Sometimes a project comes along that allows me to blend my fine art background in printmaking with graphic design. The cover illustration for GIA Reader was a wonderful opportunity to mix it up between media. The brief was very open: use the numerals 25, to indicate the 25th year celebration of the organization. Make it beautiful and make it art. (Please, more art directors like Tommer Peterson!) When you have a wholistic and adventurous thinker/creater as your partner in crime it makes for great synergy.
My inspiration was immediate: finally a chance to use my life-long love of parkinglot floors as art. Few things are more beautiful than distressed concrete. And all the numbers you could need are ready to be found, right there under the oilspots and strange flourescent shadows of level B in that very particular random garage (the location of which shall remain undisclosed.... ). Although I am usually asked to do hand-lettering and calligraphy I felt that found forms and collage would be much more in keeping with the language of contemporary arts. The fine art I show in galleries is about transforming the ordinary, the industrial detritus and empty lots and unkempt moments of nature that one might not immediately recognize as beautiful. In this typographic cover illustration I could blend a graphic design sensibility with my artistic vision.
In the studies for this project I kept in mind the aesthetic and processes of printmaking. Photoshop is our contemporary version of the printing press. Each layer can function as a 'plate' and one can wipe and burn and layer as though using zinc. Thinking this way leads to different ways of putting things together, and a final product that contains some mystery and tactile magic that might not emerge from typical digital design processes. Here are some of the many directions and variations I tested out, all using original photography and digital collage. I've added my notes on what I thought was successful or not.
The last three directions above seemed to have the best wabi-sabi going on, but what was missing was the sense of the relationship of the numerals in time. The final collage layered the letters themselves more directly, leaving ambiguity between past and present as an integral part of the visual subtext.