![]() ![]() I think back when I was in school, I didn’t know what I would do for a living. It’s one of those projects that will never happen again. To get paid to do that is amazing and have fun - and just find out how cool they are. There was not a negative aspect to that at all. You related the band to the imagery to the song to the lyrics. We talked about these classic LPs in the days where you would read the lyrics. At the end of the day, we wanted to make something that was a total package. I worked with Jeff Ament who is the bassist. What was it like to design Pearl Jam’s recent album cover?Ī. For a community to be that serious and give me that space and time, it’s a big deal. It feels good to have come that far and have people pay attention to it and put skateboards in a museum. It’s a solo show mostly of my skateboard designs. ![]() This March, I’m doing a museum show in the town where I went to college: Huntington Museum of Art in Huntington West Virginia. I think the art world is paying more attention to it. For years and years the only people that cared about skateboard art were skateboarders. Does skateboard art get the serious attention it deserves?Ī. I said to myself: ‘I think everything will be here one day.’ That wasn’t what I wanted to do. By 1998, I was out of newspapers - I was doing online editing. My roots are basically in art and I shifted into English and languages. When I was seven, I would sit at the table with my dad and we’d paint and draw. My dad painted whenever he wasn’t working. It helped me out that I was an artist from a young age. How did you happen to develop your language and visual skills?Ī. I never just wanted to make something to look cool. I think the story behind an image is as important as the image itself. I was fascinated by that stuff and I still am. It was all about compressing information visually and visual communication: how the eye works on the page and how the eye interprets information quickly and easily. I did layout and illustration and info graphics. Eventually I started working on newspapers. When I was in college I took a lot of journalism classes and worked at The Parthenon - the student newspaper at Marshall University in Huntington, West Virginia. You’ve been described as having a “narrative artistic vision.” Is that a combination of language and image?Ī. That’s probably the main challenge: to hit in the middle with a client. ![]() Part of my job is to work with people and give them what they want and try to keep my voice in the art work so that the people who know my art work will see it and identify it as mine. Sometimes, there is someone who says I want this specific character or angle. Some projects are all me: all my design and my direction. I take a little bit of direction from the creative director or art director and we kind of meet in the middle. I have been really fortunate in that a lot of clients that have come to me know my work already. How do you differentiate between work for hire and work for yourself?Ī. I like the idea of lines meandering around the canvas and intersecting in different areas and creating space out of shape and line. Sometimes they look like they’re fighting, sometimes they look like they’re getting along together in some kind of harmony. My idea was to create relationships between space and design elements and the characters. When I first started out there was always a character or animal. I had a rep one time describe it as organic cubism.
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