Cover Testing

Constantly tweaking the font cover to make sure the correct corruption yet glorification comes across effectively enough. The large (to be more easily distinguished as the final version) picture below is the final cover version.  I liked the way my signature came across on my sketchbook so I replicated the same handwritten style (After a couple of tries), drawn on thick POSCA pen line on a black sketchbook sleeve and then inverted and put through a threshold. The pizza at the bottom is a sample from my ‘Sleepless IV’ digital painting and is re-edited into a form where American TV Chef, “Guy Fieri”is almost in a fetishized manner, pouring ketchup on-top the feet of Pamela Anderson and two-consecutive pizzas… Absolute Pure-Blooded-American-Media-Fueled -Carnage. I cornered off the bottom of the image with the same sky sample so that it would retain more visual control under the intense heat of Guy Fieri’s Ketchup drooling disembodied collage form. I shared some of these variations with my peers and my brother just to create a wider agreement (I am admittedly guilty to not recognize my own visual coherence, I’m trying with this project to keep a larger area of focus on that subject)… and added a flash of Yellow (Total beach utopia lampooning annihilation) to counter the pizza’s dulled volcanic palette. I ended up re-pasting not only a set of Guy’s signature Oakley’s (?) on to his head but also on Pamela’s. I am in agreement with my earlier opinion to use a variant of ‘Vacation / I’m On Fire’ as the front cover still although it took some backtracking to re-imagine it from a month-ish prior.

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Other variations captured on the road to the final cover variation:

The idea for the background cover came from the ensuing battle with balance in design that was especially apparent within this project in contrasting types of focus in chaos.  My final artwork turned out being a wordless and rather condensed piece (Unless you count the U.S.S.A type and speed-mania, self-portrait-o’-mania), instead of putting the artwork within the collection. I thought it quite perfectly reflected the whole collection with the yuppie paradise sinking amongst the eerily dead picture of a dead blockbuster. Naturally I am drooling and lording over the whole scene like a bacchanalian ghost as you would see a puppet master,  (linking to Marketing manipulation tactics and lies perhaps, although this is purely and happily incidental.)
I later re-worked the back-page after finding a not-so-long ago portrait of myself at an Italian in Bournemouth, I thought the restaurant’s loveable and endearing interior aesthetic and my satisfied and mid-grinning, slight hippie mocking along with my ‘Death’ band shirt was a significant distilling of a portrait enough (It’s also Pasta and not Pizza, which I find quite funny, but the context at this point with these things is sort-of-irrelevant and more symbolically focused). Much like how in Dewey Nicks’ artbook Kustom which I frequently have referenced, as a picture of himself in his glorified slightly-hedonistic element playing a signature ‘Gene Simmons’ metal axe bass. I thought it was appropriate and hilarious, I have still placed the original ‘Consumer-Wall-Street-Dreamer-Meets-Hades’ Blockbuster-Underworld’, There was a scene in Mad Mean where Roger Sterling has an LSD trip for the first time in the 60s and I imagined that scene in a slight homage anyway.

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