(To celebrate Labor Day weekend’s 30-year reunions of the Crawdaddys and the Unknowns at San Diego’s Casbah, longtime graphic artist and Che Underground blog contributor Kristen Tobiason has prepared a striking pair of flyers to feature each night’s lineup. Here’s the story behind the art and a glimpse of the sociology of music flyering.)
It seems like yesterday I was drawing a flyer for the Wallflowers’ first gig with a black Sharpie.
Twenty years later, here I am putting together a poster for the Unknowns, while listening to one of their songs on YouTube.
I still sketch my preliminary ideas on paper, but my medium has evolved, becoming less primitive and infinitely more digitized.
Buy your tickets now for the Crawdaddys and the Unknowns at San Diego’s Casbah, Sept. 2-3!
Some girls love shoes, I love color and typography. I was never patient enough to learn guitar, but drawing came naturally. I loved record albums as a kid, and some of my earliest memories are of studying the covers from my dad’s collection. As a teenager in the San Diego music scene, flyering was a way that I could contribute to the music without having to actually be in a band. When I was 16 I got my first box of rapidograph inking pens, which I had seen Jerry Cornelius use for his illustrations. Jerry’s art was intimidating, but inspiring too. I learned by emulating his style, and used to sit and copy Tennielle’s drawings from “Alice in Wonderland,” or the covers of H.P. Lovecraft, to learn how to do the crosshatching/shading.