"i flipped out, and so did jeff kleinsmith. these guys were a huge influence on both of us. in fact i think these sheets of crappy xeroxes were the reason jeff started doing all of those great b&w things he slammed out for so long."
Art, this is the second time you've said this same thing. I feel uncomfortable stating that I've been an influence on anybody, but before you say this again you should have a talk with Jason Austin. I met him for the first time at SxSW and he and I had a nice long talk about this same subject.
i figgered it was about time that gigposters got a whiff o' lyman hardy's work. all i've ever had are these bad xeroxes, but the the stuff is still amazing. was this stuff ever in color?
i don't know much about him, or what happened to him, but i do know that he was working in austin at the same time as kozik started and was an obvious influence on his early work (like that poison 13/rocky erickson piece). of course, frank took off in dramatically different directions later on.
the other biggie down there working at the same time was jason austin. i've also got maybe 50 xeroxes of his stuff that i will post. when we got these sheets of posters (xeroxed onto 11x17 paper - about 16 to a page) i flipped out, and so did jeff kleinsmith. these guys were a huge influence on both of us. in fact i think these sheets of crappy xeroxes were the reason jeff started doing all of those great b&w things he slammed out for so long.
i think cross-cultural contamination is really cool, and it is the biggest secret in punk - the fact that it WASN"T really regionalized as much as the historians all try to tell us. it crossed over all over the place. the idea that a couple of sheets of cruddy xerox promos sent to a shitty little zine in seattle would change the direction of seattle poster design is pretty cool to think about.
ps - thanks for filling in on the axiom being in houston. i didn't know that.