Just Like Being There is a documentary produced by Scout Shannon, 2012, investigating the past 50 years of iconic posters and contemporary artists who have brought gig posters to the mainstream.
Screen printing is craftsmanship, and can be used from a 1 colour print to a 101+ colour print. The blending of tones and inks is much like fine artistry, yet instead of paint brushes exposed stencils are your tool of choice.
Designers on the documentary said how they will spend days listening to certain artists for inspiration, as well as in-fitting the tone of the bands music. 1960's posters had the type integrated heavily with the artwork, leaving some of the audience not being able to read the text. The general rule here, is 'if you can't read it, its not for you'.
The 1980's screen print scene had heavily faded away on the documentary, yet in the early to mid 90's, a real revival of the poster scene came about, a contributor of which was Jermaine Rogers "being in the right place at the right time".
Initially a promoter would contact you and ask you to do a poster for the show, the promoter does not have the right to tell you to create a poster for sale.. the minuet you sell one it instantly becomes merchandise, which is essentially how posters were surviving throughout the 1990's.
Studios started to latch onto the indie band, yet they are now class as a commodity.
The term "Bootlegging" was mentioned frequently and was a concern to all designers interviewed, this is when you make a poster of someones band without their permission, also classed as intellectual theft.
'The Rocket', Monthly Music Magazine from Seattle was the first to employ____ as a tea and coffee boy, despite completing a high quality
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