GRAPHIC DESIGN

PUBLISHER
Soundscreen Design

BOOK FORMAT
Hardcover, 9.5 x 12.5 in. / 312 pgs / 566 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2010 p. 173   

PRODUCT DETAILS
ISBN 9780984302802 TRADE
List Price: $59.99 CDN $70.00

AVAILABILITY
Awaiting stock

  

SOUNDSCREEN DESIGN

Rock Paper Show: Flatstock Volume One

Edited by Geoff Peveto. Introduction by Clay Hayes.

Featured image, composed of spraypaint stenciled on paper, is "Mig Kokinda," reproduced from <a href="9780984302802.html">Rock Paper Show: Flatstock Volume One</a>.The first decade of the twenty-first century marked a highpoint at the intersection of graphic design and music. Against the backdrop of the digital music revolution, the rock poster has suddenly reemerged as an art form, and as a memento or calling card of a remarkably talented group of artists and design studios. Rock Paper Show: Flatstock Volume One presents an editorial and visual history of Flatstock--the American Poster Institute's ongoing, nomadic series of rock poster exhibitions. Since its inception in 2002, Flatstock has evolved into the definitive showcase for the most heralded and innovative poster artists working today, among them Yee-Haw studio and Jason Munn, for bands such as Modest Mouse, Wilco and Spoon. This deluxe volume chronicles the first 20 Flatstock exhibitions, which took place in some of the most exciting cities for music in America--from San Francisco and Austin to Chicago and Seattle. Featuring 566 color photographs of posters, as well as texts by important collectors, bands, critics and the artists themselves, among them Rock Paper Show: Flatstock Volume One takes the reader on a behind-the-scenes look at the places and personalities at the heart of this vibrant and varied community.

Featured image, composed of spraypaint stenciled on paper, is "Mig Kokinda," reproduced from Rock Paper Show: Flatstock Volume One.

Rock Paper Show: Flatstock Volume One

STATUS: Out of stock

Temporarily out of stock pending additional inventory.

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FROM THE BOOK
"At a time when most design-watchers had declared the medium dead, a clutch of talented folks refused to let it pass and instead turned it into the most vibrant canvas imaginable. Infused and inspired by the changing economics of the music industry, a dramatic hole opened up in the design galaxy. What were once considered tiny personal pieces being silk-screened in someone's garage now became sought-after merchandise and memorabilia. The meteoric rise of the gig poster was so astonishing in design circles that it would inspire a great deal of jealousy among those left out in the cold. Grumbles of the need for less creative freedom (can you imagine the appeal?) fell on deaf ears as some of the top firms in North America saw their best young talent jump ship for a life of ink-stained hands and narrow margins. Soon after, students leaving design schools came to view poster-making as a possible full-time vocation. The unthinkable became reality."

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