The following have work in the Doobie Decibel System Poster Series.
(Click on a name for more information.)
Alexandra Fischer moved to the Bay Area from Germany in 2002, she is the youngest member of the Moonalice poster family. Working with both photography and digital collage, Alex brings a fresh look to the classic rock poster, often seamlessly combining her own work with found images. She creates artwork that references the colorful history of the poster, while having a decidedly modern look. She has created posters for The Fillmore, Amsterdam’s Club Paradiso, and works with several bands and artists locally. She currently lives and works in her Oakland, CA studio and holds a degree in Photography from the California College of the Arts.
Carolyn Ferris lives in Fairfax, California. She’s worked with Timothy Leary over a span of about six years, created work for Santana, The Fillmore, and The Warfield. Carolyn joined the incredible Moonalice poster artist pool in 2009; within it, she found sanctuary with great music and adventure. In the years since she’s been with Moonalice, her style to date has now changed three times! She started making posters with computer art using photoshop. In 2013, Carolyn used acrylic on canvas to create posters. By 2015, she put away those acrylics and is now now creating posters using ink on paper. She totally enjoys using ink, and now even hand draws the lettering!
Chris Shaw was born 1967 and has been cranking out art & rock posters by the hundreds since the mid ‘80’s. Chris creates posters using a myriad of styles and techniques, from hand-inked illustrations, to deeply layered digital collages. Shaw is equally at ease working with classic printmaking techniques or the most current cutting-edge digital technology, and loves to combine the crafts. He has made dozens of posters for Bill Graham Presents and the Fillmore Auditorium in San Francisco, and currently works with numerous bands and venues worldwide. Chris has exhibited his paintings and posters in shows and galleries both in the USA and Europe. He currently works from his studio in Oakland, California and is the Art Director of the Moonalice poster series.
Christopher Peterson’s inspiration comes from several sources. The first is from the subjects themselves. Using the traditional skills of drawing and painting, he can observe and express not only the physical thing, but also the emotion in any given subject. Technically, any subject can be a beautiful opportunity to use paint, color and value to express the mulitude of effects that light, refection, shadow and cast shadow have on a subject.
His artistic inspiration comes from a tradition of American painting beginning with artists like N.C. and Andrew Wyeth, Charles Sheeler, Edward Hopper, John Singer Sargeant and Winslow Homer. His more contemporary influences are from artists such as Wayne Thiebaud, Chuck Close, Robert Cunningham, John Register and Richard Estes. He has always been fundamentally an illustrator though, and accordingly, has been influenced by such artists as Norman Rockwell, Milton Glaser, and James McMullan, but feels that it is important to be very discerning when choosing one’s artistic influences and prefers the traditional American realist painters.
He was born in New York City May 26, 1957, and grew up in Westport, Connecticut. His father was a salesman, and his mother was a clothing designer. Like many boys who grew up in the suburbs during the sixties, his earliest influences were The Beatles, The Monkees, Rolling Stones, Walt Disney, Norman Rockwell, Peter Max and Andy Warhol.
After a moderately idyllic childhood, he went to art school in Boston, and then at Art Center College of Design in Pasadena. He began his career as an Illustrator in New York City in 1980, and immediately started working for The New York Times and Time magazine. Since moving to the Bay area in 1984, he has been a steady fixture in the landscape of art and design, working in newspapers, advertising, exhibit design, teaching, and as a painter and illustrator.
Award winning Southern California-based artist Darrin Brenner has been creating art her entire life, exploring a variety of mediums over the years. The rock posters she admired by artists such as Alton Kelly, Stanley Mouse, Rick Griffin, and Wes Wilson influenced her to begin creating the extraordinary art she is now known for. Darrin’s most notable clients include Moonalice, Cubensis: The Grateful Dead Music Tribute, Mickey Hart, the Rex Foundation and High Sierra Music Festival, among many others.
Dave Hunter has been involved in the Bay Area rock art/music scene for 23 years. After moving to San Francisco in 1985, he helped to organize and install rock poster shows at the Psychedelic Shop and Artist Rights Today benefits in San Francisco. Dave went on to work as head picture framer for the Bill Graham Archives from 1988 till 1992. From this rock art rich background Hunter began to create rock art for San Francisco Bay Area bands, record labels and venues.
Recently, Dave has returned to his roots in printmaking, creating silkscreened posters – some of which are featured in the new Firehouse/Goldenvoice SF poster series. Hunter currently lives and works from his studio in Fairfax, CA, supporting his young daughter and a healthy art habit. He is an alumnus of the California College of the Arts in Oakland and the Center For Electronic Arts in San Francisco.
David Singer is best known as one of the early Fillmore artists, designing 75 posters for Bill Graham, from 1969 to 1990. This was the era before computers changed everything in graphics. Working mostly in the medium of collage, he has now switched from analog cut-and-paste methods to total digital manipulation of images.
Also known for his cryptic hand-lettering, Singer designed the circular Moonalice name that appears on all his posters and is often used as a band logo. David singer currently lives and works in Petaluma, California.
Pioneering and refining a bold new approach to artistic expression, Dennis works in a style forged from both traditional and space age ingredients as he paints sculpted relief on canvas, creating layered works of arresting depth and intense optical punch.
Ever since passing through the sieve of art school, Dennis has painted against the grain – not as an attention-grabbing statement versus the art world, but simply because his personal vision, informed by such diverse sources as retro sci-fi and pulp symbolism, the mundane parody of everyday life and the humor and mystery of death and destruction, was immune to passing trends or commercial fads.
Dennis Loren was born in 1946 in Detroit, Michigan. He has been creating concert posters, album covers, CD packages and music related graphics for over 42 years. He served as art director for the music magazines Blitz!, Goldmine, R.P.M., Cream and Metal (1977 – 1992). Throughout his career, Dennis has also created packaging design for numerous record labels and recording artists ranging from Frank Zappa to Brian Wilson. Dennis began creating concert posters in 1967. His first three posters were done for Muddy Waters, The Youngbloods and Jimi Hendrix. Over the years, Dennis has designed posters for The Matrix, The Fillmore, The Avalon Ballroom, The Great American Music Hall, The Warfield, and The Whisky A Go-Go among many other legendary venues.
Portland based Gary Houston is well known as the “Blues Fest” poster artist of Portland and for his illustration company, Voodoo Catbox. Houston’s posters are hand made using traditional methods like scratch board illustration or hand cut rubylith, and then hand pulled. Since 1995, Houston has humbly operated under the moniker of Voodoo Catbox, a well known entity in the poster industry. But he is most well known as the signature artist for the Portland Blues Festival, which his unique scratch-board style has become the timeless branding of the festival since 2001. Houston calls the work he does as: hands-on, physical, creative and romantic. “It’s leaving a little bit of history,” Houston told Oregon Music News in 2009.
Since founding GIGART in 1996, Gregg Gordon’s artwork has been seen on TV, featured in magazines and newspaper publications, and utilized as an integral part of a number of national ad campaigns and concert merchandising efforts.
Corporate clients such as TBWA/Chiat/Day, Landor Associates, Spin Magazine, KROQ Radio, Live105 Radio, Interscope Records, J Records, ESPN, Bill Graham Presents, DreamWorks Records, and many more, have repeatedly turned to GIGART for their poster, logo, album cover and package design needs.
Jason is a folk artist, whose medium consists of mostly ink, watercolor, poster art, and some collage. His lettering and drawings are created by hand with little to no help from programs like Adobe Photoshop and Illustrator.
John currently lives in the San Francisco Bay Area with his semi-vast music and baseball card collections along with his beautiful wife, Tam and his 4-year old Art Director, Athena.
John Seabury created Pyno Man who appeared on hundreds of flyers for the late ‘70s pre-punk noise-pop band Psycotic Pineapple (he was also the bass player). Educated at the San Francisco Art Institute, Seabury is a fine artist with an attention to detail and line work that borders on psychotic obsessiveness.
Lauren works with prints and illustration. The bulk of her portfolio deals with problems in society. She relished tackling hard to handle issues and drives herself to transform the grotesque and difficult, into beautiful imagery that’s accessible to the masses.
Lauren Yurkovich’s work is strongly influenced by her background in the Middle East. Having spent her life traveling as well as having been raised as an American in Saudi Arabia she has a uniquely worldly perspective that dominates her work.
From an early age, Lee identified himself as an artist. He went to Monsey Grammar School and Spring Valley High School in New York state. He attended college at Calvin College, a conservative church school in Grand Rapids, Michigan, and was called a beatnik while there. He was the catoonist for the college paper and was considered a trouble maker for his avant-garde paintings and blasphemous poetry.
Upon discharge from the army, Lee became acquainted with contemporary San Francisco poster art and moved to San Francisco to try his hand. His work was an immediate success and he produced posters from 1968 -1970 when he published a book of his drawing titled Viva La Mutation
Ron Donovan is the bad-boy of Bay Area poster making. Donovan’s first footprint on the art world came in 1985, when he co-founded We Are Not Gentlemen (WANG), a cadre of infamous art saboteurs, headquartered at the California College of Arts and Crafts. For the last 2 decades Ron has created hundreds of cutting-edge rock posters and has spilled spurious political propaganda from various corners of the the Bay Area and disseminated worldwide. Co-founder of the Firehouse Kustom Rockart Co. with Chuck Sperry, Ron currently lives and works in Oakland, CA and exhibits his work at galleries and public bathrooms around the globe.
The sixties, an era of untamed passion; peace, love and happiness admist war. Somewhere between these extremities, a new style of art was born. The artist, Stanley Mouse visualized psychedelic images and transcended them into art, bringing art and music together for the first time. He provided many of the iconic images of the era, expressing in each of his paintings the hope and magic of the sixties.
During a prolific career spanning over forty years, Mouse has created a visual arsenal of popular images, still important to both those who remember the originals and a younger generation of fans. Today Stanley is returning to his Fine Arts roots and creating a new series of Rock portraits, his works have been exhibited at galleries and prestigious museums worldwide.
Wes Wilson, who is generally acknowledged as the father of the ’60s rock concert poster, was born Robert Wesley Wilson on July 15, 1937 in Sacramento, California. He helped pioneer what is now known as the psychedelic poster. His style of filling all available space with lettering, of creating fluid forms made from letters, and using flowing letters to create shapes became the standard that most psychedelic artists followed. It helped put the “psychedelic” in the art. Today, Wes Wilson creates paintings, but still occasionally does new posters or new art of interest.
Punk Art Surrealist Winston Smith, a master of “hand-carved” collage, has been crafting his thought-provoking art since the 1970’s. After being abroad for six years, Winston returned to America and was astonished by the complacency the American public exhibited towards the corporate domination in their society. Winston began taking “safe” images from magazines and combining them to create politically charged works of art that challenge the viewer to confront incongruities and political paradoxes of modern society.
Smith first became known (and later beloved) for his collaborations with punk legends Dead Kennedys and his numerous album covers, inserts and flyers for the band in their formative years. His technique of cutting out by hand and gluing each individual element has inspired a generation of artists.