Brad Albright (US)

First of all, a very Happy New Year to all of you dear readers. As you may have noticed, it's been a while since the last interview, but we will try, this year, to update the blog on more regular basis. If you have any artist in mind, silkscreening gigposters and who never have been interviewed here, please feel free to conatct me, I will be more than glad to discover new talents, as this guy we will talk with today: Please welcome, as our first guest for 2018, the very talented Brad Albright !!

Hello, of course as every Crewk interview, first question: what are we listening to when we come to visit you?

Great first question! Something heavy, definitely! Lately I've been rocking instrumental stuff like Animals As Leaders, Modern Day Babylon, Pomegranate Tiger... Djenty stuff with a lot of driving rhythm and syncopation gets my head nodding and my drawing arm moving. Other favorites are Nine Inch Nails, Intronaut, Meshuggah, stuff along those lines.

Can you tell us more about yourself, who are you, where are you from, what do you do?

I'm a freelance illustrator, gallery artist, and pop-culture product designer based in Dallas, TX.

When did you start drawing?

I've been drawing since I was little, but really caught my stride in graduate school for illustration. That's when my line-art style really solidified and I started experimenting with old-school 3D for red/blue glasses.

Did you follow any course or did you improve by drawing in the margins of your schoolbooks?

A little bit of both, really, but graduate school for illustration was where it all started to come together... how to merge the personal passion with a professional approach. And practice practice practice.

Today are you living from your art, or do you do something else for a living ?

I do work full-time as a product designer and occasional illustrator in my day job. But I also work constantly in nights and weekends pursuing my own work, gallery shows, and freelance illustration projects. All of it blends nicely together where it feels interconnected to support and inspire me to keep growing.

Are you collaborating with magazines/fanzines, regularly?

My clients are more often bands and apparel retailers, art collectors and fans. Not often publications, though I'd love to do it more.

Where does your influence come from? Is there any artists/graphists you particularly like, what are your influences?

The heavy music drives me more than anything... almost like synesthesia. But I'm also inspired by movies, comics, books, and other artists. Swiss scratchboard cartoonist Thomas Ott and underground comics master R. Crumb are my biggest artist influences, if I had to pick.

What are the principal steps in your work ?

These days I work almost entirely digital, start very loose with an almost blurry brush to explore compositions and concepts. Then I rework, refine, turn it upside down, and just sculpt at it until things start to feel right. Then I can enjoy locking down the shapes and going to town on shading and line work.

Do you do everything by hand or on computer?

Primarily computer these days, though I do love a good ballpoint pen on some cardstock.

How long does it take you to do a poster?

Anywhere from 10 to 30 hours, typically. It just depends how complex an image I'm building and if I'm struggling with anything along the way.

You have a very distinctive style, are you doing only what you feel like or if tomorrow somebody asks you an oil painting with horses running out of water with a sunset backdrop, is it a problem or are you up for it ?

For the most part I'm working on self-directed projects where the final product is what feels right to me. Thankfully I've been lucky to work with some really great bands who give me total freedom, and the outcome feels true to myself as well as the band and their music. While I COULD do an oil painting with horses running out of water with a sunset backdrop, it's not really what I'm best at and don't generally have to deviate from my own processes. I'm very lucky to have a recognizable style without really trying for it, and thankfully that's what clients are looking for when they ask to hire me.

For which band have you already worked for?

Some of my favorite gigs have been He Is Legend, Comedian Marc Maron, Intronaut, Guided By Voices, These Old Men They Play Records, Daylight Industries, Sealion, and The Black Moriah.

For which band would you love to work?

Way too many to list! But just off the top of my head... Primus, Queens of the Stone Age, Periphery, Animals as Leaders, Meshuggah, and The Sea in the Sky.

Do you choose the artists yourself?

Occasionally I'll reach out to bands directly if I really believe in their work and feel like it's a good fit. Other times it's a surprise or a happy accident that we get connected.

What is the most difficult part in designing a poster ?

The designing is the fun part, through and through! Especially when they give a lot of freedom to take their sound and translate it into visuals that make sense to me. The most difficult part is almost always the business end... pricing, tracking down payment, following up. All the administrative stuff.

Do you think you are part of a "Graphic Scene", if so who else ?

I consider myself a part of the Dallas scene, for sure. I have a lot of close friends and colleagues here and enjoy the scene in the Deep Ellum neighborhood. I'm supported by Kettle Art Gallery and they continue to be a really important outlet for me and the community.

A bit of self-promotion, take advantage of it, it's free, where can we see your work , on the web or in real life?

I'm on Instagram @bradalbright ... etsy.com/shop/albrightillustration ... Facebook.com/albrightillustration ... twitter @bradalbright ... http://teepublic.com/bradalbright ... and last but not least my personal website carries all of my work http://www.AlbrightIllustration.com

The best praise you received lately?

A customer reviewed a recent 3D poster saying "I think this is the best art print I own, so cool and so creative!!" That was very sweet and encouraging!

What can we wish you for the future?

I'm expanding into dimensional wall sculptures as well using lasers and wood... very excited to be making actual 3D art that is tactile and organic while still being designed digitally. It's an interested blend of disciplines that I'll be sharing in my etsy shop, in gallery shows, and soon in art festivals at my own tent.

Thanks for answering my questions and see you soon on the website !!

Plastic Flame Press (US)

Plastic Flame Press (US)

With bands such as Calexico or Toro y Moi on his 42 pages gigposters.com account, you'll guess that Christopher, the guy behind Plastic Flame press, is a talented and pretty buzy guy. This, already, should be enough to be welcomed on the site, but, thanx to his answers, he helped me discovering many other poster artists I never heard about since now. This is another reason why I really thank him for the time he took answering my questions !

 

Hello, of course as every Crewk interview, first question: what are we listening to when we come to visit you?

It depends, but it is most likely a podcast. Either: WTF, Tell 'Em Steve Dave, Smodcast, WDW Today or the WDW Radio Show. While printing I usually don't end up listening to music because I start paying way too much attention to it, rather than what I'm working on. If I'm drawing, I'll usually shuffle through stuff in iTunes until something feels right, but I'll hit my mix of Calexico and Pernice Brothers more often than not.

    Can you tell us more about yourself, who are you, where are you from, what do you do?

I'm a 32, almost 33, year old artist, musician, father of one (Seamus Grant). I'm originally from Fort Lauderdale, Florida, but grew up mostly in North Carolina. In addition to gigposters and such, I work as a graphic designer for a weekly paper. and play in a few bands, Maple Stave, Natural Gallerie and Heather Loves Silkworm!.

    When did you start drawing?

 Way, way back. The first thing I can remember drawing was a Transformer. I was sitting at my little table in our house in Florida and wanted one of my parents to get me a Transformer from my room. Rather than just get up and do it, or just describe it, I decided to draw it. Given where this was, I was around 4 or 5. I still have the drawing in a box, and it looks better than the Transformers I occasionally try to draw now. When I decided not to major in Art in college I ended up not really drawing anything, or doing much/any art for a few years. I came back to it my senior year thanks to a friend's senior level class I had stretched my final year to take; it was about graphic novels. Had I not taken that class I could have graduated early, and I probably wouldn't have spent the following decade working on art.

    Did you follow any course or did you improve by drawing in the margins of your schoolbooks?

I did the standard art classes in grade school, and was taking two at a time my senior year. I started out in art when I went to college, but a combination of things (immaturity,  being told that wanting to make 'gigposters' meant that I was 'undecided', etc.) meant that I dropped Art, and got a degree in English. I always wanted to believe I didn't need the fundamentals (I can't count how many times I drew a grayscale between middle school and college), but the fundamentals did help in some ways, for sure. Drawing in notebooks on my own definitely helped me practice, helped me explore creatively more, but the art classes helped me understand how to give things mass and perspective, things I'd have probably not learned if left to my own devices.

    Today are you living from your art, or do you do something else for a living ?

 I do pretty OK off art, but I work my graphic design job to make ends meet. Not ideal, but it keeps me focused.

    Are you collaborating with magazines/fanzines, regularly?

 I've done a decent amount of work for publications. Over the last seven years I've contributed a lot to Indy Week, the paper I now work for. I love doing gigposters, but it's fun to step out of that and do something more planned and intricate, and it also gives me more time to learning how to do digital work, something I completely ignored during my school years.

    Where does your influence come from? Is there any artists/graphists you particularly like, what are your influences?

For a long time, I kept my influences very narrow, but now I look all over and try to absorb things (putting a clear hint in my work from time to time if the influence, I feel, is really obvious). My son's picture books have helped, as have some of my old comic books I've started revisiting now that my son is eager to learn how to read. The poster stuff, I owe a lot to Ron Liberti and Casey Burns for helping me get started. From there, it's the Jay Ryans, Dan Grzecas, Little Friends, Mile 44s, the good, supportive people, that encourage people to make more art, rather than seeing it as a competition. Around here, in the last couple years, the poster thing has been growing, which has been great. Every couple months, some of us end up together, 'you did this? I wish I had done that, how'd you do this?' It's nice to have people at arms' length you can talk shop with. Skillet Gilmore, JT Lucchesi, Dantanamo, Brian Reed, I'm leaving people out, I realize, and I apologize. Outside of gigposters, for art, I cannot get enough Kirby and Darwyn Cooke, and the original camp of Disney Imagineers.

    What are the principal steps in your work ?

The steps, to me, from the outside, are pretty boring. After getting an assignment,I just sort of stumble into an idea. Depending on the time of day, I might sketch it in marker on the bathroom mirror. From there I start drawing it out, full size, usually discard that and start over from scratch. Other than that, it's pretty run of the mill. Separations, burning screens, etc., the boring stuff to make the thing happen.

    Do you do everything by hand or on computer?

For the posters and printwork, I do almost everything by hand. Occasionally, I'll use the computer for separations or a standard font, but probably 98% of my work has been by hand.

    How long does it take you to do a poster?

It depends, most of the time it will take a couple days to come up with something and print it, but, under the gun, I've made a print (conception, to finished run) in about half a day. Other times I've taken weeks to flesh something out. Usually, as the deadline looms closer, the ideas come quicker. This is probably why I don't do more art prints; no deadline.

    You have a very distinctive style, are you doing only what you feel like or if tomorrow somebody asks you an oil painting with horses running out of water with a sunset backdrop, is it a problem or are you up for it ?

I'd be up for it, but considering how bad I am with a) paint, and b) drawing horses, they might have a problem. 

    For which band have you already worked for?

I've done several things for friends' band over the last couple years, bands/people that I've met through a forum online, done a couple posters for the BBQs we end up having, that's probably been some of the most fun.

    For which band would you love to work?

It might be a cop out, but I'm down for just about anyone. There are bands that I used to wish to make posters for, but that's a lot of pressure, and, because of who I am, I'll never be happy with the end result. I did posters for Tortoise and Slint shows several years back, was thrilled to do them, and I can sit down and point out a dozen things I'm still not happy with or that I did entirely wrong.

    Do you choose the artists yourself?

With the venue I do the most work for, Cat's Cradle, I'll sometimes put my name in the hat for certain shows, but it's ultimately up to them. As for other work, 9 times out of 10 I'll make something work out, schedule-wise, regardless of the band.

    What is the most difficult part in designing a poster ?

Making something that the band will be happy with. It certainly doesn't always happen, but it's my main concern; something that is eye-catching, that the band will really like.

    Do you think you are part of a "Graphic Scene", if so who else ?

I'd say yes, nationally, internationally, there are people doing the same thing I'm doing, and it's clear that it's a 'thing.' Like I said before, on the local level there is a community of artists. More people: George Hage, Posterhound Family, Kitchen Island, all these people, and that's just within driving distance. Then you take that to Flatstock, you've got 50 artists, then to Renegade and you've a couple more. Gigposters.com isn't just a ragtag group of art misfits, it's evidence of this poster thing being a big deal, or a scene, or whatnot. 

    A bit of self-promotion, take advantage of it, it's free, where can we see your work , on the web or in real life?

Online, through my site, you can see all the stuff, though it is in a storefront thing: plasticflame.com. In person, I've got a lot of stuff at a gallery here in Raleigh, Amplified Art (amplifiedartgallery.com). They've got a pretty extensive collection of gigposters from all over.

    The best praise you received lately?

For the most part, I distance myself from any sort of praise, even in person. I'd rather have someone talk about the show, rather than the poster, because odds are I'll just tell them the poster isn't all that good. Is this healthy behavior, probably not, but it's how I get by.

    What can we wish you for the future?

I'd like to continue making posters. It's the goal I set for myself when I was a kid, seeing old Kozik and Chantry stuff in zines, and it's pretty cool that I grew up to do it. Eventually I know I'll stop for one reason or another, but I'd like to think I have a good number of years left before I'm used up.

Jeff LaChance (US)

Jeff LaChance (US)

The good thing with Jeff LaChance is that, when you try to learn more about him by, let's say, looking at his FB profile, you discover that he is "extremely shallow, uninteresting and short sighted". This said, you still can have a look at his work, far from being uninteresting ;), and even, take time to read the interview. Believe me, a guy who worked for AC/DC, Motley Crue and many other great names (incl. the Melvins) can't be totally short sighed :D Many thanx Jeff for your answers and your time !

Hello, of course as every Crewk interview, first question: what are we listening to when we come to visit you?

Over the past couple of days I've been all over the place. I've been listening to Foxy Shazam, Rush, Tester (local rock / metal band) Currently playing is "Life, Sex and Death - The Silent Majority"

Can you tell us more about yourself, who are you, where are you from, what do you do?

My name is Jeff LaChance, from Boston, Massachusetts and I'm a freelance illustrator / designer.

When did you start drawing?

I've been drawing, doodling since my memory came online sometime in the early 70's.

Did you follow any course or did you improve by drawing in the margins of your schoolbooks?

I did take "graphic communications" in high school but found it mundane...crumbling up a piece of paper and then drawing it bored me to tears. Being a fan of Ed "Big Daddy" Roth and Jim Phillips, I wanted to draw monsters, ghouls, and creeps. Looking back now of course, I certainly wished I'd taken the time and opportunity to learn things back then. I probably would've saved myself a lot of time and headaches "learning on the job".

Today are you living from your art, or do you do something else for a living ?

I do make my living doing art, and my main focus is illustration and tee shirt design.

Are you collaborating with magazines/fanzines, regularly?

I'm not working on a continuing basis with any one magazine, but I have done work for Revovler Magazine as well as Royal Flush Magazine. I've been published in several "rock art" books as well. Such as "The Art of Modern Rock", Pandameat - a Frank Kozik project, AC?DC: High Voltage Rock 'n' Roll: The Ultimate Illustrated History and "Gigposters - Volume One".

Where does your influence come from? Is there any artists/graphists you particularly like, what are your influences?

Ed "Big Daddy" Roth and the 80's skateboard art of Jim Phillips had a HUGE influence on me as a kid...always had a fascination with the monsters and creeps that were so prevalent in their work. I love TONS of artists...people like Frank Kozik and Jermaine Rogers' whose work in the 90's was very important to me, not in a style sense, but certainly in an influential sense...the catalyst to get me interested in doing gig posters.

What are the principal steps in your work ?

Concept is easily the most difficult step for me. If possible, visually, I look for something that suits the bands music or "vibe"...sometimes more successfully than others. I try not to use the opportunity just as a vehicle for "my work", in other words, I don't just slap some illustration I've done on a poster, add text and send it off. I try and put some thought into it...for each band. I consider it a privledge to be asked to do a poster...and I want to take that opportunity seriously.

Do you do everything by hand or on computer?

I use both. I usually do the illustration by hand, and use the computer for color and type. Although, I have done type by hand and I have done illustration digitally. Is that confusing enough?

I'm gonna go with my first answer. I use both.

How long does it take you to do a poster?

Usually a couple days...sometimes longer. Depending on how much detail I go into on the illustration. That is always the most time consuming part of any of my posters.

You have a very distinctive style, are you doing only what you feel like or if tomorrow somebody asks you an oil painting with horses running out of water with a sunset backdrop, is it a problem or are you up for it?

Hahaha, if someone asks me for an oil painting of a horse, they haven't seen my work. Although I experiment with different mediums in my free time, I stick to what I know best and the skill I've spent the most time honing, which is pen and ink. I'm always working to improve my art and my skills...and once I get to oil painting horses, I will add that to my list of services.

For which band have you already worked for?

Too many to list, but a few of the more popular bands I've done work for include Faith No More, Peeping Tom, KISS, Motley Crue, AC/DC, Fishbone, The Darkness, Melvins, Primus, Big Business, High on Fire, Buckethead, Queens of the Stone Age and The Sword.

For which band would you love to work?

Foo Fighters, Foo Fighters, Foo Fighters, Foo Fighters,...being a drummer as well as a working artist, I am an unapologetic uber fan of anything Dave Grohl.

also Cheap Trick, Foxy Shazam, Rush...I'm sure there are many more...but those are off the top of my head.

Do you choose the artists yourself?

I am usually contacted by the venue or promoter, things have changed a great deal from when I began doing gig posters. Things are far more structured now, with alot of bands going through promoters or sticking with designers or design houses that have done work for them in the past.

What is the most difficult part in designing a poster ?

Concept, concept concept.

.....usually.

Do you think you are part of a "Graphic Scene", if so who else ?

I don't think I'm part of the "current" graphic scene at all...and that's not necessarily a "bad thing". I think there are trappings with being associated with a scene or a movement. Restrictions or expectations, real or imagined...by others or yourself. Almost similar to when a musician is successful with a certain sound or song...the record company or fan base expect the same thing because THAT is what made them popular....

So I'm OK with just doing what I want...and letting other people figure out what scene I belong to or what category I belong in.

A bit of self-promotion, take advantage of it, it's free, where can we see your work , on the web or in real life?

https://www.etsy.com/your/listings?ref=si_your_shop

https://www.facebook.com/media/set/?set=a.461735586048.237491.702386048&type=3

The best praise you received lately?

Any time someone buys a poster, or an art print or inquires about having me do work for them, I consider that "praise"...to have people interested in what I draw was always a dream for me when I was young...so it's kind of cool.

What can we wish you for the future?

I'm a bit simplistic in my expectations and goals. As long as I can eek out a living doing what I love, I'll be happy. So you can wish for me to continue to find work and people interested in me doing work for them. If I were to get lofty with my goals, I'd love to get into toy design, as well as have my artwork appear on more magazines, skateboards and snowboards.

Dumbgun (Derek Landers) (US)

Dumbgun (Derek Landers) (US)

Absolutly no valid reason why it took me close to one month to have this online, so, all my apologizes to Derek for the delay, this must, by no mean,be interpreted as a judgement on his work! All the contrary indeed, I really love his posters and want to take this opportunity to thanx him for having answered our questions !

Hello, of course as every Crewk interview, first question: what are we listening to when we come to visit you?
A. The Camaros, Absolute Monarchs, My Morning Jacket, Mayer Hawthorne, Fiona Apple, Wilco, My Goodness, Pearl Jam, Soundgarden, Tool, Avett Brothers, Norah Jones.

Can you tell us more about yourself, who are you, where are you from, what do you do?
A. We're both from Spokane, WA and met in college while both pursuing a Graphic Design degree. We're still working in the field of design and also doing a little filmmaking from time to time.

When did you start drawing?
A. We both were into art as kids and kept it going long enough to join forces in college.

Did you follow any course or did you improve by drawing in the margins of your schoolbooks?
A. Even before college we were interested in art and just doing things the way we thought it looked best. Derek spent a lot of time as a kid drawing Star Wars space battles and KISS concerts. Trevor spent even more time drawing plus also making 8mm movies.

Today are you living from your art, or do you do something else for a living ?
A. We're living for our poster art, but not from it. We both have full-time design jobs (and then some) to help pay the bills.

Are you collaborating with magazines/fanzines, regularly?
A. Artwork for book covers is something we'd like to explore and also editorial illustrations. We've done regular work creating posters for a local landmark movie theatre.

Where does your influence come from? Is there any artists/graphists you particularly like, what are your influences?
A. It's hard to determine exactly where the influences come from as they've been occurring all of our lives. There are the obvious ones like Saul Bass or Ralph McQuarrie, but then there is such a massive amount of great design in our world today that it's almost impossible to identify.

What are the principal steps in your work?
A. We have tons of notes and sketches littering our desks (and our brains) and we start there. Then we start to brainstorm at least 3 solid ideas and then we divide them and go work them up. Once we have something we're ready to show the band we'll critique the ideas.

Do you do everything by hand or on computer?
A. We do both. We like to use a lot of tools just to keep things interesting. Some of the art is the actual sketch with little modification and other times the sketches serve as a guide for the work done on the computer. Lately we've been doing more sketching on the iPad and we're able to work on it just about anywhere.

How long does it take you to do a poster?
A. The fastest we've turned one was about 4 hours (from approved concept to finish) and the longest was at least a few solid weeks from concept to final art with a whole lot of tweaking (and stress) in between.

You have a very distinctive style, are you doing only what you feel like or if tomorrow somebody asks you an oil painting with horses running out of water with a sunset backdrop, is it a problem or are you up for it ?
A. We'd like to think that people are coming to us because of our style which is driven by our concepts. Oil painting is not a medium we're comfortable with and we'd probably have to pass on something like that simply because it wouldn't be our best work and that's not fair to us or the client. However, if they were willing to let us tackle the idea in our own way we're always up for a challenge.

For which band have you already worked for?
A. My Morning Jacket, Wilco, Pearl Jam, and Mike McCready.

For which band would you love to work?
A. Ted Leo, Jack White, Norah Jones, My Goodness, Avett Brothers, Louis CK, Radiohead, and many more.

Do you choose the artists yourself?
A. Yes. We typically only work on art for bands that we like and we'll approach them about doing some work. We've made some great relationships that should keep us doing artwork with our favorites.

What is the most difficult part in designing a poster ?
A. Being satisfied that it's done and it not only meets your expectations but also the clients.

Do you think you are part of a “Graphic Scene”, if so who else ?
A. The “Gig Poster” scene is so diverse and there's something out there to appeal to every taste. There are plenty of artists that we admire (Spike Press, The Heads of State, Olly Moss, Ames Bros, Brad Klausen, to name a few) and are honored to be working for some of the same bands as they are, but it's amazing to stop and think about how many other artists are out there that we haven't heard of…yet.

A bit of self-promotion, take advantage of it, it's free, where can we see your work , on the web or in real life?
A. You can see our posters and some other art at www.dumbgun.com

The best praise you received lately?
A. Being asked by My Morning Jacket to design artwork for their “Spontaneous Curation Series” tour.

What can we wish you for the future?
A. More gig work, and some opportunities to do book covers, editorial illustrations, and even get back to designing and printing t-shirts which is how we got started.

Reuben Rude (US)

Reuben Rude (US)

I think I already told you how much I was admiring the work they're doing at IPRA, I, once again, have to thanks them for making me discover the work of Reuben Rude! Few artists can pay tribute to Rick Griffins with the same respect and talent Reuben showed with his Carlton Melton poster. The only advice I can give you is to keep an eye on this guy, sooner or later you will not regret it !

Hello, of course as every Crewk interview, first question: what are we listening to when we come to visit you?

Carlton Melton or Dinosaur Jr.

Can you tell us more about yourself, who are you, where are you from, what do you do?

My name is Reuben Rude. I am from San Francisco. I get up in the morning, get my kids off to school, drink about 5 cups of coffee and jump on my drawing board or computer.  I pound away at various art projects, both commercial and personal, for somewhere between 8 and 16 hours, get my kids in bed and hit the sack...next day, same thing.

When did you start drawing?

I started drawing earlier than I can remember; both my parents were artists, and drawing was encouraged in the home.

Did you follow any course or did you improve by drawing in the margins of your schoolbooks?

I went to art school at The Academy of Art University in San Francisco...but I have been known to doodle in schoolbooks, and not just in the margins.

Today are you living from your art, or do you do something else for a living ?

I barely eke out a living as an artist.

Are you collaborating with magazines/fanzines, regularly?

Not much.

Where does your influence come from? Is there any artists/graphists you particularly like, what are your

influences?

There are way too many to name, but my last couple of posters were heavily influenced by Rick Griffin...my influences change all the time.  I also want to state here that Robert Crumb is a straight up fucking genius.

What are the principal steps in your work ?

1. Think about it.

2. Make it.

3. Sell it

4. Repeat

Do you do everything by hand or on computer?

I use both traditional and digital methods.

How long does it take you to do a poster?

 Somewhere between a couple of days and a week.

You have a very distinctive style, are you doing only what you feel like or if tomorrow somebody asks you an oil painting with horses running out of water with a sunset backdrop, is it a problem or are you up for it ?

I make my living as a commercial artist, so if you've got the money, I'll paint those horses...I'll add a viking and some crystal dolphins if you want.

For which band have you already worked for?

Carlton Melton, The Avengers, Primus, Jonathan Richman, and a few more.

For which band would you love to work?

Dinosaur Jr....you reading this, Mr. Mascis?

Do you choose the artists yourself?

They choose me, if I'm lucky.

What is the most difficult part in designing a poster ?

Making sure that is is ready to print technically...the colors are right, the separations are properly trapped..there's a lot of details that need to be taken care of and it can be a bit nerve wracking, especially if you're super tired at the end of making a poster.

Do you think you are part of a "Graphic Scene", if so who else ?

I am not part of a scene.

A bit of self-promotion, take advantage of it, it's free, where can we see your work , on the web or in real life?

I sell posters at: http://reubenrude.bigcartel.com/

I sell paintings paintings at Fabric8 in San Francisco.

The best praise you received lately?

Zoltron loves me.

What can we wish you for the future?

Just want to stay above ground for as long as I can.

Thanks for answering my questions and see you soon on the website !!