id=e2483ee6-...
www.yourascent.com/
September 11-October 2, 2009 “North Meets South: The Pottery Works of Jim Spires”
Image by Circa Gallery
September 11-October 2, 2009
“North Meets South: The Pottery Works of Jim Spires”
Circa Gallery will host an art exhibition entitled “North Meets South: The Pottery Works of Jim Spires” from September 11-October 2, 2009. The exhibition will feature artwork from potter Jim Spires, born and raised among the potteries of Ohio.
After completing his bachelor's degree in fine art & education, Jim taught secondary school for awhile, but he longed to be a full time artist. He attended Wesleyan University in Connecticut, earning a master's degree in design and sculpture. Supporting himself as a graphic designer for Eastman Kodak in New York, Jim developed his skills as a potter and sculptor in his spare time. In 1991, Jim returned to his native Ohio to make his mark on the U.S. pottery and sculpture markets.
Through high profile shows, exhibits, competitions, and support of the North Carolina Zoological Society as a major donor, he gained an enthusiastic following and acquired major collectors nationwide. After a trip to the Picasso Museum in Vallauris, and meeting with the French potters, some who had actually known Picasso, Jim was energized! He began to create ceramic sculptural works based on the "master's" ceramic pieces; early Southern face jugs, and combined these with images from French impressionist's paintings of the 1900's.
This is Jim's second appearance in the Florence Biennale. He hopes this year's presentation will help to bridge the traditional gap between high craft and fine art and contribute positively to discussion of the topic on the international art scene.
Jim will open this September at the Circa Gallery in Asheboro, NC and in the spring at Gallery 13 in Arles, France. The opening reception for the artist will be held on September 11 from 5-8 p.m. This event is free and the public is invited to attend. Refreshments will be served. For more information about the exhibition please visit www.circagallerync.com, email circagallery@gmail.com or call the gallery 336-736-8015.
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