You can skip this part, it’s sort of the prologue
So here’s some quick background of how this show was set up. Tim, who you’ll get to see up close in a few, is in both Hivesmasher and Los Bungalitos, and he books shows. Furey’s is a quiet little bar in Lowell, occasionally sketchy but all-in-all a great alternative to dealing with bros at the Village Smokehouse or the crowds at the Worthen (I like the Worthen, but if you’re in one of those moods where you just want to drink your beer and not bump into anybody, Furey’s is the bar for you). Tim also used to live in my apartment, which is walking distance from Furey’s (might explain his affection for the place, but I’m pretty sure he’d just drive drunk anyway, out of laziness). Anyway, turns out almost all the people who live in the upstairs and downstairs units of my apartment are in bands (Los Bungalitos and the Big Sway being Joe’s bands, Hivesmasher being Aaron from downstairs, Pathogenic has Chris and Dan from downstairs, and another upstairs roommate, Tini, just started a band called Oh! The Humanity.). Oh, and I’m in Old Grey. Tim thought it would be funny to book a show with all the roommates’ bands.
And so it was.
Joe and I thought it would be cool to commemorate this event in a limited-edition screen printed flyer. His work recently got a silkscreen setup, so we figured if we got the supplies, there’d be no problem just cranking these out after hours. We also decided that the way to do it, since we both wanted our art all over this thing, was for me to handle the image and base it all on Joe’s photography. Once the image was set, Joe would handle the type.
So, here’s what happened (you can start reading here if you skipped that first part)
So Joe went and took a bunch of photos of the outside of Furey’s, then sat down and sent me a bunch of his photography. The initial photos Joe sent from his portfolio were really good, but I couldn’t find a way to integrate them into a single image -a good photograph doesn’t necessarily make for a good element in a garbagey surreal tracing. The initial batch of photos basically consisted of already-complete images (the image can’t really be broken down into its parts because it’s already kind of a larger scene without any individual characters, more of a mood than a portrait) and there weren’t any elements I thought I could extract and find a new home for. So we talked about what we needed to start from and ended up with these:
So there’s the source material.
First things first, cutting out the bits from each photo.
Obviously Furey’s is the setting for the image, so that was the first thing to cut out. Since it’s mostly hard lines, cutting it out was pretty quick and easy using the line selection tool in Photoshop (the one that looks like a triangle and half the time you have a bitch of a time finding the start point to close the shape, especially on a gray image since it all blends together).
Note: When laying out these shapes to create the initial image, the key isn’t trying to get the contrast and light-dark levels to look good, it’s estimating how clearly you’ll be able to see the details through a light-table when tracing. It’s actually best if the lighting goes sort of flat. Like here, the side of the building on the left of the image should be a lot darker, but you want to be able to see the detail over there when it’s printed out so you can draw it. If the contrast doesn’t seem right when you draw it, you just put more dark shading in where it needs to go.
From the start, I figured we’d have James the cat destroying something, so why not the bar we’re all playing?
Next up, Josh and that cow. Since the photo of Josh was cropped a little, I had to google search for a usable arm and leg.
The photo of Matt is pretty striking, so I thought he’d be great to have front and center being all sorts of menacing. After putting him in context, I decided he wasn’t menacing or weird enough, so I googled “goat horns” and added some. Then I thought he needed to be brought down a peg, so I took Joe’s pigeons and had them hanging out on him, like he’s trying to pose all badass and it turns out he’s just snuggly with birds.
Here’s a great example of that whole contrast thing I mentioned above with the photo of the bar. This photo had a lot of decent contrast and I thought I’d lose the ability to capture that detail on the light table. When you print out your source image, you have to think about how much lighter everything will be when lit from underneath, especially once you put the blank piece of paper on top of it to draw on. I lightened up a lot of the black areas here too, those tend to be hard to decipher through the sheet you draw on, and I increased the mid-tone contrast. I darkened some of the highlights as well, though not all of them. Here’s an illustration to kind of explain it:
Finally, we get Tim and Moxie. I asked Joe for the Moxie photo specifically because I thought he’d be a good zombie from that angle, and I figured if James couldn’t carry Tim’s head in his mouth, Moxie could carry it in his hand.
I added a 3-pixel black stroke to all the layers using the layer styles option. It makes it a LOT easier to tell the shapes apart in a black and white printout. Once the initial drawing is done, you can add your own thicker lines around your characters/shapes to create some depth and get things to pop out from the background a little better. Here’s the completed photoshop layout.
You can see that whole James layer-order thing here. If you’re not used to Photoshop, imagine the layers as being printed on clear plastic like on those overhead projectors from high school and you’ll be all set. You can slide them around and change the order of things to create your final image.
It’s best when doing Photoshop work, ESPECIALLY for small local events, to create in a non-destructive manner. What I mean by this is, I could have kept James as one layer, put Furey’s on top, and cut out from the roof of the bar layer to expose James’ head underneath, which would have been a “destructive edit,” meaning you can’t undo it later on. Instead, James’ head sits on top, the bar stays in the middle, and James’ body is underneath. I could move James anywhere on the page and still have his head poking out over the bar and have the complete bar with no missing chunks. IMPORTANT: With events set up by your friends, and especially if they involve local bands, you ALWAYS want to be able to undo, change, add, remove, etc. right up until the last minute. Go ask Tom Southerton from the Ant Cellar, a local basement show venue, how many times he’s had to change the wording on a flyer a day or two before the show if you don’t think you need to be able to do this.
So, Moxie’s a giant, which is fine by me. With something like this, in this style, for this KIND of show (two punk bands, a grind band, a funk band, a proggy-death metally band, and a melodic punk-metal band) you can pretty much break any rules you want. The lineup for the bands is a good one, but it’s a little random in terms of musical style. Personally, I prefer playing and going to multi-genre shows like this one, and I think it exposes fans of one type of music to a lot of bands they wouldn’t have sought out on their own…but meh, maybe that’s just me. Sometimes people want to mosh and only mosh.
Those people are idiots, by the way. There was a guy at a show last week who only wanted to mosh and he just kept asking if the next band was moshable. I don’t understand how you go to a show wanting to do that, you’re the only guy there in that mindset and you know it, and you don’t actually care if the bands are any good…just seems dumb. That’s like applying for jobs and only taking them if they involve using a shovel, and then you end up digging mass graves for the Khmer Rouge or some shit. Just because all you care about are shovels, nevermind if it’s a good reason to use one.
That was hyperbole and probably a really odd comparison. Anyway.
So Joe and I went over the layout PSD (that’s the file extension for Photoshop files, it’s shorter than typing “Photoshop file,” but it took a lot of words to explain that just now). We made a few tweaks to the original and came up with what we have above. Then I printed the stuff out a few days later and spent a few hours drawing this:
You can see those crosses: they’re for registration. I also drew them on the printout. This way, if you unstick the drawing from the source, you can line it back up and not totally screw yourself over. Joe and I had a few discussions about the empty space, how the writing would fit into it, and Matt’s face didn’t come out quite right. At first, I was pissed, but then I agreed with Joe…sometimes something takes you EFFING forever and you get defensive…but not out of thinking it’s perfect – mostly out of being tired of drawing your friend’s brother’s face.
Joe makes giant letters that look really cool.
So I gave Joe the scanned sketch above and he looked it over for a bit and figured out how he wanted to do the type.
Now, to give some background, Joe works at the Revolving Museum in Lowell. Within the last couple years, they’ve changed locations and now have an AWESOME setup where they have access to what we all affectionately refer to as The Tunnel. It’s a space underneath where two buildings join on the second or third floor, with big double doors facing the street and a fence blocking access to the parking lot/courtyard inside. They’ve had a few really awesome all-ages, no booze, no drugs, no violence punk shows there (the acoustics are surprisingly awesome). The museum used the space to also do a graffiti workshop which Joe taught, and here’s a lovely photo of some idiots hanging around outside of it before a show:
So having access to this, and because you can do graffiti, and because you may as well go all out with the crazy dirt on a screen printed punk flyer, Joe did his lettering in spraypaint and huge.
And of course there’s the other details from the show, which Joe spray painted at a later date on the underside of a desk I was throwing out…which coincidentally, used to be Tim’s desk. Oh, and the scanner I use also used to be Tim’s. Come to think of it, I pretty much live off of his garbage…
So from here, Joe converted the photos to black and white, did some tricks to isolate the band names, and threw it on the flyer.
BEST TRICK EVER: I had no idea about the power of the “Select Color Range” option in Photoshop until Joe showed me. Basically, he blasted these photos to flat black and white, no grey tones and then went to Select/Color Range and selected “Shadows” from the drop down menu in there. That lets you select only the black without getting stupid little halos around everything like you would if you used the magic wand tool.
So here’s that:
That seems like enough for now. The creative process has been sufficiently documented, so Part 2 will focus on getting the screen printing part done, and that’s where the real fun stuff happens.
(Part 2 might be more or less interesting, depending on your POV. Joe and I definitely had more fun printing them than we did bitching at each other over creative process. And I said some douchey things about ‘visual hierarchy’ which I later realized were both douchey and stupid – nobody cares about that crap, it only matters if the end result looks cool.)