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The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl) download full album zip cd mp3 vinyl flac

Download The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl)

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Learn more about giving to the Libraries. Use the search function in your web-browser to find specific titles. I'm rolling a big donut and this snake wearing a vest I decided that I really wanted to create posters that were unexpected from me.

Posters not shadowed in black, blood and horror. Like always, I tried to choose titles that I hadnt seen many alternative posters for. I personally believe the entire adventure Pee-Wee experiences is all in his head.

It's that of a dream or perhaps the daydream of a young child whos parents This film had so many iconic moments and nostalgic moments.

I really wanted to do my best to tasetfully include as many of those as possible and really pay it forward to long-time fans of the PWBA. The composition reading as a cooky, fun, over-the-top roadmap that takes you on that adventure as well. Where usually I like giving less to a viewer and leave room for interpretation, I wanted to put every egg in this basket and make something fellow fans of the film would hopefully love.

Striking that childhood nostalgia chord at every twist and turn. Thats all I have to say about that. How do I get through one night without you If I had to live without you What kinda life would that be Oh I need you in my arms, need you to hold You are my world, my heart, my soul. If you ever leave Baby you would take away Everything good in my life And tell me now.

How do I live without you? I want to know How do I breathe without you? Without you There would be no sun in my sky There would be no love in my life There'd be no world left for me. If you ever leave Baby you would take away Everything real in my life And tell me now. If you ever leave Baby you would take away everything Need you with me Baby don't you know that you are Everything good in my life. How do I live without you, baby? When I approached this project, I knew I wanted the overall theme of the artwork to be very atmospheric.

I wanted to put you IN the realm of Hellraiser. I wanted it to feel cold and steril like a hospital. Souless and very, VERY dark. I wanted to portray Pinhead more as a prisoner of his own damning. A tinge of melancholy beneath his evil, emotionless stare. His chains being just as much a part of his own personal Hell, as they are for those that fall victim to them.

Online only. October 20th, 8. And, if I scratch the surface, they'll be something terrible underneath. So when Mad Duck reached out to me to do a poster for it, I said yes without hesitation I really wanted to capture the era of the 's and especially the look of 's poster art itself but I also wanted to create something elegant, statuesque and upon closer look For those who have seen the film can probably understand what the relevance of this piece is to the film and what it suggests; both on the surface and beneath the surface.

For those who have not seen the film Its a trip. They kill the weak ones. You fought for your life, Jane. And now you get to walk away with it. I found it while digging for quotes for this write-up after the fact and couldnt even remember it being spoken. This is in my top posters Ive ever created. I was given a screener of the film to help me come up with a concept but it was simply just watching the trailer previously that inspired this poster.

When it comes to creating film posters I always try to look for another angle. Something to give the on-looker to dissect, layers to peel back, to tell a story in one image.

Something hidden. This is one I will be chasing for a long time, I think. Do yourself a huge favor and watch this incredible film. Watch it HERE. With the horns, and the tail and all that. But that is Satan's lie to distract us from the reality of who he is. He's no mask in a Halloween store, he's not what you see in the movies. This score is what I imagine would playing during the apocalypse. Which is weird for a couple of reasons: 1. White Snake isnt that heavy 2. I couldnt name you a single White Snake song.

Its the most authentic sound of impending doom I can imagine. I'm usually drawn towards posters that dont have too many pre-existing pieces of print work under their belt. I see this all the time with a handful of properties and I'll say; thats a huge reason behind why I dont tackle some really popular titles. I knew of Ken Taylors beautiful subway poster as well as Olly Moss' effectively awesome and simple, almost 's-european-onesheet-tribute-zeitgeist poster.

I wanted to more or less capture a wet, rainy classic London setting is there any other? I love the look of the Shaftesbury Memorial Fountain and wanted to subtly illustrate the famous Rick Baker Werewolf into the fountain itself, so at first glance perhaps you dont even see it. Just some ornate aspect to the fountain. Originally my idea was to keep the wolf even more hideen and smaller in scale, then I hit the "fuck it" button. I also wanted the poster to sort of trick the eye into almost thinking its an 's period piece in its look and rendering of the fountain but then have the glow of tacky retro neon signage The upward perspective of this piece was the most challenging.

Architecture always is for me, especially when its not straight-on. Specifically speaking, recreating the lit up Phillips and FujiFilm signs with the correct perspective was tough but I think they turned out! Originally the warm-toned version was the reg. Rob Jones at Mondo and I came to a decision of going with a more patriotic palette for the reg and the more reto, sun-bleached-black-brown color palette for the variant. I'm a sucker for warm tones and I really felt that while the cold palette of the reg was much more vibrant and fresh, the variant looked "of the era" the film was made.

Where the fuck do I sign?! I saw The Gate way too late in life. Early 20's maybe. But had I seen it younger it would've sat nice and cozy on that shelf with Little Monsters, Monster Squad and Goonies. As a kid I could've related to Terry on many The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl) Even though Terry isn't meant to be our main protagonist The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl) the film, he very much is. He's a kid with some demons no pun intended and is more or less misunderstood.

He embodies a lot of us who as kids kind of pushed against the current a bit whether we chose to or not So fuck it. I put Terry on the poster, clad in his studded vest, LP in hand, 10 years old or so and metal as fuck.

Afraid I'd never come over without being invited first? I love this film. This is one of those titles that was a challenge to do for many reasons. One being that the original one-sheet is so gorgeous and really captures the essence of the film. Before being pitched the title by HCG, It was actually a concept I had considered using for a couple of different titles because it could be adjusted only slightly to really work for a number of films The 'Burbs was one of the early incarnations I had come to mind.

However, the sleek and stylish and sexy feel and look of Fright Night screamed for this concept and Im happy I married the two. It's also common for me to come up with a concept and from idea to fleshing out of that idea, much usually changes - but this poster stayed pretty true to my initial sketch. I think the house was originally much smaller in scale to the apple and more in-line of where Jerry would take his next bite but I opted to enlarge the house and actually fit Charley in, peering out the window with his makeshift stake.

I found the balance of Charley's size and his hilariously inadequate weapon by comparison to the looming threat, really funny and suiting to his unbeknownst demeanour. Don't skimp on the meat. I've got a real good eye for prime meat. Runs in the family.

I had the concept in my head for a couple of years and really wanted to bring it to fruition finally. The original TCM film has seen its share of alternative posters and attributed artwork but I found its sequel didnt have much to offer in that department. That being said, the concept of integrating the map of Texas in some clever and original way is nothing new for TCM - however I felt I had something to say with this specific composition The idea of stitching together chunks of the characters faces as if to knit some type of patriotic-skin-quilt meets kids-theme-park-brochure-map seemed totally fitting for this outlandish and bizarre film; being that most of it actually takes place in a run down amusement park.

When the poster was more or less finished, standing back I saw a large chunk of meat. It only seemed fitting that for the variant we actually make it look as if its a slab of fresh bloody meat nesting on some butcher packing paper. I absolutely love the contrast between the two versions. Always nailing my very particular color choices.

It was always the plan to make two posters that could stand on their own but also work in a set. I deliberately wanted these posters to feel "electric" in my lines, and over all style of rendering.

It was a challenge emulating a style of drawing I hadnt visited in a over almost 2 years 2 Years I love this film with my whole heart. I really have these films to thank for inspiring a young kid to create. Preston and Ted Theodore Logan. This is my favourite film of all time. It set the path for pretty much everything I'd do in my young adult life. It was responsible for inspiring me to pick up a guitar and learn how to play which lead to a pretty successful life playing in a pretty successful band that took me across the world and back again and even to the billboard charts.

Which in turn, exposed my design work to larger bands we toured with to even bigger bands and brands and landed me in one of the greatest jobs on the planet. No pressure right? This is the longest I have ever spent on single poster.

About a year. I was way too close to it. So many failed composition attempts and ideas that didnt gel and endless accosting of my artistic peers for advice. A lot of pressure to make something striking and fun but not overly fan-serviced.

After much sweat and anxiety and hair lost I decided to hit The "Fuck It" Button and make the most ridiculous and out-there-jam-packed poster I could. Coming from a guy who tends to prefer and lean on more simplistic and conceptual approaches this was a big jump It had to work for both movies side by side but it also had to be cool and interesting.

I didnt want it to lack structure. Thats where the crossed flying V guitars came into play. Helped create pockets for imagery and kept things symmetrical. That was the hardest part to nail down. Somewhat symbolizing their complete obliviousness and that crushing sort of pressure to write the song that saves the world Once that was sorted out it was a matter of fitting in certain elements tastefully.

I started to see why the original one sheet was Bill, Ted and Death against a white background; It's impossible to tell this films outlandish, crazy, most excellent story in a single The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl). I guess thats what I tried to do. The thing is; I still think if you hadnt seen the film, perhaps a poster this outrageous just might make you want to. I saw this film a little later in life and ever since Ive been left wondering how I missed it.

Its encapsulates 90's suburbia so well and in an era of bright, colorful family comedies - someone had to come along with the cajones to take the piss right out of it. John Waters did just that. I read a lot about the film and Kathleen Turner wasnt even the the first choice or one of the firsts for the role of Beverly Sutphin.

Which is fucking crazy because I cant picture a single woman who couldve pulled off this kooky role other than her. I struggled with this one a bit in the beginning as I think I really tried to look too deep into the film to create some kind of overly-clever tongue-in-cheek composition. I not soon enough realized it was better to take the more straight forward approach. I think it really works. Most of this films heart is right on its sleeve out in the open.

No sense in making an over complicated poster. Amends and atonement. That's life, right? Well, this next one is for you. All you lost souls racing down that long road to redemption and all you sinners running from your past but heading straight into that pit of darkness up ahead. We're all on the same endless highway Well, they're going to try to stop you but you gotta say "fuck it" and keep moving.

Because this is your highway. And tonight might just be the night you finally outrun those wicked demons once and for all.

And I'll be right here with you, making sure you get where you're going. Just one of those projects where it immediately inspires you. Its just fitting. It was suggested to me, one of the short films within to focus the artwork on and that I did.

I was really stoked to work in this first-person POV for the gatefold. It made sense to focus on the trucks dashboard and radio as well, being that this is the score to the film and the radio ties every story together. Working with those glowing dash lights was fun. Great Film. Great Score. Really Fun project.

I chose to design this specifically with the perespective of a child in mind. From the exagerrated scale of the limbs and forms of the characters to the over all dark visual feel.

I took the palette from the bar scene, The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl). The low lit glowing red lighting, probaly pulled from tacky 80s bar signage on the walls. It still feels festive though as we cant forget Gremlins is a Christmas film. The idea crossed my mind of a "snow-sprinkled" variant.

Could've been cool maybe possibly perhaps. I love it so much in fact, that the artwork permanently graces my upper right arm. There was an immense amount of pressure to do this film justice. Not only did it birth my favorite horror poster of all time but its also my favorite horror film and franchise The thing about this film and the legacy of Freddy is that the films offer so much visual eye-candy.

There is so much to play around with and in a world full of surrealism and darkness and almost whimsicalness Dreams can be anything and nothing is linear or clear. I had this concept in my head for a very long time and had the sketch kicking around the boiler room for a while.

I wanted to hold back on tackling it until the time was right and Im glad I did. Canada is so deprived of this kind of awesomeness I personally wanted to capture the suburban quiet calm night. The clean and oh-so-perfect little white-picket fenced street. It was inspired by Tina's nightmare scene in which Freddy's arms grow and stretch and reach out beyond human means.

This is really the first time you really learn of Freddys ability to bend his dream world to do whatever he wants. This composition isnt new by any means. A character looming over top of a disjointed landscape IS something familiar but I wanted to expand on that idea. I wanted Freddy to actually be interacting with the landscape.

Freddy's arms reaching and stretching and coiling around the houses on Elm St. In and out of bedroom windows like a snake. Both houses on the left and right being Tina and Glen's houses specifically.

Thanks Wes, for the inspiration and the nightmares. While It seems many people have grown to admire it for the jewel it is as I do - I'd have to say there is an equal amount who oppose it. Those people are stupid dummies. Anywho this isnt for the film. This is for the sequel. I wasnt given anything much on the film other then the trailer and the words of a well-trusted source: " Its really fucking great.

True to the first film. The circle of branches on our front cover symbolizing the infinite circles our characters find themselves walking in again and again and again. These are not their woods. Lost in the dark and evil wood. The score itself is so haunting. Extremely dark and ominous and brooding. Its more the soundtrack of nightmares.

Unnerving and unsettling sounds and tones. Much akin to the worst sounds you could imagine hearing being lost in those cursed woods. Its brilliant. When he comes at ya, doesn't seem to be livin'.

Until he bites ya and those black eyes roll over white. Then anxiety bludgeoned me upside the head. Aside from a film which has one of the most iconic posters beautifully created by Roger Kastel - the film also has hundreds of existing pieces of artwork by some incredible artists. How could I differ from what exists? How can I capture this film without using the same imagery thats been used before?

How can I make this mine? I didnt want to reference a person, or the boat in size comparison to "Bruce" but I wanted to capture size. I wanted to capture menace and I didnt want there to be a lick of blue or an oceanic palette. I opted to focus on his black eye, paying homage to Quints famous speech noted above. This had to be the darkest I could make it I decided I was going to make Bruce literally too big to fit on the The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl).

But there had to be a clever element included. After rewatching the film a few times - I noticed the changing tents on the beach resembled shark's teeth. That was it. I made Bruce's entire mouth a beach setting.

The Variant would depict a blood red sky and the water rushing up onto the shore would also glow red like blood running up the shark's gums and teeth. Oh there's also a fin in the eye's shine. Maybe overkill on the visual metaphors They were looking to release limited edition screen prints to coincide with the release of their premium format Freddy Krueger, Jason Voorhees and Leatherface figures. I believe this was their first time doing screen printed posters as up until this point they were doing giclee prints.

They mentioned how there would be 3 and wanted them to all visually appeal as a set. We came to the decision it would be cool to keep them portraits of the slashers up close and highlight their respective "weapons".

So I wanted to create a stark contrast between the characters faces and their weapons with a sharp red and metallic silver ink palette. Wouldve been awesome but alas the shining metal of their weapons against the sharp red faces was still very striking and we were both happy with it. The studios aren't hiring illustrators anymore The fans have taken it upon themselves One they could use for perks in their campaigna nd for promotion.

Thats pretty great in itself! But then he asked me if I would like to partake in the film Kevin poured his heart and soul into documenting the importance of the film poster.

It was years of travelling and interviews and conventions and so on and so forth. He spared every ounce of energy he could for this film - and it shows. I was lucky enough to tag along for a lot of the production and filming of the movie and got to see it all come together first hand.

It was pretty incredible. Its a wonderful film through and through. I owe Kevin a lot for reaching out to me when I was barely even on the scene and giving me the platform to show my work. Had Kevin maybe done things differently and not given me that opportunity, I imagine things would have turned out a lot differently for me.

I believe this film helped a lot of the artists involved out. Such an amazing thing. Now that the film was ready for wide release and distro, Kevin reached out to me again to do the official theatrical poster. This was such a daunting task. One I felt needed something bigger than myself alone could muster.

Lets get several artists to collaborate. It wasnt! Assigned them their area, agreed on some famous film tropes and everyone just did their thing. I fucking love this poster and how it came together and what it represents. I dont think we could've done a better movie poster for a movie about movie posters. I'll hurt you if you stay. It really was a lot of fun. What I knew going into creating this poster for the good folks at GMA was that I didnt want the poster to feature an actual fly or the teleportation machine.

I have always found the film to be more heartbreaking than anything else. I wanted to show that love fought hard even amidst all the grotesqueries; insect bile and all. It is brilliant though in its ability to put you in this horrible, dark, seedy world that somehow feels all too real. Michael Rooker has such a way about him. His face, all though emotionally vacant throughout the film, shows us a darkness that exists in the underbelly of some. He makes it believeable that someone could be this empty, dark and violent.

Without motive or thought or fear of consequence, Henry is a terrifying force in that he is real. With this poster I just wanted to show that face, shadowed, veiled and crooked. MAde up of broken shards. We know nothing of Henry but what we're shown and told.

So thats all I gave you. When they pitched the vibe they were thinking it was heavily influenced by my poster for Suspiria; that mixed with several other ideas and themes. Films to which I had never seen, so it was a bit challenging at first. Sounds complicated, right? It was a very layered and subliminal brief I was given. Other screens x-ray her insides; some kind of nesting parasites in her body developing as a result.

It was a thinker. Made sense. We landed upon this which I think turned out pretty cool in the end. Its far different and darker than any of the previous excellently executed MonsterFest posters which makes me kind of proud. It will not consume us. It felt like a love letter to true horror fans and film fans alike.

Its my kind of film in every way. Aesthetically and sonically this film somehow captures emotion, deprivation, helplessness and compassion as well as pure real unadulterated terror. It makes you feel something real, which cant be argued is scattering in modern horror films. I wanted to use the films palette and imagery to create something that complimented the film rather than imposing my own interpretation.

I went with "less is more" here. Foreboding evil. Its not just a horror movie You're going to meet death now Dario Argento knows a thing or two. This film was honestly one which I had little knowledge of. I had remembered watching it years back and although it hadnt been a go-to of mine - rewatching it for this poster reminded me why this film is so adored and revered and all in all important to horror cinema.

Its a beautiful film with rich, deep, saturated colors and striking visuals. It really is a work of art. If there was anything I wanted to create with a poster was something that tipped its hat in homage to the overall color palette of the film. I wanted to harness those bright pinks and greens and create a somewhat gothic victorian piece. Once I read the title my brain immediately became flooded with ideas, as such a film is so visually stunning - it allows for many creative avenues to be explored.

This concept came to me almost right off the bat. It's such a great example of that. The film does an amazing job at capturing beauty and darkness and it was my goal to show that in this poster. I wanted to make something that looked elegant on the surface but upon looking deeper there lied something crooked and dark and disjointed, literally. Thats all I will say about that. Samuel Loomis SOLD OUT Halloween is an all-time favorite film of mine and for this print I wanted to create something that had the feeling of a film poster as well as The Travel - The Man Behind The Screen - Cosmic Starflight (Vinyl) of a minimalist art demo-vibe but with a hint of menace.

An unforseen looming kind of danger the film emits. I also really wanted to feature Laurie Jamie Lee Curtis at the helm of the piece, for a change. She's an important character to the film and to be honest, the entire horror genre. But I've been twelve for a long time. You wait 'till mom finds out, buddy! It had to be unique though. With Twin Peaks being as iconic as it is and as cemented into pop culture as it is - its easy to find references in art and pop culture scattered everywhere.

The imagery is pretty identifiable and I wanted to create something completely different at first. Then I realized we recognize that imagery because its fucking awesome. It sticks. It resonates. That being said, I took existing themes and vibes from the show and worked it into a bit of an abstract composition.

I still wanted something unique. I won't bother explaining the method to my madness with this one. Interpret it how one will. I was so pleased when the folks at HCG saw something awesome in the artwork and wanted to collaborate on its release and bring it to life with me. It always a blast working with them. Now, I've gotta go - got a cherry pie in the oven! Ever since I was approached to tackle H3 - I was pretty excited. It was a horror movie that had a lot of sci-fi elements to it.

I was really looking forward to making a poster for a horror movie that wasnt necessarily horrific in the obvious sense looking. My original concept was more scenic and simple, less abstract and when I went pencil to paper with the preliminary sketch for this - it just made sense to make something a little less conventional for a movie thats I knew from the get-go the color palette I wanted.

Thats one for sure thing. Once the pencil sketch was laid out - I actually didnt stray too far from it. Less precise in shading and what not. This is a fun print and the glow factor I think makes this even cooler. So happy with how it came out. I was privately commissioned to do this poster for a group of collectors.

When it came to a concept - I was actually hesitant. How do I sum up this film thats so full of content and characters and bad-assery in one image that doesnt have me resorting to a collage of heads and faces. I wanted to stick Salma right at the top from the start that was one thing. Slowly the image came together and the appearance of a cross was actually not intended. It just came together that way. Happy accidents, I guess! So much sexy, sweaty, action-packed fun.

I really tried to encapsulate all of those Rodriguez attributes and vibes into this poster. Without getting to collage-y with it - I wanted to still give it a strong conceptual feel yet keeping it feeling like an action flick poster. Its a hot palette that seems to suit every film he ever made.

I love it. This was one of the few posters that didnt change much from preliminary outline to completion.


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