It was an appropriately overcast April day when Ted and I visited the area. At the time this wall seemed so absolute. Crazy to think it would only last another year or so. The shot just below is the famous Checkpoint Charlie.
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See, before we all had computers, people had to do their graphic design with prestype and photocopiers, drawing with scissors and scotch tape. Or at least I did. Ed found a copier once in someone's trash and called me. We took it to a service shop to see if we could get it going again. My sister, Harriet, staked me the two-hundred-and-some-odd dollars it took to fix the drum and replace the corona wire and in a week I had a photocopier of my own which, in that day, was a very big deal. Someone dubbed it the Sugar Turbine and I got to work printing books for the Twentythree Press (yes - no hyphen) and whatever else I wanted. Happy times.
Lil' Nikki's was strange club, I thought. Liz Davis used to call it, "Where strippers and cops collide." I was never comfortable there but when they purchased the back cover of Playback StL, Jim and Laura were nice enough to put me onto the job of designing some ads to fill the new real estate and I was grateful for the work.
Ted Fisher took these of me in, like, a train station or somewhere. I handed him the camera and asked him to shoot me with the cross, but the funny angle thing - that was him. He likes that trick.
This is St. Louis painter Julie Malone. One day she posted picture of herself on Facebook and asked me to add a thought bubble to it. I gave her this.
I know. It's too easy. What this really is is a picture I took from the car while driving on the Autobahn through an expansive East German countryside (back when there was an East Germany). It's one of a few hundred negatives that sat for years. Then I scanned everything from this trip I took with my friend, Ted, and posted them all in a folder on Picasa for a certain, few, old friends to enjoy. Everything from the series is just as I shot it except for this one frame where I decided to add a flying saucer just to see if anyone would notice. No one did.
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Perpetual Dirty things were the duo of Risky Teeth and Viva Plastic (pictured) that I had invented as a way to express my desire to design for music back when I was just getting started as a designer and hadn't yet earned any real clients. As you can see, this design is an extrapolation of a classical album theme and the cover star is, in fact, my sweetheart of that day, the lovely Miss Mary Hopkins.
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Don't get me wrong. Jim and Laura are great people but I don't think they ever made enough money off their magazine, Playback StL, to pay their freelance contributors. I did some design work for them here and there and they generally paid me in ad space, which I found an equitable arrangement at the time. I took advantage of the deal by announcing exhibitions and services, as you see.
My friend, Steve Nowels, put me onto this brochure job and I was, of course, grateful for the lead but, like most paying gigs, the work promised to be deadly dull. Still, I found a way to make it happen and, as I recall, enjoy myself a little bit in the process.
There's a new copywriter at work named Mariah.
She came up with this line which I like so far
and so I created this simple design around it.
This design, made with an element of a Rebecca Ryan collage, never got used. As I recall Sean, the guitar player, who oversaw the design work for the band, chose to go another way. Too bad, too. This is a pretty great poster.