Recently, when I presented a new album and concerts to a group of Lithuanians, I admired the cover art of the album and a poster for concerts. That would be what I'd happily cling to on the wall of my room. Unfortunately, this is a rare exception in the Lithuanian music market, however, perhaps some other groups end up following this example?
Talking to US graphic designer Rob Jones about poster culture (Animal Rummy) He is a man who has created concert posters and music albums for Nick Cave, Jack White and his projects – The White Stripes, The Raconteurs, The Dead Weather and Nine Inch Nails, Arcade Monkeys. John Jones won the Grammy for "Best Design Album or Special Design Limited Edition." While chasing a red carpet at the Grammy Awards Ceremony, he charisma, energy and a pink suit made his attention less than his work.
– On the official website www.animalrummy.com Can anyone read a fake biography, any real story? When you started drawing, love for art and music came and was born Animal Rummy?
I was born in 1973 in Albany, Georgia. The recipe pages of the old mothers' book show that I have done a good job since childhood. Most of the time I did it to make myself happy. But sometimes art can be understood as a socially acceptable way of talking to oneself, which can lead to isolation.
Music? I was not interested in growing music. In my childhood, I used to look more often at the television show when I saw, for example, the old Marx Brothers films. The melodies only came to me when her cousin Liza presented the work of the Police. I was eight or nine years old. This group became my alpha and omega music until the pank did not cover me in high school. Then a romance began with The Damned, which remained firm to this day.
I created the first posters for local shows in Austin only after graduating from high school. Most of them are dedicated to the pink swords of my group of friends, while I have been trying to receive requests from the agencies as a freelance designer. Creating concert posters was very interesting and seemed too good to be true. I tried to create only posters and after two years I managed to keep. Luckily, Jack White and the White Stripes liked my work.
O Animal Rummy I was named a friend of mine when I moved to Austin. This is the name of the card game my friend Joey and I saw at the tent pharmacy. At that time, that name of the game somehow strangled us. Later it also became the address of my website because there was no domain with my real name anymore.
– You create great posters for musical shows and work with movie posters. What is the biggest impact on your job? Better love movies or music?
"Frank Kozik did more to me than anything. He was the king of musical posters in the late 1980s and 1990s. I paid more attention to him as I began to draw what I wanted to create. We begin by trying to imitate our hero, because it is an art that disturbs us and seems correct, and we do not care about everything else. That's what happened to me too. I got rid of this just because I started working with serigraphy and budgets have limited the amount of crayons I can get out of the box. Another source of inspiration would be Jamaine Rogers. I'm not a big fan of his style, but I'm fascinated by how much he gives in creating show posters. Sometimes you can learn more about him than the group and he is very cautious about your projects. It just needs something authentic to achieve.
In answering the second question, if I had to choose music or film, I would prefer music. As far as I remember, movies were important to my background. On the other hand, music is everywhere and often accompanies the most important events and changes in our lives. It would be better to shut down all the movie theaters, instead of keeping those moments quiet. I'm going out with music because I'm actively trying to incorporate it into very important events and thus recreate what the movies can not.
– Who helped create and influence your differentiated design?
– Whatever seems odd, but budgets and deadlines. Working on many concert dates at The White Stripes, I have developed approaches that allow you to make quick decisions. My original drawings became less common when I began to work more with photos or collages of old engravings. Finally the clock pulled me away from the drawing board.
– For 2007 The White Stripes Tour Under the Poster of the Great Northern Lights and White Album Design in 2011. You have received a Grammy statue. This is a huge rating. How did it feel to get him? What other awards in your collection and what motivates each project?
"It was like a wild kiss." When you meet these romantics interludes, you need to covet your excitement for that moment to continue. In this case, it was precisely that, but I was allowed to take a bit of "hair up"(smiles)
Other prizes? Several projects I've been running have won awards. But personally I did not receive any more prizes, which I could distinguish without stickers "I gave blood" or sugar cookies (smile). Motivation Be a professional I am motivated by the fact that you do not give me reasons to accuse me of doing my work badly. I am like Dorian Gray, publicly presenting my portrait and worrying about the stains on it.
– Let's talk about portraits … In 2014, you've created your portrait series. They called their exhibition "Death: Robo Jones Solo" ("Mourning: An Individual Exposition by Rob Jones ") The portraits were personal stories of insecurity, shameful moments and fears Tell us more about this project Perhaps you are planning something new, what should we see?
– Austin, at the Flatstock posters exhibition, fellow Zissou from Galleria F asked for an exhibition. I was in a strange mood and said, "Of course, I do not promise you will pay financially." At first I wanted an exhibition about my dead pets. My friend Mitch Putnam said: "The exhibition does not seem to be successful. which are "
Sometimes when I send posters to my clients, I took a minute and put the photo on the other side of the poster. People write and respond well to these drawings. I also painted Charlie Brown's C-3PO images on the other side of the Darth Vader posters, which he created with the Mondo company. They also liked the people.
I agreed with Mitch that his proposed version of the exhibition would be more attractive, but he did not want to lose the autobiographical aspect. I wanted to make sure there was a cause and a link to each illustration. People seemed to like them too. Apparently, suffering loves the company.
Here is a small portrait of an exhibition and an idea that lurks behind it. The name of one of the images is "The Blinding Effects of Nostalgia". I tend to overdo it in any happy part of my past and am too busy to join it. The problem is that it was in the past and the present is concerned only with enthusiastic thoughts or memories, and this prevents new connections and new experiences. This is the main reason why I still watch the same 20 movies a year, not something new.
When it comes to something new, I have to admit that Mondo's work does not leave much time for personal projects. For Jacko White's current tour, I might have been able to create only 6 posters when I used to do 20 in the past.
– What is a good postcard for you as a professional? What are the most important aspects?
– A good poster tells a story or leaves a secret. But you still have to look hard. And that requires definition. To paraphrase Friedrich Nietzsche: "Hardness is like a soap bubble on your shoulder. Just notice that it comes down to you and explodes."
I like sad posters more. The themes of isolation, separation or suffering seem to feed my eyes to family food.
– What is more important when you start working on new projects and ideas? Which group helps artists create poster ideas? Where inspiration comes from?
When I started creating concert posters, it seemed to be the most liberating way for people to present their works of art. There seems to be so much freedom that there is nothing to lose.
"The collective emotion of music is the beginning of everything. She tells the whole journey and reveals what clothes are best for her. Words that go deep in the initial response of the fans. Later, when the album's campaign begins, the interview with the musicians and the tour itself goes to the general boiler.
A good example would be in 2005, when I read about a song from Jack Lollipop's guild of Oz city wizard in my scene. Then I realized that Medin, a factory representative, would be a face-to-face in Detroit. This article eventually took over the domain of the images of Medinuk and Dorot in The White Stripes.
– As an artist, do you want to get links and comments from your clients or do you like to feel free and independent to create ideas?
– I also have customer references, if this helps the project to cross the finish line. Any information about the client's goals before defining the concept is always helpful. But over the years, I've come to realize that it's always worth presenting your alternative or strange ideas with solutions that meet your specific customer goals. Defend your idea, even if it directly destroys the client's task. Here, my success rate is quite high – probably about 70%. The most important thing is to lose all fear that your idea is rejected and expect to have an open-minded guide with overlapping attitudes.
– There is practically no poster culture in Lithuania. This is an art form, but in Lithuania musical groups do not use it as an attribute and do not invest much in it. Posters simply perform an informational function. What do you think about poster culture?
– He recalls the situation in America in the 1980s, before the emergence of people like Cossacks, Chantry, Coop and Khuns. Suddenly, they created huge, bright posters for groups that most people have not even heard of. After some time, it became almost a shame that most of the concert groups still sleeping pills Contrast The most successful groups began to follow suit and hired the same artists in the hope that some of their soap bubbles burst into them.
There is only one company that needs to devote to work and do it well in order to stimulate interest and spread it. When I started creating concert posters, it seemed to be the most liberating way for people to present their works of art. There seems to be so much freedom that there is nothing to lose.
This description of the current situation in Lithuania resembles the way the Mondo posters began. No one has created a repertoire of cinematic repertoire that is really interesting and professional. With all the concert posters and the specific artists who created them, it seemed an interesting experience to use them in the same way as movie posters. After 10 years at least in the United States, it has been a success.
– The culture of concert posters is very important in the USA. Why, in your opinion, posters are so popular among music fans in the United States?
– We've had a lot of great artists who create posters for labels and managers. They created them even when the financial perspective was not clear. This is how many passionate works came about, which excited people. So there are many sparks enough to ignite and interest other people.