Continuing our coverage of the upcoming Fog Rising event—an SF celebration of the twisted fragmentation that is rock n’ roll and its corresponding artistic counterparts—we bring you these words from poster artist David D’Andrea.

What drew you to poster art? How long have you been at it?

My poster career has evolved quite naturally from my photocopied fliers and zines of the mid 90's. In 1998, with the help of Life Is Abuse records, I put out a few one-two color screen prints for local Oakland shows. I've been obsessed since then, although the bulk of my prints have been released within the past three years.

What do you like about the fusion of art and music designing posters can offer?

Ever since I was a child I've been attracted to bands with an interesting visual aesthetic. My father's LP collection was full of them...bands like Led Zeppelin, King Crimson, Cream, etc. Later, when I began developing my own collection, I took to the skate scene and the punk and hardcore that went with it. It quickly became clear that creating visuals to accompany music was to be my contribution.

Posters, in a way, are a continuation of the LP jacket, though more freeform. Posters are usually based on the artist's interpretation rather than an art director's whimsy.

Do you try to incorporate aspects specific to bands performing in shows you create artwork for? Or is it more of an overarching representation of music for which you aim?

I always spend time with the music and see what comes to me. It's a huge part of the process. Poster design is usually pretty wide open. The artist has the chance to just go for it. Whether a poster channels the particular band successfully is obviously up to the viewer. It helps to be into the band and interested in their lyrics, concepts, and aesthetics already established.

What types of bands are your favorites to work with? Why?

I am partial to progressive rock, riff-oriented psych, and 60s/70s rock especially. I have my favorites...OM, Lichens, Daniel Higgs, Astra…but there are so many on the horizon.

It's difficult to pinpoint too many. It's a blessing to have been able to work with bands that I'm directly inspired by. I can contribute my vision, and in turn they are hopefully inspired by what I create, which forms an incredible circle.

How do you see the genre of poster art changing in this rapidly evolving climate for the business of music?

I think that posters are fantastic because they call for actual human interaction. My posters are drawn, printed, and distributed by hand.

They're tactile…there are small imperfections, you can feel the ink on the paper's surface. Each print is unique. Whenever possible I sell them at shows for cheap. This, I hope, encourages human interaction and tactile, printed, visually compelling objects—a concept that is dying/dead in this era.

Even once the "industry" turns to 100% digital download, there will still be live shows, vibratory and energetic exchange. The posters function as a tactile memento of the event, a celebration of sonic and visual art.

David D’Andrea’s artwork will be displayed at the Fog Rising event, which is going down on November 7th in San Francisco at Broadway Studios. Presented by Tee Pee Records, Secret Serpents, and Converse, Fog Rising is an artistic and musical celebration.

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