Nirazilla
Gig Poster - All That Remains
Adobe Illustrator.
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I love All That Remains. They, along with Killswitch Engage, In Flames and Soilwork were among the easily accessible metal bands that I was introduced to and fell madly in love with during my four-year tenure through the hell the world knows to be high school. When I wasn't emo-ing out to City & Colour or superficially contemplating "subversive," music like Nine Inch Nails (I was a stupid kid, okay?), I was headbanging privately to the sweet, testosterone-infused hell yowling that makes up metalcore. And All That Remains led the way.
That being said,I didn't get this right at all. Somehow, I remained oblivious to the fact that they were coming to Columbus until a week before the show, which, as of this writing, happens next Tuesday. Consequently, I had to bang something out for them. Quickly. I couldn't let one of my nearest and dearest mainstream metallers leave my fair second city of Columbus without an offering. So I resorted to using something I hoped I'd never have to ; an old drawing.
This may not seem like an enormous deal, but it sort of is to me. I take a certain amount of pride in doing the best designs I can specifically for the bands I'm doing said designs for. This part of my practice had to be negated and it makes me slightly sad. It's a bit of a regression image-wise as well. For those of you who have loyally followed me for about a year (or who are un-lazy enough to peruse my archives) will find that this style (swept, masked out facial features, a heavy concern for anatomy culminating in stylized, physical agony) was pretty integral to me last year. My Derek Hess phase. I look back on those images without a shred of regret, but it feels a bit weird to have to resort to re-tracing a drawing I did almost a year ago. I even had to crop it to make the figure fit. You're not seeing the network of veins and sinew and muscle that make up the dude's arms. It's very blase compared to what it was and that hurts me even more. Not only did I effectively assign a once-beloved drawing the position of stock imagery. I also butchered it compositionally. Bleh.
On the other hand, I'm beginning to get a better handle on how I can incorporate textures and extra effects into the posters. No longer am I relegated to mere line art and clumsily-placed block type. I'm getting my ascenders right. I'm leaving some breathing room. I'm concerned with the graphic design elements more and more as time goes on. It's my hope that one day I'll be able to marry my illustrative abilities with improved design skills. But for now, this will do.
For now.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Gig Poster - All That Remains
Adobe Illustrator.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I love All That Remains. They, along with Killswitch Engage, In Flames and Soilwork were among the easily accessible metal bands that I was introduced to and fell madly in love with during my four-year tenure through the hell the world knows to be high school. When I wasn't emo-ing out to City & Colour or superficially contemplating "subversive," music like Nine Inch Nails (I was a stupid kid, okay?), I was headbanging privately to the sweet, testosterone-infused hell yowling that makes up metalcore. And All That Remains led the way.
That being said,I didn't get this right at all. Somehow, I remained oblivious to the fact that they were coming to Columbus until a week before the show, which, as of this writing, happens next Tuesday. Consequently, I had to bang something out for them. Quickly. I couldn't let one of my nearest and dearest mainstream metallers leave my fair second city of Columbus without an offering. So I resorted to using something I hoped I'd never have to ; an old drawing.
This may not seem like an enormous deal, but it sort of is to me. I take a certain amount of pride in doing the best designs I can specifically for the bands I'm doing said designs for. This part of my practice had to be negated and it makes me slightly sad. It's a bit of a regression image-wise as well. For those of you who have loyally followed me for about a year (or who are un-lazy enough to peruse my archives) will find that this style (swept, masked out facial features, a heavy concern for anatomy culminating in stylized, physical agony) was pretty integral to me last year. My Derek Hess phase. I look back on those images without a shred of regret, but it feels a bit weird to have to resort to re-tracing a drawing I did almost a year ago. I even had to crop it to make the figure fit. You're not seeing the network of veins and sinew and muscle that make up the dude's arms. It's very blase compared to what it was and that hurts me even more. Not only did I effectively assign a once-beloved drawing the position of stock imagery. I also butchered it compositionally. Bleh.
On the other hand, I'm beginning to get a better handle on how I can incorporate textures and extra effects into the posters. No longer am I relegated to mere line art and clumsily-placed block type. I'm getting my ascenders right. I'm leaving some breathing room. I'm concerned with the graphic design elements more and more as time goes on. It's my hope that one day I'll be able to marry my illustrative abilities with improved design skills. But for now, this will do.
For now.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .