Looking to sell these designs before year’s end. Exclusive use, high-res files.
Here’s two new shirt designs that come from the gatefold of the new Vallenfyre LP, Splinters. The designs are meant to have an old-school metal/crust look in both design and color way.
My latest project is an album design and illustration for Century Media artists Vallenfyre (UK) – featuring members of legendary bands I’ve been a fan of for nearly 20 years: Gregor Mackintosh (Paradise Lost) – Vocals and Lead Guitars, Hamish Glencross (My Dying Bride) – Rhythm and Lead Guitars, Scoot (Doom, Extinction of Mankind) – Bass, and Adrian Erlandsson (At the Gates, Paradise Lost, The Haunted) – Drums. Additionally, mastering by Brad Boatright, guitars and vocals for longtime fave From Ashes Rise, and recorded by Kurt Ballou of Converge at God City Studio. I’m beyond excited to be a part of this project, with these people. Everything was drawn and inked by hand, including a custom font I built and named ‘Splinters’ so the entire project has a unique feel. After a thorough run-through of different concepts for the cover, I came up with this one per their suggestion (even referencing some of my previous personal and commercial work) that it have an old school death metal look with some classic crustcore monochrome and angular spikes (splinters), keeping with the overall intent of the music on this, their sophomore LP.
Now! Preorders of the LP/Digipak/Shirt standalone or as a music/tee bundle are up now, as of April 3, 2014: http://www.omerch.eu/shop/vallenfyre/
This one was a fast doodle with a silver Sharpie on black board. I like working with high-contrast sometimes, and had fun going freeform without an outline too. I think subconsciously this piece had me thinking about an album cover by now-defunct Scottish crusters Sedition, featuring a Pictish man, cartoony, but in full adornment. I of course put my own twist on it by incorporating the Middle Eastern, Art Nouveau and Punk styles I often reference.
This painting is another mashup in the same spirit as my “Masks” piece, converging ideas into one thought. On Miasma, my thinking was simple – take a handful of my major influences and bring them together. My longstanding love of Art Nouveau presents itself again more prominently in this work, along with my interest in typography and language. A third influence was the stark, contrasting monochrome of jagged and angular crust punk. Instead of the black-and-white photomontage of John Heartfield and generations-later Discharge, I used silver paint and ink. More tension was necessary so a plain field of black, framed in diagonals and repeated secondarily was added. My finishing touches were to add black back in to tone and texture everything and reduce some of the flatness of the metallics. As disparate as all of these influences might be, I found that they work well in forming a common language.
Update: Original piece has been sold! Reproductions not available.
Just got a stellar review from CVLTNation, a really great blog chock full of art, fashion, and metal/hardcore punk. I haven’t really gotten a lot of recognition or reviews outside of friends and a handful bands that I have worked with. I always get a bit nervous that I’m a hack (I am), but I’m glad others like what I’m doing. I think my artist’s “voice” is still developing and I like the trajectory I’m on into making more serious attempts at my work. I am really excited about this kind of feedback, thanks a bunch!
I’ve been toying around with the idea of standardizing some of my sketching spaces into a format that happens to be proportionately scaled to fit an album or CD cover. Not that I usually work that way, but the formality of setting up nice paper on a board and going through the proper process doesn’t always work for the majority of the time I’m drawing, which is just flowing ideas in my sketchbook in my chair or whatever.
So, this one I’m calling Warcharge, and it’s more of a study than anything and I sketched all of it in the majority of one evening for a few hours. The interesting thing about it to me is the subject matter, or rather, the provenance from which it came and from where I get my inspiration after thinking about it for a minute. This is probably the ‘crustiest’ art I’ve intentionally drawn in awhile and it is an unabashed nod to those who came before me. These are obvious references to Bolt Thrower’s In Battle There Is No Law LP, Deviated Instinct’s Rock-n-Roll Conformity LP, the inside gate art of Axegrinder’s Rise Of The Serpent Men LP, and maybe a sleight to Inferno’s Tod und Wahnsinn LP, Negative Gain’s Back From The Dead LP and more that are similar such as early Kreator, Deathrow, and High on Fire. Efforts from Stormcrow, Sanctum and others also bear the stenchcore standard, in all their Mad Max-ed out Warhammered glory. It may be fairly obvious that Frank Frazetta’s heavy hand might behind all of this, a master whose work probably best captures all of this style.