It's been awhile since I posted a process thread and I always dig when other people spend the time to do it, so here is another one. Sorry for the dark pics- the flash on my point and shoot just went.
I wasn't sure how I was going to come up with an image that would work for both Converge and Dropdead since their music is pretty different content wise. I just decided to start with the lettering and go from there.
Starting to sketch the lettering
Bottom to match the top shape flipped
So I'm up in my studio and I hear a UPS truck pull away. I ran down to the front door and that asshole had just dropped my paper from French off without even ringing the door. As usual the fucking box was mangled and the corners of all the paper were dented. Luckily this will be trimmed off.
If you saw my last process I normally draw my images at full size then do my seps from there. I have a Epson 4880 and can print films 17" wide so whenever I want to go bigger I just ink directly onto frosted mylar and use rubylith old school style. For this print I wanted to go big for me 22" x 33" so I decided to draw at around 50% full size. Once I got my paper size figured out I copied the lettering sketches onto the page then connected them with a spine- since both Converge and Dropdead's music have spine.
Here I am starting to flesh out the sketch a little more. I constantly make notes to myself on the edges of the paper when I am drawing. I think I was listening to the Converge and Dropdead discography's during this part and it was actually getting to be too much. I had to switch to some old dub reggae after a couple hours of insanity.
Here I am starting to fill in the venue and supporting band info. I like to hand draw my lettering as often as possible. Sometimes it can be a real pain in the ass though.
A lot of times I will draw a shape/placeholder where I want the type to go- then I kind of draw it in following the contours of that shape.
Here I am starting to ink the drawing. I usually just rough it out with the pencil- then I add all the other details on the fly when I am inking. I taped a clean piece of bristol plate on top of the pencil drawing then use a light box to start inking. On this I used a combo of micron/pitt pens and brush and ink.
Drinking a Rogue Shakespeare Stout, wishing I had a larger lightbox. I think that needs to be my next building project.
Now is when all the fucked up problems started to happen. I should mention that I was doing this all really last minute- as I am sure none of you ever do. Since my drawing was so big I had to scan it in in sections. I normally use the Photomerge function in photoshop to do this but for some reason I could not get it to work properly this time. I ended up having to go to my buddy's environmental engineering firm and use their blueprint scanner which did the trick. After the scan I realized that I had to enlarge the key image by 138% to get it up to the size that I wanted. By doing this, I lost a bit of the resolution from the initial scan- the blueprint scanner had a max 600 dpi scan. So my final size was at around 450 dpi.
Since my printer prints on a 17" roll this means that I would have to panel all of my films- which is just asking for registration trouble. I'm really anal when it comes to my prints and I can't stand it if my registration is off even a bit. At this point it was too late so I decided to just go for it.
Also, for the first time I decided to use Ryan Lesser's method for doing my fills and seps, instead of doing them by hand or ruby, detailed here. He kindly walked me through the process and it all made sense. Since it was a new process for me, and I was under a tight deadline I kind of fucked this up. I never checked to make sure my trapping was enough- I did 4 pixels at 450dpi- in the beginning. I exported each sep as a bitmapped .tiff then took them into illustrator, stacked them and added reg marks. Here is when I realized that my trapping was practically non existent. It was like 3 am and I freaked out. I finally calmed down and decided to live trace each .tiff and then just offset path to get the proper trapping so it all worked out in the end. I think that Ryan's method will work great in the future but I just need to practice with it some more.
Finally starting to print. White down
Metallic Gold down. This was speedball that I darkened a bit. I used a 156 mesh screen and it came out really great.
Pale Green down.
Purplish pink down.
Last color- a dark chocolate brown- hard to tell here. Had to do a bunch of adjustments to get the reg just right probably due to the tiling of films and the high fucking humidity that just arrived to Providence. I pre-racked my paper and that seemed to help.
This show was insane and the posters went fast. Young kids are crazy at shows these days- I would never go into the pit anymore. I saw so many people coming out of there with injuries. The lead signer from Trap Them kneed himself in the face and cut his head open pretty good. As he walked by he dripped blood all over one poster. Then everyone was asking to buy that poster- Freaks.
I will have a classified ad up in the next day with the remaining posters.