Top 15 of 2014!

A New Year is upon us, and with that comes the First Annual I Got Birds Top 15 Posters of 2014! We thought about making a Top 10 but then said “Screw it, we’re going bigger“! So, without further ado, here are our…

Top 15 of 2014!

15. “The Rock” by Patrick Connan

The Rock (green variant) by Patrick Connan

The Rock (green variant) by Patrick Connan

Goodspeed, Godspeed, Godhead…We don’t care what his last name is! Patrick Connan captures the essence of this quintessential Michael Bay film, and we love this print!


14. “Nightbreed” by Chris Garofalo

Nightbreed by Quiltface Studios

Nightbreed by Quiltface Studios

Chris Garofalo scares us half to death with his take on Dr. Decker, the infamous button-faced serial killer of Clive Barker’s “Nightbreed”!


13. “The Yellow-Haired Warrior” by Tracie Ching

Kill Bill - The Yellow Haired Warrior by Tracie Ching

Kill Bill – The Yellow Haired Warrior by Tracie Ching

What else can be said about this amazing poster from Tracie Ching? Just plain awesome, and the variety of “blood” spatters on each print make them truly one-of-a-kind!


12. “Starlord Dia De Los Muertos” by Orlando Arocena

Starlord Dia De Los Muertos by Orlando Arocena

Starlord Dia De Los Muertos by Orlando Arocena

Orlando Arocena pays tribute to his cultural heritage AND the Legendary Star-Lord (WHO???) in this great poster for “Guardians of The Galaxy”!


11. “The Shining” by Matthew Griffin

The Shining by Matthew Griffin

The Shining by Matthew Griffin

Matthew Griffin has really proven himself as an illustrator to watch with his beautiful piece for Stanley Kubrick’s “The Shining”!


10. “Sweep The Leg, Johnny” by Salvador Anguiano

Sweep The Leg Johnny by Salvador Anguiano

Sweep The Leg Johnny by Salvador Anguiano

Salvador Anguiano captures the majesty that is the greatest film antagonist of the 1980’s…Johnny from “The Karate Kid”!


9. “Ghost in The Shell” by Martin Ansin

Ghost In The Shell by Martin Ansin

Ghost In The Shell by Martin Ansin

Martin Ansin makes me want to travel to Tokyo and become a cyborg in his wonderful poster for “Ghost in The Shell”!


8. “Death Has Come To Your Little Town” By Matt Ryan Tobin

Death Has Come To Your Little Town By Matt Ryan Tobin

Death Has Come To Your Little Town By Matt Ryan Tobin

For those who think that the Ken Taylor or Jock “Halloween” posters are the ONLY ones to own, think again! Matt Tobin crushes it with his take on the “Halloween” mythos. Michael Myers is well-represented in his poster!


7. “The Terminator” by Gabz

The Terminator by Gabz | Regular Edition

The Terminator by Gabz | Regular Edition

Gabz super-detailed illustration of Cyberdyne Systems Model 101 makes this a must-have in our book! Now if only we could find Sarah Connor…Well, better start knocking on some doors…


6. “Where The Wild Things Are” by Ken Taylor

Where The Wild Things Are by Ken Taylor

Where The Wild Things Are by Ken Taylor

Nothing says nostalgia more than Ken Taylor’s beautiful illustration for “Where The Wild Things Are”!


5. “I Do Not Kill With My Gun” by The Dark Inker

I Do Not Kill With My Gun by The Dark Inker

I Do Not Kill With My Gun by The Dark Inker

The world of The Dark Tower is brought to life with this small, quiet illustration from The Dark Inker!


4. “Dr. Manhattan” by Kevin Tong

Dr. Manhattan by Kevin Tong

Dr. Manhattan (Variant) by Kevin Tong

Much like a series of comic book panels, Kevin Tong brings us the tragic story of Dr. Manhattan in a series of classic images from “Watchmen”!


3. “Rosemary’s Baby” by Lastleaf Printing

Rosemary's Baby by Lastleaf Printing

Rosemary’s Baby by Lastleaf Printing

We think Lastleaf Printing may have been possessed by The Devil in order to create such a fiendishly great print as this one! Bravo, Lastleaf, bravo!


2. “Guardians of The Galaxy” by Matt Ferguson

Matt Ferguson channels his inner “Star Wars” geek for this amazeballs poster for Marvel’s “Guardians of The Galaxy”!


1. “Agent Smith” by Robert Bruno

Agent Smith by Robert Bruno

Agent Smith by Robert Bruno

“Mister Anderson” is pretty much all we hear when staring at this wonderful print from the hand of Robert Bruno!


Honourable Mentions

“A Place Beyond The Pines” by Ben Mcleod

A Place Beyond The Pines by Ben McLeod

A Place Beyond The Pines by Ben McLeod


“True Detective” by Simon Delart

True Detective by Simon Delart

True Detective by Simon Delart


“Buck Rogers” by Signalnoise

Buck Rogers by Signalnoise

Buck Rogers by Signalnoise


Ken Taylor Solo Show at Mondo Gallery.


Friday, May 30th 2014. Australia’s greatest export, Ken Taylor, debuts his solo show at Mondo Gallery in Austin, TX. The show will introduce new work from Ken, including Predator and Fight Club illustrations.

Check out some of the pics below and make sure to hit up the show if you’re in town!

Also, check out our recent podcast featuring Ken right here!

Fight Club by Ken Taylor

Fight Club variant by Ken Taylor

Das Boot by Ken Taylor

Das Boot variant by Ken Taylor

Predator by Ken Taylor

Predator variant by Ken Taylor

Predator variant 002 by Ken Taylor

Frankenstein by Ken Taylor

Frankenstein variant by Ken Taylor

Children of Men by Ken Taylor

Children of Men variant by Ken Taylor

Catwoman by Ken Taylor

Catwoman by Ken Taylor

julie3

Little Shop of Horrors by Ken Taylor

Little Shop of Horrors variant by Ken Taylor

A Conversation with Ken Taylor!



When we first sat down to make up a dream list of illustrators working in the Gig and Film Poster Scene to chat with, Ken Taylor was always at the top of the list. Ken is one of those illustrators who can just “bring it” with each and every release. Whether it’s a Gig Poster for Queens of The Stone Age, or a Film Poster based on the original “Halloween”, Ken Taylor creates magic with his imagery. Not too long ago we contacted Ken to see if he would be interested in participating in an email Question & Answer session. Little did we know that about a week after that initial contact, Ken thought it might be a better idea to Skype and record our conversation. Needless to say, we jumped at the opportunity to interview one of the most talented illustrators in the business!

We can’t thank Ken enough for taking time away from his busy schedule to chat with us, and we’re beyond thrilled to present to you…A Conversation with Ken Taylor! Feel free to listen with the embedded MP3 Player, or click at the end of the Blog post to download the podcast.

Please be sure to check out more of Ken’s work on his website, and follow him on Facebook!

*A bit of a disclaimer…We recorded this podcast by calling Ken in Australia over Skype, which doesn’t always have the best sound quality. Therefore, there are some sections of the podcast where the audio drops a bit. We think the best solution if your audio seems low is to turn up the volume. Also, Ken was working as he spoke with us, so you may hear some beeps, boops, and the occasional click of the mouse. We truly hope these minor issues will not dull your enjoyment of a wonderful intervew! Thanks!*

An American Werewolf in London by Ken Taylor

An American Werewolf in London by Ken Taylor

Halloween variant by Ken Taylor

Halloween variant by Ken Taylor

Halloween by Ken Taylor

Halloween by Ken Taylor

Man of Steel variant by Ken Taylor

Man of Steel variant by Ken Taylor

Man of Steel by Ken Taylor

Man of Steel by Ken Taylor

Poltergeist by Ken Taylor

Poltergeist by Ken Taylor

Where The Wild Things Are by Ken Taylor

Where The Wild Things Are by Ken Taylor

Thor-The Dark World variant by Ken Taylor

Thor-The Dark World variant by Ken Taylor

The Beyond by Ken Taylor

The Beyond by Ken Taylor

Jurassic Park by Ken Taylor

Jurassic Park by Ken Taylor

Please click below to download A Conversation with Ken Taylor.

http://igotbirds.com/download/2014/04/Ken-Taylor.mp3

Adventures In Design Live Webcast.

On March, 5, 2014, I was lucky enough to take part in the first-ever Adventures In Design live webcast, hosted by Mark (DJ Cropmark) Brickey and James Flames.   A select few members of the viewing audience were chosen to ask a question to the guys and chat a bit.  I even got to plug igotbirds.com!  It was a good time, and AID consistently delivers the best podcast one can find on the Poster Art Scene.  The AID crew (The Circle of Trust) have interviewed everyone from Ken Taylor to strawberryluna, and I would urge ANYONE who is into Gig and Film Poster design to check out the AID podcast on iTunes!

My portion of the webcast starts at around the 1:08:00 mark!

Watch it here, or click on the link to be taken straight to YouTube!


A Conversation With Paul Ainsworth.

The Life Aquatic with Steve Zissou by Paul Ainsworth

The Life Aquatic with Steve Zissou by Paul Ainsworth

 

Continuing with our venture to interview up-and-coming and established Film Poster illustrators, we have managed to score an interview with Canadian poster designer and illustrator, Paul Ainsworth. Paul was gracious enough to answer all of the questions we had for him, and we would like to thank Paul for his contribution to what we hope will become a regular part of igotbirds.com. We hope you enjoy a conversation with Paul Ainsworth.


igotbirds: Paul, can you tell our readers a little about yourself? Where you were raised, early life, etc…?

Paul Ainsworth: I’m an illustrator/Graphic Designer/husband/father of a 21 month old girl with a little one on the way come late May, residing just outside of Toronto, Ontario Canada. Born and raised in Timmins, Ontario, 8 hours North of here (Just google “Home of Shania Twain” and you’ll find us). Middle child of three kids, two of which including myself are gingers. Very supportive family. My mother worked for the Diocese and my Father retired as the Director of the Board of Education. Before all that he was my principal in High School. So that might answer the, “Why?” question haha.


igotbirds: What led you to study art and design/illustration? Have you always created art? Myself included, I know many artists/designers have always drawn/painted as far back as they can remember. Was this the case for you?

Paul Ainsworth: Of course! I remember the drawing that stood out for me. I think my mother still has it. It was one of those “What do you want to be when you’re grownup?” type things in grade 2 or 3. I wanted to be a Police Officer and I drew a cop walking beside a cop car. I remember my mother saying, “Boy he sure looks like he’s walking!”. Made me think, “Hmm, I can make things look like something!” so I just kept drawing whenever I got the chance. I have no intention of becoming a Police Officer. Funny enough, my younger brother is actually a Police officer back home so he has fulfilled my early childhood dream. Oh well!
How I really got into drawing was when I was younger my mother tried to get me to join some book clubs. I didn’t care for the books. Sure they had great covers, but I needed visuals. Every Sunday after Mass, my parents would stop at this corner store for ice-cream and I always went for the comic books. My parents were ok with my love for comics because it was reading. Sure, it wasn’t page after page of text, but there was a story. Like any kid reading comics who love the art, I started to copy the artwork. I would never trace, I would do still-life of what I was reading. By the time I was in Grade 7 I was hooked.

 

Paul Ainsworth "Pee-Wee's Big Adventure"

Paul Ainsworth “Pee-Wee’s Big Adventure”

 

igotbirds: How did you get involved with the whole Poster Art Scene? We have heard from many, many designers that it’s a very difficult scene to break into. Was it a tough road for you?

Paul Ainsworth: It’s still is a tough road. There’s a lot of sacrifice involved in this gig. Time from family, time away from doing paycheque work but there’s some great benefits to it all. You just really need to keep up and push yourself to keep/make a name for yourself. I’ve done a lot of all nighters trying to balance my daily work schedules with my poster work only because of that fear. The worst feeling is when you miss out on a show that everyone is talking about, even more so when you’ve actually put in the work and the work just isn’t up to par with what you think should be submitted.
Oh right!! How I got involved?! Sorry, I go on tangents. When I had an office job working on subject matter that I would never personally choose to do, I would daydream a little about dream projects or just stuff that I would do if I had the choice. I’m a huge film buff and at the time a lot of film posters of different styles were showing up on Google image searches left and right. Olly Moss, Shepard Fairey, and a slew of amazing artists were doing gig posters and alternative film posters and I just wanted to create some on my own. I originally created a poster for The Hunt for Red October. It wasn’t terribly great but it got me creating. I spoke to a Creative Director at one of the top advertising agencies in Canada about my book and he told me that I needed more Typography. He said, “Maybe pick a favourite movie or book and recreate the artwork typographically.” So I did a couple. He loved them. The “Beetlejuice” one still had a little bit of imagery that fed my illustration needs and really got me seriously thinking about poster art. Eventually I found a gallery that was showing a number of Artist and was really young in the world of poster art. I approached Joe Bouganim at Bottleneck Gallery in New York about getting involved and he loved how diverse my portfolio was. He wanted to see something that was more poster related and at the time, I just created my “Pee-Wee’s Big Adventure” piece and he loved it, so he added me to the list and from there on, it has been a life of networking, art community involvement, gallery shows, commissions and flat out fun for me.


igotbirds: What challenges have you faced in creating a print based on a film? Specifically, have you faced issues with film rights, print runs, etc…?

Paul Ainsworth: Can I answer “no comment” and just explain in an email? Haha! This industry, like all industries, have rules, regulations and suggestions. As long as you play nice and don’t step outside that thin red line, you’re golden. Unfortunately, like any other industry, once you step out of bounds there might be some flags on the field. It’s a learning process for a lot of us. I’ve dealt with a number of corporate and entertainment industries throughout my career, let alone in the Poster world, on a number of different issues and because my poster work is not my bread and butter, I play nice. Only in the recent couple of years, from what I have deducted, have the studios taken interest in our little community of artists and started giving us some taste of the big time. Actors and staff in the film industry all love what we do and don’t hold back on giving us the thumbs-up. “The suits” however are the ones that really care if we’re doing things the right way. It’s also “the suits” that will be the ones that give us the opportunity to do some big legitimate work. You can’t blame any of these folks for sticking to their guns and there’s really no sense in fighting it. I’ve heard of some artists really getting hit hard by these issues and it can get into some heavy shit, and really I can go on and on about this subject, but again, I’m still pretty new at all this, but I know the boundaries and I want to stay within them.

 

Paul Ainsworth "Back to The Future"

Paul Ainsworth “Back to The Future”

 

igotbirds: Your “Back To The Future” print is just awesome! Could you tell us a little about your process? Do you start out with hand drawn illustrations and then scan those into the computer to work in Illustrator/Photoshop?

Paul Ainsworth: First thing I do when I create a poster is watch the film. This is probably the best part of the process. Even if I’ve seen the movie a hundred times, I throw it in again and just get inspired. It’s easy to create a scene when creating sequential art (comics) because you have other frames and shots to support the flow of your storyline. In film posters, it all boils down to one shot. You have create interest in the viewer to want to see the film whether it’s for the first time, or to see it again. So I draw layouts as I watch. I do small thumbnail sketches and plan things out. Drew Struzan mentioned in a documentary that he studied for years on nailing down his technique and his ways of creating likeness, but only through film poster art did he realize that he has to learn how to turn over artwork as quick as possible with his signature, so that the studios can have their say in the process. Like many others in this industry, it’s my side work. I need to quickly do things so that my freelance work doesn’t get hindered or I’m not up all night worrying if Marty’s nose is “button” enough! So on the project or layout I’ve decided to go with I make sure the likeness is there first and foremost. So I find as much reference material as I can. I use Illustrator mostly when it comes to my work. Photoshop is brought in only to add effects if I’m not doing a screen print. If the project is worthy of a screen print (which is costly at times) I have to make sure every colour is set properly and all the traps don’t have issues. Sorry for the shop talk there. Screen printing is a science on it’s own and I am nowhere close to being as great as say a Chris Garofalo when it comes to screens, but I’m getting better. I even had a printer tell me I did 95% of his work. I was so proud of myself. I’ll get it to 100% soon I swear.

 

"Fargo" by Paul Ainsworth

“Fargo” by Paul Ainsworth

 

igotbirds: What artists/designers influence you? Are there designers in the Poster Art Scene whose work you really enjoy?

Paul Ainsworth:

Some folks whose work I love looking at and who keep me excited about doing this are Chris Garofalo, Matt Ferguson, Matt Tobin, Salvadore Anguiano, Sam Ho, PJ McQuade, Orlando Arocena and pretty much all of my fellow Poster Posse crew.

igotbirds: When you’re in the process of designing a Film Poster, what’s a typical work day like for you?

Paul Ainsworth: Well, because it’s not my actual work, it’s usually a nighttime thing. I won’t bore you with “Feed the little one before day care then off to the gym” stuff, but when I get to work on the poster stuff, I usually either put the movie I’m working on in and minimize it, or I listen to it’s soundtrack so that it’s constantly in my head and yea, just work away. Red eyes and all. I’m not a great coffee drinker. The crashes are hard to handle, so I try to eat well throughout the day to keep energy levels up. When it comes to the process, the layout and overall design is the hardest part of it all. Technique can be treated differently and I’m still in a discovery mode and try different things, but if the design isn’t right, I fold. I worked on a piece for Hero Complex Gallery recently really hard and it just wasn’t to snuff with what I usually do. I had great expectations and it fell short and it really bummed me out. Not only to be part of a great group, but for Adam who works hard to organize these events.

 

"The Neverending Story" by Paul Ainsworth

“The Neverending Story” by Paul Ainsworth

igotbirds: We saw you recently released a Poster based on “The Neverending Story“, which is a fabulous print, by the way. What other releases do you have in the pipeline? Is there a “dream” film you would love to design a poster for?

Paul Ainsworth: If I had the luxury of having all the time in the world and no worries of supporting my family with my day-to-day work, I would create works for titles like “InnerSpace”, “Backdraft”, “The Crow” and yeah…the list goes on. I love film and combining that with my love of illustrating and design is just fun. As far as other releases in the books, I have been invited by Gauntlet Gallery in San Francisco to join their show entitled “Daft Punk Deux” which was a huge success last year and I hope to bring something great to the table. Plus I’m a huge Daft Punk fan so that helps. I have one show with Hero Complex Gallery that I’m not sure if it has gone public yet, but I know the subject matter I’m going to be working on will be really fun. I’m not sure if I’m more excited about watching the movie a number of times, or doing the work. Either way, there are a number of gallery shows and who knows what else in store. Getting involved and continuously doing new work open doors all the time. I keep telling people when they don’t find opportunities that they have to create their own and something will definitely come of it.

 

"The Walking Dead" by Paul Ainsworth

“The Walking Dead” by Paul Ainsworth

 

Paul Ainsworth "Flight of The Navigator"

Paul Ainsworth “Flight of The Navigator”

 

Paul Ainsworth "Pacific Rim"

Paul Ainsworth “Pacific Rim”

 

Paul Ainsworth "Twenty-Four by Thirty-Six"

Paul Ainsworth “Twenty-Four by Thirty-Six”

 

igotbirds: Can you tell people where to find you online? Your Website, Twitter, Facebook…basically any area of the Web you want people to find you.

Paul Ainsworth:

Once again, we would like to thank Paul Ainsworth for taking the time out of his schedule to speak with us. Paul will be one of the many illustrators featured in Kevin Burke’s upcoming documentary “Twenty-Four By Thirty-Six“. Please be sure to click on the links in our interview and check out Paul’s work at www.paidesign.net!

A Conversation With Kevin Burke.

Twenty-Four By Thirty-Six

Twenty-Four By Thirty-Six

 

Kevin Burke

Kevin Burke

 

Very recently (as of yesterday, in fact) we had the opportunity to conduct an interview via email with none other than the Director of “Twenty-Four By Thirty-Six“, Kevin Burke. Kevin was gracious enough to take time out of his busy schedule in Toronto, Canada to answer the questions of self-proclaimed “Poster Art Fanboys”.

For those of you who are not regular visitors to the Blog, “Twenty-Four By Thirty-Six” is an upcoming film produced by Post No Joes Productions documenting the revival and increasing popularity of the illustrated poster art scene. Kevin, as the Director of the film, has had numerous interactions with Designers and Illustrators all over the world, and sat down to speak with us regarding the origins of the project and his love of illustrated film posters. Without further ado, I present to you A Conversation with Kevin Burke!

 

igotbirds: Kevin, tell us a little about yourself and your early life. Where you grew up, what kinds of things were you into as a youth?

Kevin Burke: I grew up in a medium-sized Canadian city right across the border from Detroit – Windsor, Ontario. I was into movies as far back as I can remember – not just the stories and the escapism, but the general movie-going experience. Which, back then, was very different than it is today. Movie theatres and video stores used to celebrate the movies, celebrate nostalgia for the art. There were murals in our local theatre of famous scenes from old westerns and paired portraits of golden age stars all over the walls. The local video stores were very much the same. My first job was in a locally owned video store and I loved it – no uniforms, no 2 for 1 candy upselling, no bullshit – just a bunch of people who loved the movies and wanted to be around them 24/7. Then that video store, and all the others in town were muscled out by Blockbuster and Rogers, and now video stores are all but dead entirely. The same culture shift happened with the cinemas though – they were all bought out or out-sold by multiplexes with 24 screens, coffee bars and arcades and synergistic, cross-promotional visa cards with movie points. It used to be about the movies, man. Talking about it now I feel kind of sad for kids who will never be able to experience that – because now it seems like it’s all about screaming commerce into everyone’s face, as loudly as possible, as soon as they open the multiplex doors. Alternatives are starting to pop up though. In Toronto we have The Royal Cinema, Underground Cinema and others. I’m happy that indie cinemas are making a comeback, at least in bigger cities. I hope it spreads.

 

igotbirds: How did you get interested/involved in the movie poster art scene?

Kevin Burke: When I was a kid I collected one-sheets. I used to get put on a waiting list at the cinema and video stores and they would call me when a poster came down out of a marquee. Then I’d beg my parents to drive me there, or I’d bike, to go and pick it up. My walls were covered with posters as a kid. I kind of drifted away from movie posters around the same time that posters started to stray away from illustration in favour of the cheaper, easier to market, photoshopped alternative. I’d love to say that I had the foresight to see that posters were becoming bland and that’s the reason I stopped collecting, but the truth is that I became a teenager, and like most teenagers I decided that I was way too cool for anything and everything. It was just good timing. Fast forward to 2010 when my fiancee buys me an Olly Moss “There Will be Blood” print from Mondo and I’m hooked again and led to question what happened to posters over those couple of decades.

There Will Be Blood - Olly Moss

There Will Be Blood – Olly Moss

 

igotbirds: What made you want to create a film about movie poster artists?

Kevin Burke: Being a collector, a filmmaker, and noticing that there’s this glaring hole where a movie about poster art should be. I had mulled around the idea for a little while and had settled on doing it after completing another project. Then one day, my fiancee (and co-producer) Andrea gets a call from this really awesome horror lecture series in Toronto called The Black Museum (Seriously, look them up. They’re incredible) and they ask her to do an academic lecture on the history of horror movie posters. Perfect, right? So, in talking about the evolution of the art she decides to talk a little about modern screenprints in the lecture – we get in touch with Gary Pullin, who everyone will tell you is one of the friendliest horror maniacs in the world, and ask to shoot an interview with him to include in the lecture. He says “Sure thing.”, we say “Rad!” and we shoot this great interview with one of our favourite artists. And that pretty much sealed the deal on moving forward with the film for me. I figured – if all of these people creating the art that I love are as cool and fun as Pullin then I’d be stupid not to move on this. And so far the poster art community has welcomed the film with open arms and been amazing to work with. I’ve made a lot of great friends.

Friday The 13th by Gary Pullin

Friday The 13th by Gary Pullin

igotbirds: Being a filmmaker, what aspects of the filmmaking process are most important to you in conveying the individual stories of the poster artists you have encountered during the making of “Twenty-Four by Thirty-Six”?

Kevin Burke: The most important thing, to me, is creating an insightful film about movie posters and how they’ve evolved. I also intend to try and answer the question of whether or not illustrated screenprints fill a void for fans left behind by studio key art straying away from illustration. A key component of this is, of course, the artists who create them. We intend to use interview footage with the artists, and insights from them, to tell the story. Now obviously we won’t be able to focus on everyone’s life story as much as we’d like (but if you can get me an audience with A&E to pitch a mini-series…ha), but we do want to explore what it’s like to live as an artist working in this industry. We want fans and viewers to have a human element to relate to, because no one wants to just see heads talking at them for 90 minutes. So we’re going to be placing a special focus on a select few artists, each at a different place in their career and personal life, and giving some insight into what it’s like to live as a poster artist. We’re also going to be doing some really rad compositing in order to bring some of these great illustrations to life with unique animation. We’re bringing our “A Game” to this flick.

 

igotbirds: On average, how much time do you get to spend interviewing the various artists for this film? What artists have been your favorite to interview so far and why?

Kevin Burke: Everyone is different, depending on the situation. I live in Toronto and I’ll likely have the opportunity to interview Phantom City Creative 2 or 3 times before the film is complete, so we may spend a great deal of time together. But during my first trip to Austin, one day we knocked out 5 interviews, back to back, over a span of 2 hours. I’ll be in Austin again next weekend to speak with Laurent Durieux – I plan to sit with him for an hour or so and just have a chat, whereas if we were shooting the interview at his home in Brussels we would be able to tour his collection, workspace, etc… like we have been able to with other artists. So, it’s always dependent on what we’re able to make work within everyone’s schedule and location. It’s a hugely ambitious project and we’re speaking with a ton of artists. We look to make the best out of every interview scenario. As far as favourites go – everyone has been really pleasant to interview. I’ve made a lot of really cool friends in putting this together. I just interviewed Matt Ryan Tobin and Paul Ainsworth this weekend and had a lot of fun. They’re both really funny dudes. I plan on drinking many beers with them before our Canadian soil thaws in the spring.

Kevin Burke with Paige Reynolds & Justin Erickson of Phantom City Creative

Kevin Burke with Paige Reynolds & Justin Erickson of Phantom City Creative

 

Kevin Burke with Matt Ryan Tobin

Kevin Burke with Matt Ryan Tobin

 

igotbirds: Who are your favorite poster artists to collect?

Kevin Burke: Yikes! There are so many. I love Ken Taylor’s stuff. I just scored one of his “Where the Wild Things Are” prints off of a Mondo drop, so I guess fate was on my side that day. I really love Tracie Ching’s stuff too, and I dig what she’s doing in Kickstarting print projects. I think that’s a really great way to get art projects off the ground. I snagged one of her “War of the Worlds” prints by supporting her campaign and I can’t wait for it to come in. Pullin, Phantom City and Jason Edmiston of course. The aforementioned Paul Ainsworth and Matt Ryan Tobin – what can I say? I’m not going to profess to be any kind of art critic, but I see both of these guys doing huge things over the next couple of years. I finally saw Paul’s “Back to the Future” print in person, for instance, and holy shit – no pic on the internet can do that thing justice. There really are too many favourites to name.

War of The Worlds by Tracie Ching

War of The Worlds by Tracie Ching

 

Halloween by Phantom City Creative

Halloween by Phantom City Creative

 

Die Hard by Matt Ryan Tobin

Die Hard by Matt Ryan Tobin

 

Paul Ainsworth "Back to The Future"

Paul Ainsworth “Back to The Future”

igotbirds: Can you give us a rundown of the equipment you’re using to produce this film? Camera equipment, mics, editing equipment, digital storage, etc…

Kevin Burke: Sure. I’m shooting on a Blackmagic Cinema Camera which gives me a ton of colour control in post, and the image quality is stunning. We use a couple of DSLRs and a Panasonic HMC-40 as back-ups. We run a Sennheiser ME66 shotgun mic into a Tascam DR-60 audio recorder for interviews, and mic the artists up with Sennheiser lavs when they’re giving us tours of their homes, workspaces, etc. I edit and do motion graphic compositing through Adobe Creative Suite on a 2013 iMac i7 and store footage on 12Tb of LaCie Thunderbolt drive(s). We’ve been shooting with steadicam gimbals, vests, dolly track, sliders, you name it. My favourite part of every shooting day is looking over the dailies. I’m very excited to really sit down to work on post in the summer/fall.

A Nightmare On Elm Street III:  Dream Warriors poster by Jason Edmiston

A Nightmare On Elm Street III: Dream Warriors poster by Jason Edmiston

igotbirds: Can you talk a little bit about Post No Joes Productions? Your role in the company, what you’re looking forward to produce next, etc…

Kevin Burke: Post No Joes actually began as a little comedy sketch video troupe that me and my friends Richard Chan and Vance Gillis put together after college. We would get together and have meetings about conceptualizing shorts, run writing exercises, shoot some ad libbed stuff. Anything that we could do to keep working on film related projects to get practice and stay current. Post No Joes ended up creating commercial ads, music videos and gigs of that sort for clients and last year we co-produced our first documentary feature which ended up being picked up by The Documentary Channel here in Canada. Richard is co-producing Twenty-Four by Thirty-Six and working as Assistant Director. He’s a very active member of Post No Joes and we work on everything together. Vance is now living in Montreal knocking people dead on the improv and sketch comedy circuit – and I’m going to keep hassling him to write a narrative comedy for Post No Joes to produce until one of us dies/kills of frustration. We have a lot of ideas in the pipe to follow Twenty-Four by Thirty-Six, but as it stands it is our primary and daily focus. I’d love to produce a doc about the elderly Japanese citizens who volunteered to clean up the wreckage after the Fukushima disaster knowing they would die. They volunteered their lives to save younger citizens. Those sorts of stories are always really touching to me. We’re also working on a short subject doc about “Le Nain Rouge”, the historical Detroit urban legend of the little red demon that has been sighted at disasters in the motor city. And yeah – narrative comedy and horror. One day.

Kevin Burke outdoors

Kevin Burke outdoors

 

Twenty-Four By Thirty-Six by Paul Ainsworth

Twenty-Four By Thirty-Six by Paul Ainsworth

 

We here at igotbirds.com would like to thank Kevin Burke for taking time to speak with us. You can follow Kevin on Twitter, as well as Post No Joes. Be sure to visit the links featured in our interview and be on the lookout for “Twenty-Four By Thirty-Six” in the Fall of 2014!

The Latest Posters From Ken Taylor

Ken Taylor has been a busy guy as of late. He has produced a number of new posters, including two for Pearl Jam. Ken explains his inspiration for the Pearl Jam Vancouver poster design in the following letter;

Pearl Jam poster by Ken Taylor

Pearl Jam poster by Ken Taylor

“Hey Dudes,

So the idea for this poster pretty much came together as a result of my first glance at the Lightning Bolt album cover. For some reason the first thing to pop into my head was ‘The Human Machine’.

After a few nights mulling it over as I lay in bed, the idea began to take shape. As my imagination began to wander this image came out the other end. I think the image does work well for the band and indeed the album’s ‘Lightning Bolt’ but at the end of the day I just wanted to create a balls out rock poster. As a result I think it’s the most fun I have had making one all year. Hope it shows!!

-Ken Taylor”

Pearl Jam poster by Ken Taylor

Pearl Jam poster by Ken Taylor

Ken also designed a poster for Pearl Jam’s tour stop in Ken’s hometown of Perth.

“Hey Folks,

So when I was asked to do the show poster for Pearl Jam in Perth I was stoked, as it’s the city I grew up in, and until my twenties, called home. One of the things I remember the most about summer in Perth, apart from the heat and the beach, was the Red Back Spider. Come summertime, my backyard as a kid was infested with them! Under all of the seats outside, on all the fences, even in your washing! Anyway, so that’s where the idea for this one came from. The lightning bolt was however, a new edition.

Cheers,

Ken”

Where The Wild Things Are poster by Ken Taylor

Where The Wild Things Are poster by Ken Taylor

Finally, Ken produced this poster for “Where The Wild Things Are” in collaboration with Mondo. Once again, his artistry makes this a highly sought after Mondo print.


Snow Day Edition!

Looks like today is a snow day around here, so I thought I would post some HUGE news! Recently, I was able to acquire not one but TWO Mondo posters! These are the first Mondo posters I have ever managed to get my hands on, and I have to say it’s pretty exciting.

I scored a copy of Ken Taylor’s “An American Werewolf in London” poster through Mitch Putnam’s Postersandtoys.com, and a copy of Daniel Danger’s “The Town” through Mondo itself. The wait to get both prints framed will kill me, as I want to hang them as soon as possible!

Ken Taylor-American Werewolf in London

Ken Taylor-American Werewolf in London

Daniel Danger - "The Town"

Daniel Danger – “The Town”

Ken Taylor, Australia’s Greatest Export!

Ken Taylor-Halloween

Ken Taylor-Halloween

Australia’s Ken Taylor is an amazing artist/designer. Taylor designs mostly for the Rock Music scene but has been designing Movie Posters for Mondo for a decent amount of time.

From Ken’s Website: “Melbourne based Illustrator & Designer Ken Taylor works primarily within the music industry and is predominantly well known for his striking rock posters. Ken started in Perth Western Australia doing posters and album artwork for local bands. In 2001 He moved to Melbourne and slowly started to create a name for himself within Melbourne’s music scene. In 2006 he went out on his own and started to work full time on music based artwork.

Ken has designed posters and album artwork for many Australian bands including You Am I & The Beasts of Bourbon & Crowded House. Internationally he has designed artwork for bands such Queens of the Stone Age, Metallica, Pearl Jam, Nine Inch Nails, Kings of Leon, Bob Dylan & The Rolling Stones. Over the past few years he has become very well known for his limited edition silkscreened movie posters, working through MONDO with some of the worlds biggest movie licenses. Ken has won the Desktop Create Award for Best illustration in both 2007 & 2009 and was a Guest Speaker at the 2009 AGIDEAS design conference, the 2011 Semi Permanent Creative Conference in both Melbourne and Perth and the 2012 Look Hear Conference in Newcastle. In 2012 he exhibited in Los Angles and then 2013 in Austin and was also part of SXSW Flatstock. Ken continues to work with bands both locally and internationally and is represented by Drawing Book.”

I’ve included a few pics in this Blog posting that showcase my favorite Ken Taylor artworks. Check them out!

Ken Taylor-American Werewolf in London

Ken Taylor-American Werewolf in London

Ken Taylor-Man of Steel

Ken Taylor-Man of Steel

Ken Taylor-Aliens

Ken Taylor-Aliens

Ken Taylor-Creature From The Black Lagoon

Ken Taylor-Creature From The Black Lagoon

Ken Taylor-Silence of The Lambs

Ken Taylor-Silence of The Lambs