this was a quickie that was thrown together in an hour. it was during their 'brain-obsession' phase. on a 45 we actually made a giant roth-style rubber brain with eyeballs, covered it with ky jelly and stuck it on my friend's giant tesla coil (it's 15 feet tall and consumes about six million volts tapped illegally from the city power grid. it destroys radio reception for a five mile radius when he turns it on) and photographed it. it's a picture of like some 32 million volts of electricity blasting out of the rubber brain. cool! the lightning bolts were like 50 feet long!
this is not a good reproduction. there's a lot of great detail on this. i'm very proud of this poster - it captures the 'old' seattle i loved perfectly - the corney advertising, the community efforts, the hickoid mentality. ivar haglund was a cool story. but it's too long for this forum.
say what you will about harvey danger, but they were some good funny folks. their success was a total surprise to them, and it faded (mercifully) fast. they got stuck in one of the worst 'label nightmares' i've ever heard about. stunning.
evan sult, the drummer, was an old student of mine and a good fella with a lot of talent in design. i believe he's pursuing that now.
this poster was a t-shirt design that was for the little girls. they put it on baby t's and they sold out immediately . they thought the whole thing was really funny.
say what you will about harvey danger, but they had a great ironic sense of humor and saw their success as a joke.
whenever i'm asked to give one of my 'lectures' to a local design organization (i do this about 5-10 times a year), the room is pretty evenly split between 'suits' and 'casual'. about halfway in my talk, when i change reels, all the suits leave in disgust, and all the preople dressed 'casual' settle in for the fun stuff.
but almost every time, after a talk, some suit has stuck around and sneaks up to my side and quietly tells me how great it is to see somebody who has stuck with the stuff that got them into design in the first place. most of these guys tell me they started out doing t-shirts, pin-stripping, monsters-in-hotrods, etc. (you'd be amazed how many really big-time corporate designers started out this way).
after a talk in dallas (aka 'hell'), a suit came up to me - extremely conservative dude - and told me he started off doing 'big daddy' shirts. to prove it, he pulled out a napkin with a drawing o a monster (looked like cookie-monster) driving a hotrod. he gave it to me.
the deal is with my work is that i ALWAYS go for the 'screamer'. i and so used to having to visually compete on a wall of good posters, that i have become locked to the idea of 'jumping off the wall'. i think that is one of the elements of my work that has resulted in my so-called 'success' - my ability to get noticed.
this is advertising, not art. it's design. part of design is getting noticed, not blending in. in decoration, blending in is exztremely important, so as not to clash. in design, clashing is just another communication device. so is bright colors, screaming faces, dead babies, printing on metal, strange shapes, etc. etc. the difference between "good" design and "bad" design is often the effectiveness and ability to 'speak' with tools at hand, and certainly not the 'tastefullness". if good taste were all that design was about, this whole gigposter site would not exist.
so, my reasons for the dot are rooted in my basic ideas about what i do. 'pulling back' is not what works in my experience.