OUGD505: Bowie Iconography + Past Posters (Research 2)

I wanted to utilise the uniqueness of the location, being at the Rollerena on Kirkstall Road and add subtle touches of Bowie iconography to signify to the wider audience.

Ideas //


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- Gig poster         - Map            - Homage poster       - Celebrating life of a starman

- Ambiguous architecturally inspired print to show where Bowie has been/effected in Leeds

- Asking how many people who are influenced by David Bowie at Leeds College of Music and making a print showing the sheer quantity of hands which will raise as a result.


- Typographically centred using screen print and letterpress, a homage in illustration and typography would swirl around the page.

Both of these posters follow a very 1970's design aesthetic, playing to the conformities of A3/4 so utilising the space to frame the figure was important. Expressive consistent type shows the David Bowie (then) branding. Bold bright colours and posterised contrasts are created, with heavy colour blocks smoothing out any detail, leaving an abstract shape.

When looking at the first image, six individual colours have been applied to a white background and its this subtlety which gives such depth to the image. The darker highlights of blue perfectly offset the grey/orange combination, as well as giving another cool shade to balance out the heat of the red starman lighting bolt.

The second image is more abstract yet with the typography eventuating a playful nostalgic quality. The jagged edges of the frame and art decor typeface suggest he could be perturbing from a crazy frame or beautiful wall tile to directly interrogate the viewer. The red, blue and black all work in unity to enhance each other's detail, whilst keeping its individual vibrance. Screen print would be the most appropriate print method for this style due to the multi-layered design. 

Two monochrome Bowie posters, reflecting two alternative design styles. The first is much more avant-garde and playful with the typography. The second is one which particularly caught my eye due to the photographic communication framing the figure moving, yet trapped in a dark blanket of negative space. A crisp, white san-serif sits on his right leg, almost solidifying his pose and helping him stay upright. Tight kerning and a soft terminals make the letterforms approachable and soft on the eye, almost the opposite to the retro-futuristic vertical composition on the left.

Playing on the use of red within Bowies appearance, yellows, oranges and even a brown is incorporated to perpetuate a warm autumnal colour pallet, making it stand out amongst the midst of other springtime posters (April show). The style used is _______ , making appearances in psychedelic artwork and and has been used by many other artists, including The Grateful dead

On the right is a typographic approach

New on Old

When considering the uses and abuses of spaces in Leeds, its interesting to see what Kirkstall Rollerena looks like now, in comparison to the bustling scene of the 1970's. I could photograph what it looks like now, in whatever state and superimpose a Bowie party scene onto the space, using typography to sate the event. 

I could shoot on either black and white film or digitally (Canon 5D). By shooting film I have the opportunity to play around with natural filters as used in the Bowie era, and this will allow me to either darkroom print (or screen print) the image traditionally. However, using film is limited as I can only darkroom print black and white due to the complexity and chemicals needed, meaning colour would need to be added in another way.

By introducing a superimposed layer, considerations need to be made for the colourings as this would need to be traditionally printed.

Also, using letterpress and embossing of text to define subheadings, as well as finely detailed foiling around the outside replicating the psychedelic borders of the 60's.

 

This image is a huge inspiration for me at the as it looks so realistic. The introduction of Hillary Clinton's head on a fashion model's body never the less raises questions of women bodies, as it could perpetuate idealistic body types. However this piece caught my eye because of the humorous tone related to it, as well as the composition, colour balance and accessories. 

This is one of the first uses of the lightning bolt iconography, later used on the Aladdin Sane cover released the same year. Sadly, I could not find if the whole series of tour posters were consistent, nor if there was a 'Leeds Union' BOWIE/Ziggy Stardust poster in this style. The bold typography is legible but quite nostalgic in the structural letterforms and typographic composition. 'Ziggy Stardust' typography reflects the Elvis Presley / The Clash famous typography, highlighting the start of two new periods of rock and roll. First hand writings previously covered have looked at the atmosphere of that 1973 tour, being like 'tigers on vaseline', moving their bodies to the epitome of new Rock and Roll sounds at the time. Perhaps Bowie was referencing the start of rock anarchism, with this tour following suit as a trailblazer in Rock and Roll.

Other fan art

The only other David Bowie Rollerena Poster. As the gig was simply a revenue move, another poster wasn't created as tickets had already been sold (and sold out) to Bowie fans, planning to see him at Leeds University Union. 

The garish use of colours would work well as a two colour screen print on coloured stock, but the vivid yellow just seems unconsidered to Bowie in 1973. Furthermore, the gig was David Bowie as one of his alter ego's, Ziggy Stardust (and the spiders from mars), yet no mention to this character is present in the print, or even through the typography. This print looks to explore realism over artistic merit, with the use of a half-tone image placing the poster within photographic realms. Other techniques of poster making to consider are illustration and fine art styles, especially as the outcome is for printmaking.



 

The Aladdin Sane lightning bolt is hugely recognisable as one of David Bowies key traits. Even when transformed into more surrealist pieces of art, the audience is still aware that David Bowie is at the heart of this discussion.