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My department was responsible for the Bugs Bunny Postage Stamp, the first cartoon character on a U.S.

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Besides creating illustrations, backgrounds, and style guides for all the Looney Tunes & Hannah-Barbera characters, I got to create commemorative plates for The Franklin Mint, souvenir posters for the Batman series of films, style guides for feature films such as Space Jam, The Wizard of Oz, and television shows such as Friends, The Cartoon Network and Scooby-Doo.Creative Services, which I held till 2002 How were those 12 years different from working elsewhere?ĭavid: In 1991, I took the position of Senior Illustrator at Warner Bros. Q.Ĭan you describe your experience at Warner Bros. Victor Moscoso influenced my design sense with his vibrant close-value posters (see “Sopwith Camel”) and continues to do so today. For me, his posters are the Apex of the West Coast work. David created the most Fillmore West posters (60 total) of any artist on the planet. David Singer and I were friends and we traded posters. The West Coast artists created Psychedelia and Neo-Nouveau and are due to the many encomiums they have received for this. What would you describe interacting with so many rock artists like? Any favorites whose company you enjoyed?ĭavid: Manhattan & San Francisco are light-years apart both culturally & artistically. I had a similar experience with the NY Times treatment of my “Tommy at the Metropolitan Opera” full-page ad in the Sunday Times, which featured a nude Tommy rising into Pinball Heaven - the Times editor chose to paint a crude Black Marker Jockstrap over his very modest genitalia, alas. But the Wallkill City Council thought otherwise (exposed breasts & pudenda a no-no). Ironically, the nude female in the center of the poster was copied from the 1847 painting “La Source” by Jean Dominique Ingres, which seemed a perfect symbol for a poster representing “An Aquarian Exposition” (the “Water Bearer”). Do you think it would have received a different response if it was designed today?ĭavid: Absolutely - an entire sexual revolution has occurred over the last 50+ years. The poster you created for the Woodstock Festival was rejected because it was too risque in 1969. Each small circle was drafted with a drop-bow compass on the center point of the hexagonal grid.Ī laborious process, but worth the time. I created Jimi’s & his band-mates hair using a hexagonal grid with small circles on the grid representing cosmogenic pixels that one might perceive after ingesting certain popular chemicals of the time (see “Acid”). What was your thought process/ inspiration while you created the poster?ĭavid: Before coming to Manhattan in 1967 I had worked as a freelance Architectural Draughtsman, so I was familiar with the tools of that trade, and thus I decided to apply this craft to the 1968 Jimi Hendrix Experience poster.

One of your Hendrix posters is ranked among Billboard’s Top 10 Rock Posters of all time. I still create more East Coast imagery, I think –. Whereas, David Singer is an example of the “Old Garde” moving on to create new imagery (see “Moon Alice”). What kind of changes do you see when you compare the posters that were created in the 60s to the ones that are created today?ĭavid: The rock poster artist EMEK is a great example of the younger generation’s expertise in the art form (see “Coachella”).

Also, Theatre is about THIS play right NOW, while 60s Rock is about 60s Rock in general. As Rock Posters have a much higher profile than Theatre Cards, I chose that area to illustrate. At this same time, I was also creating posters for the Broadway Theatre (“Follies”, “Godspell”, etc.).

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So what I would want to know is if there’s anyone who’s come across a plug-in – or perhaps even a tutorial – on how to create more advanced, warped and distorted letterforms.Any reason why you chose to illustrate for 60s rock bands in particular?ĭavid: I was the poster artist for the Fillmore East in NYC from its opening on 8 March 1968 to 27 June 1971 when it closed for good. That’s the sort of »correct« distortion I’m talking about… without any »real« perspective. See how the CONCERT, LECTURES, PLAYS… text there in the middle.

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It is taken from a program (TypeStyler 3) that can do some of the stuff I wanna do, but down the road, the result is somewhat not that great PLUS the application has a good 7 years on it’s back. Take a look at the image below for an example of one of the effects I would like to create. See, Illustrator has a tendency to skew and »lean« the letters, wich just is downright awful. What I want to do is to create some warped text, but beyond what’s possible with the Make with Warp feature.

Really teriffic on some points, crap on others. I’ve been playing around with the Envelope Distort functions in Illustrator the last couple of days.

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