{"id":6450,"date":"2011-06-08T21:49:54","date_gmt":"2011-06-08T20:49:54","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?page_id=6450"},"modified":"2018-09-27T14:10:56","modified_gmt":"2018-09-27T13:10:56","slug":"q-a-brian-ewing-metal-punk-girls-and-poster-art","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=6450","title":{"rendered":"Brian Ewing – Metal, punk girls & posters"},"content":{"rendered":"
\u00a0<\/address>\n

\"\"<\/a><\/p>\n

Brian Ewing<\/strong> has become one of rock music and pop art\u2019s most prolific, iconic image-makers, with a\u00a0roster of clients ranging from Metallica and the Warped Tour, to The Strokes and Death Cab For Cutie, and even The New Yorker and a number of advertising agencies. Remaining down-to-earth and staying inspired are key elements to the growth of his rebellious art empire. \u00a0Informed by everything from art nouveau to ukiyo-e woodblock printing, from the full-throttle art of SoCal\u2019s \u201ckustom\u201d car culture to the dynamism and self-assured lines of comics, Ewing\u2019s work fuses his own creative explorations of perspective, colour and space with classic, beloved imagery from rebellious American youth culture: hot punk girls, totally rad skulls, and fields of colour aflame. We caught up with the artist for an interview:<\/span><\/h2>\n

\"\"<\/a>Fired By Design<\/strong>: How did you get started in this field?<\/p>\n

Brian Ewing:<\/em> Accidentally.<\/p>\n

I started out by designing black and white flyers for friends in bands when I was a teenager. I was never musically inclined. I was in a few bands for a minute or so, but I really just wanted to do all the artwork. Doing the flyers\/posters allowed me to get into clubs and drink booze when I was underage. Tons of fun.<\/p>\n

I began to take the posters seriously after I moved to Los Angeles. I was working at Hustler magazine during the day and designing posters at night for a local venue – the Troubadour. While at Hustler I worked on several of Larry Flynt\u2019s magazines – dealing with art directors, printers and distributors. I was being groomed to be an art director. I\u2019d also freelance for them during my lunch breaks by doing art for the regular and porno mags.<\/p>\n

After 2 \u00bd years I ran out of steam and quit. The job wasn\u2019t fun anymore and going nowhere. And I was beginning to make money with the posters. So with $200 bucks in my pocket, an angry girlfriend and rent due in a few weeks I hit the pavement asking everyone and anyone I wanted to work with to look at my website. I must have contacted about 250 bands, managers, publishers and record labels. After a few days I got hired by BYO Records to design a cover for one of their compilations. I then emailed the remaining 249 people and showed them the job I just finished and that someone took a chance on hiring me. I kept doing that after every job I got. More work followed and I\u2019ve been self-employed since then.<\/p>\n

The posters became big-assed business cards for me. The more posters I did for the Troubadour the more people saw them and the more work I got as the result.\u00a0I\u2019d have to say that not enough of my professional work is rock\/metal related. Probably 1\/3 of my work is. Even though that\u2019s the music I grew up on. In order to keep food in my belly I have to take on jobs from all types of clients\"\"<\/a>.<\/p>\n

 <\/p>\n

\"\"<\/a>Fired By Design:<\/strong> What do you think of when people talk about metal art? Or to put it another way: what exactly is metal art?<\/p>\n

Brian Ewing: <\/em>Metal art can be anything at this point\u2026which is awesome! Metal art can be brutal, sci-fi, chock full of skulls, creepy, full of naked ladies, robots, monsters, full on black metal typography\u2026etc. It seems (to me at least) that Metal and Rock bands are the biggest proponents to hiring illustrators and using art for their album covers. Just look at the ads in most music magazines. It\u2019s amazing and kind of telling of the rest of the music industry. Metal hasn\u2019t changed. It goes in and out of fashion with the general public but still holds onto the traditions started by bands since the seventies. It\u2019s a bit juvenile, evil, sexy or just damn cool.<\/p>\n

Artwork helps bring across the band\u2019s concept. Some bands wouldn\u2019t be half as succesful if they didn\u2019t have a way to visualize their music. Case in point would be Iron Maiden. I never would have bothered listening to them if it weren\u2019t for the artwork Derek Riggs had done for them. Their music made more sense with the artwork. I\u2019d stare at the album covers while listening to their music and and could relate to the music and imagine what they were singing about.\u00a0Also some of the bands understand the value and impact good album art & packaging can have.<\/p>\n

 <\/p>\n

Fired By Design<\/strong>:Has the gig poster or another format taken precedence now that most music is downloaded?\"\"<\/a><\/p>\n

Brian Ewing: <\/em>Yeah totally. I think gig posters are the next best thing to the album cover. Also they\u2019re more tangible than a 4\u201dx4\u201d jpeg of a CD cover. I still collect posters and if I love the band but the artwork looks awful\u2026 I won\u2019t buy it. Same thing goes for t-shirts.<\/p>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>Fired By Design: <\/strong>Do you think an illustrator can still make a living designing album covers?<\/p>\n

Brian Ewing: <\/em>Not anymore. That ship has sailed. Unless you just crank out half-assed work and don\u2019t care. Illustrators need to be more savvy with their business and their goals. Focusing on one genre or avenue for their art can limit them tremendously. There\u2019s a lot you can do as an illustrator working in the misic business.<\/p>\n

 <\/p>\n

Fired By Design: <\/strong>Some people think that artwork for rock and metal bands \/ labels is far better artistically these days and has steered away from the misogyny of some traditional albums. What is your take on this?<\/p>\n

Brian Ewing: <\/em>I agree but I also think it\u2019s that the album art was dictated by the times. Back when metal started only stoner guys with army jackets listened to the music. These same guys read comic books, HP Lovecraft and loved porn. So it didn\u2019t take much to get their attention. It was geared toward teenage guys. Nobody else cared for it. Also if an album got banned for sex or violence it sold more copies. Take Guns n Roses \u201cAppetite for Destruction\u201d \u2013Robert Williams painted the original cover and it caused a big controversy \u2013 which didn\u2019t hurt the artist or the band when it became national news and highly sought after.<\/p>\n

Now that rock and metal are universally appreciated there are far more people from different walks of life creating music and buying it. The music is growing up a bit and so is the marketing. There are still bands that have gruesome or mysogynist art and prosper from it. Some bands are still singing about storming the castle or making sweet sweet love to their stripper girlfriends. And they have an audience that totally loves it. Then there are the straight-edge Christian Metal bands who go in a different direction with their packaging and do just as well if not better.<\/p>\n

\n

\"\"<\/a><\/p>\n

Q&A Continues…<\/a><\/em><\/p>\n

\"\"<\/a>Fired By Design:<\/strong> Can you describe your creative process and workflow?<\/p>\n

Brian Ewing:<\/em>(talking about POSTER ART):<\/p>\n

Most of my work starts out hand-drawn and is finished on the computer. I prefer working with my hands. The art (line work) is done by hand. I sketch it, scan it, place it in Illustrator, set my type, print the sketch to size (usually 11×17), lightbox it onto strathmore 400 cold press bristol board, redraw the sketch and tighten it up, ink it with a brush (and maybe a pen), then scan it (at 600 dpi) and do all my color in Illustrator. I don\u2019t convert my drawing to vectors. It\u2019s a bmp tiff placed in Illustrator. Then it’s either offset or screen printed by people who know what they’re doing. If it\u2019s a screen print then I\u2019ll do my color seps in Photoshop channels.<\/p>\n

If I need to get a certain type of lighting or I\u2019m obsessing over accuracy of a car or toaster or guitar I\u2019ll take photo reference. Get it printed and place it next to my sketchbook to work from. I was taught that photo reference can be a crutch if you trace or try to duplicate it exactly. I try to use it as a starting point and make it apply to the project, but I don\u2019t trace. Slavishly trying to copy a photo leads to a steril, stiff and unimaginative piece of art. It\u2019s also obvious when the traced\/copied parts of a drawing don\u2019t match up with everything else or is completely different from any other piece in an artist\u2019s portfolio. There\u2019s a skill and respect to doing something by hand. At the end of the day I can sell a piece of original art. I can\u2019t do that with a computer file.\u00a0I\u2019ve recently posted some tutorials on my site <\/a>to show people the process.<\/p>\n

 <\/p>\n

FBD: <\/strong>How do you create art in this style?\"\"<\/a><\/p>\n

Brian Ewing: <\/em>By hand, I finish it off on the computer then send it to the printer. See above.<\/p>\n

What tools\/media do you use?<\/p>\n

Brian Ewing: <\/em>My tools consist of: Pencil, ink, bristol board, eraser and Illustrator CS3. I use Illustrator because that\u2019s what someone taught me way back when. I feel that the color management is better and I have more room to fix my mistakes\/fuck ups. See above.<\/p>\n

FBD:<\/strong>How important is the music or the lyrics in deciding the look and subject of the art?<\/p>\n

Brian Ewing: <\/em>I think it\u2019s very important to visualize the band\u2019s lyrics and aesthtic. Music creates a mood and an identity for the audience and the art helps complete it.<\/p>\n

I\u2019m a music dork. I buy albums and go to shows. I consider the person buying the album and supporting the band as well as the client. Will their fans get the art? Will they see the references I make to the songs? I want them to be happy and and most fans know more about the band than the band does.<\/p>\n

 <\/p>\n

\"\"<\/a>FBD: <\/strong>What are the first steps in the process?<\/p>\n

Brian Ewing:<\/em>The process really depends on the band\/client. I work with a lot of bands, some I had never heard before until they contacted me. So I\u2019m exposed to music I don\u2019t normally seek out.<\/p>\n

The job begins with some email back and forth over price and usage. We discuss what the project is about and when it\u2019s due. Then I\u2019ll research the subject and try my best to illustrate the overall idea of the band, a song or the current album. Add some freaking out and self-loathing (on my part) for good measure. I also try to figure out ways to inject some of my interests into the projects. If I can do that then I\u2019ll be more excited about the job.<\/p>\n

FBD:<\/strong>What\u2019s your top advice for fleshing out\/building up the image?<\/p>\n

Brian Ewing: <\/em>Research. If you don\u2019t know how to draw something find photo reference or take the photos yourself. Use them as a springboard and do not just trace the photo.<\/p>\n

After that keep drawing until you get it right. Keep in mind your composition and if there will be text or not. Lastly consider the other ways the art will get used and design accordingly<\/p>\n

 <\/p>\n

 <\/p>\n

FBD:<\/strong>Any tips for making the artwork eyecatching or adding punch to it?\"\"<\/a><\/p>\n

Brian Ewing: <\/em>KISS = Keep It Simple Stupid!<\/p>\n

Learn to draw. Learn all you can about different types of printing. Lock away your heart and keep your ego in check. Be patient and research all you can about your client and the project. Try to inject some of your personal interest in the project. And don\u2019t steal from other artists.<\/p>\n

<\/strong>FBD:<\/strong>Any tips for finishing off?<\/p>\n

Brian Ewing: <\/em>Get a fresh pair of eyes to look at your work whenever you can. Especially someone to spell check your type. Ugh. I let a few posters go with a few typos. Working three days straight and no sleep can really affect your ability to see your mistakes.<\/p>\n

<\/strong>FBD:<\/strong> Out of a top ten list of classic metal album covers- what are your favourites and have any influenced your work?<\/p>\n

Brian Ewing: <\/em>Seriously not an easy question to answer. I grew up on Metal and could give you a list of 100 best metal album covers.<\/p>\n

Here are some of Brian’s favourites:<\/strong><\/p>\n

\u2022 Iron Maiden:\u00a0Live After Death,\u00a0The Number Of The Beast,Piece Of Mind,\u00a0Somewhere In Time,\u00a0Powerslave (all covers by Derek Riggs)<\/em><\/p>\n

\u2022 Metallica:\u00a0Master Of Puppets<\/em><\/p>\n

\u2022 Death:\u00a0Scream Bloody Gore,\u00a0Leprosy –\u00a0Covers by Ed Repka<\/em><\/p>\n

\u2022 Kylesa:\u00a0Kylesa- Cover by Pushead;\u00a0Static Tension- Cover by John Dyer Baizley<\/em><\/p>\n

\u2022 Baroness:\u00a0Red Album,\u00a0Blue Album –\u00a0Covers by John Dyer Baizley<\/em><\/p>\n

\u2022 Misfits:\u00a0Die Die My Darling,\u00a0Evil Live 2\u00a0-Cover by Pushead<\/em><\/p>\n

\u2022 Megadeth:\u00a0Rust In Peace, Peace Sells\u2026 But Who\u2019s Buying- Covers by Ed Repka<\/em><\/p>\n

\u2022 Slayer:\u00a0Show No Mercy\u00a0– Cover by Pushead<\/em><\/p>\n

\u2022 Black Sabbath:\u00a0Sabbath Bloody Sabbath- Cover by Drew Struzan<\/em><\/p>\n

\u2022 Helloween:\u00a0Keeper of the Seven Keys pt1- Cover Design by\u00a0Edda & Uwe Karczewsk<\/em><\/p>\n

\u2022 Nachtmystium,\u00a0Assassins: Black Meddle pt1-\u00a0– Cover by Jimmy Hubbard and Seldon Hunt<\/em><\/p>\n

\u2022 Sabbat:\u00a0Dreamweaver (Reflections of Our Yesterdays)-\u00a0Artwork by Tim Beer.<\/em><\/p>\n

With his first monograph, \u201cDon\u2019t Hold Your Breath: The Art Of Brian Ewing,\u201d which publisher Dark Horse allowed him to lay out himself, the reader can see the progression and maturation of Ewing’s imagery, from power-packed and densely composed rock posters to the nuanced, deceptively simple and subversive works of more recent vintage.<\/p>\n

\n


\n<\/em><\/h4>\n

Brian’s own site is also well worth a visit<\/a>– lots of updates and a shop!<\/a><\/em><\/h4>\n

As is his walkthrough page with step by step pics on Flickr<\/a><\/em><\/strong><\/p>\n

\"\"<\/a>
\n<\/em><\/strong><\/p>\n

\n

All images are \u00a9 Brian Ewing. All interview text \u00a9 Fired By Design<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Brian Ewing has become one of rock music and pop art\u2019s most prolific, iconic image-makers, with a\u00a0roster of clients ranging from Metallica and the Warped Tour, to The Strokes and Death Cab For...<\/p>\n","protected":false},"author":129,"featured_media":6661,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[1926,156,1919,1589,1921,1920,1922,51,1923,1924],"class_list":["post-6450","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","tag-album","tag-art","tag-brian-ewing","tag-computer","tag-designing-posters","tag-drink-booze","tag-hustler-magazine","tag-music","tag-porno-mags","tag-sketch"],"yoast_head":"\nBrian Ewing - Metal, punk girls & posters - Fired By Design<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/firedbydesign.com\/?p=6450\" \/>\n<link rel=\"next\" href=\"https:\/\/firedbydesign.com\/?p=6450&page=2\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Brian Ewing - 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