I do think that more should have been at the show. Defeats the purpose of a gig poster if such a small amount is available.
Graveyard Minneapolis 15 Holt / Horkey
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#greedyhorkKramerica wrote:I wouldn't mind a little insight into the decision to sell the overwhelming majority of them online. I agree that it would make much more sense to sell most of the gp's at the actual gig it is meant to commemorate. Whatever doesn't sell gets sold on the web later on. At least that way the people at the show have a crack at it first if they want to throw down the cash.
RupertPupkin wrote:I live by this rule and this rule alone: people are drymounting idiots.
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thescofieldkid
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Truly a low point for concert goers and GP collectors in general. The Hork camp should be ashamed of themselves. Flippers are always going to be out there. Graveyard fans aren't going to shows to flip drymounting prints! Charging 3-4X normal price to thwart "flip potential" is bullshit. Let's hope this ugly practice doesn't catch on!Kramerica wrote:I wouldn't mind a little insight into the decision to sell the overwhelming majority of them online. I agree that it would make much more sense to sell most of the gp's at the actual gig it is meant to commemorate. Whatever doesn't sell gets sold on the web later on. At least that way the people at the show have a crack at it first if they want to throw down the cash.
Kramerica's right, gouge away online if that's what needs to be done, but don't drymount w/us music fans!!
Will never support The Horkey again.
Collect them all. Before you Die®
Please kid, don't go..thescofieldkid wrote:Will never support The Horkey again.
Right. And C'mon blue - giving Holt a pass on the greedy pitchfork? You're better than that.thescofieldkid wrote:Flippers are always going to be out there.
Great poster, great artists, great bands, great show.
- In the end it's the beast and the fowl that will reclaim the world.
Pretty sure this is going to sell out when it goes online, and if so, that suggests it isn't overpriced. Simple economics. Unless you meant, that's just more than you would pay. In which case, right on. You certainly have the right to your opinion. 
So it goes...
Price is great for me. If they each did a poster for shows on the tour and charged $60 I'd buy both. They're giving my framing budget (and walls) a break.
And you're right, I'm sure kid will take $100 on it.
And you're right, I'm sure kid will take $100 on it.
- In the end it's the beast and the fowl that will reclaim the world.
Just to be clear, I have no problem with the price. I just think it defeats the purpose of making a gig poster if less than 10% of the run is sold at said gig. Give the folks who plunked down money to go to a show and see the band the first shot at getting it. I am sure with a price tag of $100 and 250 prints there would still be plenty to go around online.
When I'm done ranting about elite power that rules the planet under a totalitarian government that uses the media to keep people stupid, my throat gets parched. That's why I drink Orange Drink. - BH
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halftonegraphics
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Kramerica wrote:Just to be clear, I have no problem with the price. I just think it defeats the purpose of making a gig poster if less than 10% of the run is sold at said gig. Give the folks who plunked down money to go to a show and see the band the first shot at getting it. I am sure with a price tag of $100 and 250 prints there would still be plenty to go around online.
definitely agree but unfortunately i think that fact that is was an ZOMG HORKEY AND HOLT print, with a much increased price, it was clearly targeted for the collectors. most of the concert-goers that night saw the print, was in awe, and then quickly moved on after knowing the price and proceeded to getting their screwdrivers and beers. there were maybe 30 prints there. before opening, the merch guy pulled what appeared to be 10 from the stack and put them away.
I broke something today, and I realized I should break something once a week.. - Warhol
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Yeah, but...it's one poster and you offered a couple of WTs as damning evidence.MGW wrote:Price is great for me. If they each did a poster for shows on the tour and charged $60 I'd buy both. They're giving my framing budget (and walls) a break.
And you're right, I'm sure kid will take $100 on it.
<<Obligatory, "it's all merch anymore", "you can still find plenty for 20-50 bucks", and "they can charge whatever they like" disclaimers here>>
just a foil for me today, thanks
I hear ya kramerica. For me, getting a gigposter from artists and bands after the event saves a lot of hassle and increases my enjoyment of the show.
Trying to pack up precious paper that doesn't sell after the show without dinging a corner or edge (making it worthless to the mint crowd) isn't something I'd want to do. Sell all and be done.
Trying to pack up precious paper that doesn't sell after the show without dinging a corner or edge (making it worthless to the mint crowd) isn't something I'd want to do. Sell all and be done.
- In the end it's the beast and the fowl that will reclaim the world.
Seems reasonably priced to me. The price is the price. Don't like it, don't buy it. Pretty simple.
It's unfortunate that more weren't available. Ultimately though, it's typically a band's decision on how many posters are made available. If I recall correctly, on Graveyard's 2013 US tour, the band only let the artists bring a specific amount (something like 25) and that's all. I don't know why so small, but it's probably the same this time around.
It's unfortunate that more weren't available. Ultimately though, it's typically a band's decision on how many posters are made available. If I recall correctly, on Graveyard's 2013 US tour, the band only let the artists bring a specific amount (something like 25) and that's all. I don't know why so small, but it's probably the same this time around.
You will be missed.thescofieldkid wrote:Will never support The Horkey again.
...is not a counter-argument to an earnest "this costs too much imo".deancc wrote:The price is the price. Don't like it, don't buy it. Pretty simple.
Making it known that someone is not wanting or able to buy something they otherwise would or did in the past because of the price is the point of saying something. It's a worthwhile discussion IMO.
just a foil for me today, thanks
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Diabolos80
- Art Expert
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- Joined: Tue Jun 23, 2015 2:54 am
A better argument for the cost would be: it's a 39 inch Burlesque screenprint. Nevermind the artists or the gig, that's gonna be a great big quality product.
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decker3984
- Art Expert
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- Joined: Thu Nov 17, 2005 2:00 am
Well, aside from telling the band and artists how to sell their prints / merch...
I think I am personally more excited about this print than anything I have seen from Aaron in a while... And YES, YES, YES I know this is not solely a Horkey... I am a HUGE fan of both artists. But now that Aaron is branching far more into the gallery art world I honestly suspected his gig poster days may have all but been done. And was all the more surprised to see him do a poster for Graveyard specifically; after the first poster he did for them... That set the bar pretty damn HIGH. I think even Aaron considers it one of his best... And for a man that generally can't even stand to look at something he has done once he has finished it (at least historically speaking, the past yr may have seen a change in that), I think that says something in and of itself. But since it was a collab, I think that probably eased the pressure because HE didn't have to top what he had previously done, he could hand the reigns to Brandon who I think CRUSHED his 2/3 of the illustration.
I think the comment had been raised that the whole print / image didn't seem that cohesive (actually I believe the exact wording was 'Frankenstein') but while I think it is easy enough to tell which portions were completed by each artist, I think it works great as a whole. I will concede there does (beyond the placement of the type) seem to possibly be a slight disconnect between the loon's body and the webbed foot we see beneath the water. But one thing that I absolutely LOVE about the print is how incredibly dynamic the whole image is, right down to the text. I think my biggest objective criticism is that I wish the top of the print didn't hit such a flat border. There seems to be SO much movement around the loon's head, I just wish it continued. But I really enjoy how the text and portions of the feathers break the visual plane, I think it makes the whole image far more powerful.
It is pretty amazing to me seeing the original drawing, which surprised me in a number of ways... One that seemingly the entire image (save perhaps venue/supporting text) was done on a single surface vs. digitally composited (ala Dracula or Decembrists). Two that Brandon seemingly got Aaron to work on his recent medium of choice (clayboard). And Three that with the exception of the "G" and the leaves, Brandon's portions seem far more detailed than Aaron's... Considering they were obviously working on the exact same scale, I think that is certainly saying a LOT.
I mean on the Decembrists print, Emek's portion does admittedly seem more detailed than Aaron's but that is b/c he was probably working at anywhere from 3 to 4 times the scale Aaron was. I'm pretty sure his fish had to be scaled down for the print whereas Aaron's had to be significantly enlarged. And I am not knocking that print or either artist involved, I love it and a copy hangs in my living room, simply a point of comparison. And for what it's worth, I guess I am mostly basing my comments in this case on the "thickness" of the horizontal lines running through the letters vs. the linework and stippling on the belly of the loon.
Something that really would probably only be noticeable in B&W b/c in the print the negative space of the white on the letters would be filled in by some tasty Bearded Wizard metallics. But speaking of color (or it's absence), I really love the way the text POPS against the background in the actual print. I know this is absolutely nothing new in Aaron's visual vocabulary, but what I do thoroughly enjoy is that now that he has spent over a decade creating his own 'rules' as to how his drop shadows and the (I guess you could say) *highlight layers* (?) surrounding the text work... Now he is just having fun with it and making it more it's own graphic element and not just supporting or adding depth to the text itself, meaning it doesn't have to follow the exact form of the text or even fall downward and to the right. I know this is me, hardcore Horkey fanboy geeking out over some minutiae... But I just think that it is rad seeing him experiment and try new things, to very positive effect.
And on that note...
And this may *just* be me but while obviously retaining many of the Horkey trademarks; the decorative flourished and interconnected nature of the letters... This one feels a bit different to me. I feel like *maybe* with Graveyard having a VERY 70's hard rock sound (when Hisenberg Blues came out, they had been compared to Black Sabbath), I wonder if perhaps this was Aaron's nod stylistically to the gig poster greats of the 70's... Mouse, Kelley, Griffin. Personally, I'd love to have Tapecat or Triporfreak way in on that one, being fans of all the above. Don't know... That could be me reading something into absolutely nothing, but either way I think it definitely works!
Well, that's my 2 cents
Did I mention I was really excited about this one? ha
Carry on.
I think I am personally more excited about this print than anything I have seen from Aaron in a while... And YES, YES, YES I know this is not solely a Horkey... I am a HUGE fan of both artists. But now that Aaron is branching far more into the gallery art world I honestly suspected his gig poster days may have all but been done. And was all the more surprised to see him do a poster for Graveyard specifically; after the first poster he did for them... That set the bar pretty damn HIGH. I think even Aaron considers it one of his best... And for a man that generally can't even stand to look at something he has done once he has finished it (at least historically speaking, the past yr may have seen a change in that), I think that says something in and of itself. But since it was a collab, I think that probably eased the pressure because HE didn't have to top what he had previously done, he could hand the reigns to Brandon who I think CRUSHED his 2/3 of the illustration.
I think the comment had been raised that the whole print / image didn't seem that cohesive (actually I believe the exact wording was 'Frankenstein') but while I think it is easy enough to tell which portions were completed by each artist, I think it works great as a whole. I will concede there does (beyond the placement of the type) seem to possibly be a slight disconnect between the loon's body and the webbed foot we see beneath the water. But one thing that I absolutely LOVE about the print is how incredibly dynamic the whole image is, right down to the text. I think my biggest objective criticism is that I wish the top of the print didn't hit such a flat border. There seems to be SO much movement around the loon's head, I just wish it continued. But I really enjoy how the text and portions of the feathers break the visual plane, I think it makes the whole image far more powerful.
It is pretty amazing to me seeing the original drawing, which surprised me in a number of ways... One that seemingly the entire image (save perhaps venue/supporting text) was done on a single surface vs. digitally composited (ala Dracula or Decembrists). Two that Brandon seemingly got Aaron to work on his recent medium of choice (clayboard). And Three that with the exception of the "G" and the leaves, Brandon's portions seem far more detailed than Aaron's... Considering they were obviously working on the exact same scale, I think that is certainly saying a LOT.
I mean on the Decembrists print, Emek's portion does admittedly seem more detailed than Aaron's but that is b/c he was probably working at anywhere from 3 to 4 times the scale Aaron was. I'm pretty sure his fish had to be scaled down for the print whereas Aaron's had to be significantly enlarged. And I am not knocking that print or either artist involved, I love it and a copy hangs in my living room, simply a point of comparison. And for what it's worth, I guess I am mostly basing my comments in this case on the "thickness" of the horizontal lines running through the letters vs. the linework and stippling on the belly of the loon. Something that really would probably only be noticeable in B&W b/c in the print the negative space of the white on the letters would be filled in by some tasty Bearded Wizard metallics. But speaking of color (or it's absence), I really love the way the text POPS against the background in the actual print. I know this is absolutely nothing new in Aaron's visual vocabulary, but what I do thoroughly enjoy is that now that he has spent over a decade creating his own 'rules' as to how his drop shadows and the (I guess you could say) *highlight layers* (?) surrounding the text work... Now he is just having fun with it and making it more it's own graphic element and not just supporting or adding depth to the text itself, meaning it doesn't have to follow the exact form of the text or even fall downward and to the right. I know this is me, hardcore Horkey fanboy geeking out over some minutiae... But I just think that it is rad seeing him experiment and try new things, to very positive effect.
And on that note...
And this may *just* be me but while obviously retaining many of the Horkey trademarks; the decorative flourished and interconnected nature of the letters... This one feels a bit different to me. I feel like *maybe* with Graveyard having a VERY 70's hard rock sound (when Hisenberg Blues came out, they had been compared to Black Sabbath), I wonder if perhaps this was Aaron's nod stylistically to the gig poster greats of the 70's... Mouse, Kelley, Griffin. Personally, I'd love to have Tapecat or Triporfreak way in on that one, being fans of all the above. Don't know... That could be me reading something into absolutely nothing, but either way I think it definitely works!
Well, that's my 2 cents
Did I mention I was really excited about this one? ha
Carry on.
downtown wrote:If God has a plan for humanity it is simply to see what Aaron Horkey will do in the next ten years.