Need to start trying to make few more pictures, the previous post was just playing around with the finger image of chantrys'.

Points To Look At When Trying The Styles Involved In Arts Work

COMIC BOOK TEXT CAPTIONS

MANY USE EITHER BLACK AND WHITE OR A SET OF TWO TO 3 COLOURS. SCREEN PRESS (LOOK UP TO CHECK RIGHT OR WRONG - WIKI)

APPEAR VERY HAND RENDERED, LOTS OF BOLD TYPE THAT LOOKS VERY HAND RENDERED.

LOT OF MONO TONE OR SINGLE COLOURISED PHOTO IMAGES OF FIGURES, WITH ONLY SMALL PARTS OF THE IMAGE IN A DIFFERENT OR CONTRASTING COLOUR.

*WHEN DOING WORK ON PROJECT I NEED TO EXPERIMENT WITH LOTS OF MIXED MEDIA. TRY STENCILS AND CUT OUTS OF LETTERING.

BLOCKPRINTING OR INK PRINTING ( NEED TO BY SOME INDIAN INK AND A ROLLER- AND HOPE ITS CHEAP! BUT I DOUBT IT)

USE ONE OR TO STRONG COLOURS - BLACKS AND GREENS, YELLOWS, REDS, ORANGES, BLUES AND PINKS.

THINK ABOUT THE IMAGERY. LOOK AT 50'S CINEMA, SCI FI - OTHER ARTISTS SUCH AS KOZIC ETC. SIMILAR STYLES

ALSO LIKE THE DONT FORGET YOUR CONDOM POSTER (CHANTRY) A LOT RESEMBLE INFORMATIONAL POSTERS.

SLOGANS, BOLD WRITING. LOTS OF DIFFERENT CAPTIONS AND DELIBERATE PLACING OF CAPTIONS.

LOOK AT MATERIALS AND PROCESSES USED.

LOOK AT CHANTRY INTERVIEW BY CHRISTOPHER MAY WITH REGARDS TO TECHNOLOGY AND HIS OPINION, AND ITS EFFECT ON DESIGN AS AN ARTIST.




Anything else you can think of that may help me, that I've missed?
please let me know.

Inspirations

In a few Interviews Ive been reading, Ive heard fo some of the guys that Art used to see as inspiration. Two of the major players here were the founder of the compdany "Von Dutch" Kenny Howard and Ed "Big Daddy" Roth. Both were initial designers and artists for the 50's hot rods, specialising in pinstriping and and hand Illustration. Ed Roth also became well known across America for creating the character "Rat Fink". Von Dutch these days is known more as a clothing line, when his daughters sold the rights shortly after Keith Howard died, to a japanes clothing company called Ueno Shukai

Kenneth Graeme Howard (September 7, 1929–September 19, 1992), also known as Dutch, Von Dutch or J.L. Bachs (Joe Lunch Box), was a motorcycle mechanic, eccentric, artist, pinstriper, metal fabricator, knifemaker, and gunsmith. His father, Wally Howard, was a well-respected Los Angeles sign painter and by the age of ten, the young Kenny Howard was able to paint and letter at a professional level. Money was something he detested. In this quote from a 1965 article Dutch explains his thoughts on money.

“

I make a point of staying right at the edge of poverty. I don't have a pair of pants without a hole in them, and the only pair of boots I have are on my feet. I don't mess around with unnecessary stuff, so I don't need much money. I believe it's meant to be that way. There's a 'struggle' you have to go through, and if you make a lot of money it doesn't make the 'struggle' go away. It just makes it more complicated. If you keep poor, the struggle is simple.

”

- Sourced From Wikipedia

Ed Roth
Birth name	Ed Roth
Born	March 4, 1932 Bell, California
Died	April 4, 2001 (aged 69)
Nationality	American
Field	Custom Automotive Cartoon Art
Training	Self Educated
Movement	Kustom Kulture
Works	Rat Fink
Influenced	Robert Williams

Ed "Big Daddy" Roth (March 4, 1932 – April 4, 2001) was an artist and cartoonist who created the hot-rod icon Rat Fink and other extreme characters. As a custom car builder, Roth was a key figure in Southern California's "Kustom Kulture"/Hot-rod movement of the 1960s. He grew up in Bell, California, attending Bell High School, where his classes included auto shop and art.

Roth is best known for his grotesque caricatures — typified by Rat Fink — depicting imaginative, outsized monstrosities driving representations of the hot rods he and his contemporaries built. Although Detroit native Stanley Mouse (Miller) is credited with creating the so-called "Monster Hot Rod" art form, Roth is accepted as the individual who popularized it. Roth is less well known for his innovative work in turning hot rodding from crude backyard engineering where performance was the bottom line into a refined artform where aesthetics were equally important, breaking new ground with Fibreglass bodywork.

In the 1960s, plastic models of many of Roth's cars, as well as models of Rat Fink and other whimsical creatures created by Roth, were marketed by the Revell model company.

Numerous artists were associated with Roth, including painter Robert Williams, Rat Fink Comix artist R.K. Sloane and Steve Fiorilla, who illustrated Roth's catalogs.

Roth was active in the field of counterculture art and hot-rodding his entire adult life. At the time of his death in 2001, he was working on an innovative hot-rod project involving a compact car planned as a radical departure from the dominant "tuner" performance modification style. In his later years, Roth's telephone number was listed in the directory, and he encouraged fans to contact him: he was always generous with his time and enthusiasm.

*My Notes For Work

LESTER BEALL 1903 1969
DESIGNER FOR THE RURAL ELECTROFICATION ADMINISTRATION POSTERS
VERY BOLD IMAGERY COLOURFUL BUR ONLY USING BLOCK COULOURS OF ABOUT ONE TO 3 MAX
WAS BRIGHT BUT IS A CHEAPER WAY OF MAKING POSTERES IN THE BLOCK PLACEMENT OF COLOURS AND BOLD LINES.
WORKING WITHIN THEIR MEANS NO COMUTERS AT ALL.

GIVES A GREATER APPRECIATION FOR THE WORK INVOLVED IN MAKING SUCH A POSTER. IT IN ITSELF, ALTHOUGH INFORMATIVE, IS A PIECE OF ART AND INGINUITY.

VON DUTCH
ED "BIG DADDY" ROTH

LOOK AT INTERVIEW
ART CHANTRY ON CREATIVITY AND DESIGN

look at kozik, very similar, also had an art light with oakleys as did chantry



Their styles are as bold and as challenging as Chantrys', and at the time all three were creating pioneering work, either with metal work, Illustration, Advertising, Poster work.

Some Pics I Like

Art Chantry on Creativity and Design

Art Chantry on Creativity and Design

January 22, 2008
by Poppy Evans

I've been a fan of Art Chantry's work for many years. When I first saw his posters in the late '80s, I was impressed by their raw power and intrigued with the designer's knack for exposing the dark side of what seemed superficially bright and cheerful. Today I admire Chantry for enduring in a field driven by trends and marketing whims. His work from 25 years ago looks just as fresh by today's design standards as it did then. Coming up with a great concept for any design assignment is a feat, but maintaining a high level of creativity for a significant period is remarkable. When asked to write this article, I jumped at the chance to discover the secret behind Chantry's prolific and long-lasting brilliance.

Spending time with Chantry during a recent visit to Cincinnati and engaging in a lengthy telephone conversation gave me insight into how he generates great concepts. After a quarter century of practicing graphic design, he's come to some conclusions about the creative process and honed his own method for making ideas happen.

The Art of distraction
Chantry first began to develop an awareness of his creative process when he was in college (he attended three schools in six years, before graduating from Western Washington University in 1978) and landed his first professional assignment. "I finally got a job to do a poster," he says. "I was so excited." But after many days of trying to come up with an idea, Chantry was still waiting for inspiration to strike. "There I was, staring at a blank sheet of paper," he recalls. "It was about 11:00 the night before my morning deadline and I had nothing. I admitted defeat and paced nervously around my apartment practicing my failure speech."

Chantry called it a night and filled his bathtub, thinking that a relaxing hot soak would soothe his bruised psyche. "While I was laying there in the tub, my head started filling with all of these great ideas," he says. "I got up, dried myself off, went to my board and did the poster. It was a big hit and the launch of my career."

Although he was initially mystified, Chantry eventually realized that distraction is a key component in his ideation process. He elaborates: "As the years went by, I tried all kinds of things, exercise, drugs. What I began to realize is that the brain is not a grid. It's a mosh. Ideas are constantly flying through your head. The creative pro-cess happens in the unconscious. The trick is to kick it into the conscious part of your brain. That's where relaxation and distraction help."

Although he no longer engages in some of the distractions he experimented with earlier in his career, Chantry has incorporated other rituals into his design process to help trigger the creative flow. "I used to love playing records while I worked," he says. "While I was busy going through the process of pulling out a record and putting it on the turntable, my mind was still working." Chantry compares this process to driving a car. "You're not consciously driving that car. Your body is driving it, and you're thinking about other things," he explains.

Chantry has observed other creatives using distraction as a means of getting to a place where their subconscious lets loose. He says it's most apparent during group brainstorming sessions when participants engage in throwing a ball or some other mindless physical activity. "There's this problem of trying to come up with an idea in a short period of time and do it vocally in a conscious fashion," he says. "That's when you see people doing this Nerf-ball thing. They're trying to break the conscious effort and let the subconscious flow. It's almost like they're self-medicating." Although he sees the benefits in collaborating, Chantry says the ideation phase should be a private process: "When the group decision-making turns into a conscious effort, stuff starts to get kind of crummy."

The Art of Inspiration
Another key component in Chantry's creative process is research. "Every client you meet introduces you to their world. Getting to know that world well enough to do the assignment requires a huge learning curve," he says.

For Chantry, research also means continually taking in a wealth of visual material and other information. He has immersed himself in subculture and pop-culture ephemera references that keep cropping up in his work. In fact, he's a walking dictionary of pop-culture trivia. For instance, he knows where the smiley face and peace symbol originated. He can even tell you who put the tail fins on the Cadillac.

Chantry also draws inspiration from people he refers to as 20th century "folk artists, '50s hot-rod artists such as Ed "Big Daddy" Roth and Von Dutch. "When you become a designer, you become a perpetual student," he explains. "Be interested in everything. Constantly fill your mind with stuff. Look at the world around you." Being a sponge and absorbing a range of rich, visual content yields a wealth of material from which to draw. "Your mind puts these things in a subconscious place," Chantry says.

Like driving with your hands on the wheel, guided by an unconscious auto-pilot, Chantry experiences the creative process as a mind/hand sequence of events, where the images and ideas stowed away in his subconscious flow through his hands. "The decisions you make while putting the artwork together often take you in a totally different direction," he says. Unlike most designers, Chantry has resisted relying on the computer as a rendering device and uses collage to produce designs. "Ideas that you don't consciously realize come out through your hands. It's this wonderful, magic process," he says.

The Art of Incompletion
Because his process is driven by traditional materials and techniques, Chantry doesn't produce digital comps that show what a piece will look like when it's finally printed. Instead, he submits black-and-white sketches. Showing his ideas in rough form gives Chantry a chance to verbally pitch his concept and the client an opportunity to get involved in the creative process from the onset. "The core of the idea is there," he explains. "When you get them jazzed and then go back and finish it, they're thrilled. If I present a comp that's fully realized, that destroys the creative process."

After many years of dealing with clients, Chantry is convinced they'll always want a degree of involvement. Letting clients participate in the refinement of a strong design concept helps him ward off the bastardization that often occurs when a client wants to change a fully realized design. Chantry believes a solid concept will survive a client's scrutiny and the revision phase. "People usually want to stick their finger in the pie," he says. "And that's often the most difficult process for designers, your child is being ripped apart and put back together in a strange way right in front of you. But the core of a great idea is inviolate. They can't break it because it's so good."

For Chantry, the combination of research, relaxation and hand-rendering a concept produces what he describes as "the first shot the one your body and your brain did for you." Says Chantry, "Your first idea is your intuitive brilliance. It's taken me 25 years to get to a point where I can do that effortlessly."

HOW October 2003

Me and Art

Hi and welcome to my look at the work and thoughts of Art Chantry.
At the moment I'm currently researching into his work as part of my degree in interactive design.

Ive been aware of Arts' work for quite some time as he is very similar in ways to one of my favourite illustrators and designers, Frank Kozik. From my early teens I've always been interested in the much darker side of these kinds of style, where there's strong American influences from the 30's to 50's and big bold statement prints.

I like the mixture of sweet and sinister, as we can see here. Also one thing that really grabs me is the informative side of his work and posters, lots of writing or big slogans such as the "I take one everywhere I take my penis" poster for condoms. I think he you can see some of Arts earlier influences such as designer Lester Beall.

My plan then is to learn more about Arts' work and world. I'm researching his images, but also his interviews, any extra info, and definately some stuff about his inspirations. If anyone one has anything to share please get in touch. Also I shall be working with aspects of Arts work for insiration and posting them, so if anybody else has any contributions, they would be well recieved. Cheers Guys.