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Monthly Archives: March 2016

  • POW Chats: Jeff Soto Talks Owls, Origins and Future Plans

    jeff soto owl 2 "Snow Owl" by Jeff Soto

     

    Prints on Wood chats with long-time painter, illustrator, muralist and POW collaborator, Jeff SotoCheck the Q&A below!

    1. Hi Jeff. You have been at this art thing for some time now and have gone through various thematic phases of your career. From your box boy to cat-like figures and other muses. You have taken a noticeable lean towards owls in recent years. How come?

    I enjoy nature and particularly birds. I've always found owls to be fascinating creatures and aesthetically beautiful. It's a creature of the night, so lives in the shadows yet can see very clearly. There's this thing in western culture that owls are wise, maybe they are... but I think they're most interesting as a night predator.

    Several years ago, I was exploring the ideas of life and death and felt that the owl could symbolize an older matriarch or patriarch of a family. I also envisioned the antlers as a sort of mix up, where the twisted antler tips could represent a family tree. There's more to it, but yes I have been working with the owl imagery quite often lately.

    2. You're an artist that seems to revisit tried-and-true characters in his work. I wonder, do they have names, back stories?

    I feel like anything an artist creates is fair game to re-explore. I feel like I jump around often artistically and when I look back there's ideas I didn't fully realize. So I return to older imagery or thoughts and create new work based on it occasionally. Some of the characters I have created may have some back story. Often the figures represent me or my situation at the time- or their meaning changes over the years!

     

    311 Concert Poster by Jeff Soto

     

    3. How do you feel your creative processes have changed over the years as you've adapted to your own rhythm and style?

    The basic way I work- sketch, write notes and then create has not changed much. But I feel that I have gotten slower... whereas a few years ago I'd work on multiple pieces at the same time. I'd have five or six paintings going on-- now I tend to work almost too slow and have to work on one at a time. I give each piece a little more love I think. I am interested in revisiting my old ways and work on ten pieces at a time. I think if I had a larger space, I'd try it again.

    4. What's your studio space like right now?

    I'm working out of a small spot at my house right now! I moved from a real nice large space to be home with my kids more, and to be able to work late easier. I enjoy it, though it's taken some getting used to. We're exploring the possibility of building a studio in our yard so I can have more space, but keep it close.

    5. What are your creative processes when getting ready to draft a piece? What types of rituals or practices get you in your zone leading up to beginning a painting, illustration or mural?

    I just draw and take notes and keep working on it till something clicks. Illustration work is different and sometimes tougher because you're trying to solve a problem visually and also please the client. But yeah, just a lot of drawing.

     

    jeff soto riverside mural Jeff Soto & Maxxer242 mural in Riverside, Ca

     

    6. You grew up around the Riverside, Ca area from what I understand, and spent time in the local graffiti scene in the 90s. Can you talk about those days of youth running around with a backpack full of spray cans and what the overall vibe of your life was like during those times?

    It was fun and I have fond memories of riding my bike around town to look for graffiti. Our art community was small, we knew most of the kids at our high school and maybe a few other schools in the area, but we knew nothing of what was going on in the next town, let alone the graf scene in L.A. This was all pre-internet, so it was a quest to go and meet other graffiti writers. No one was interested in having their identities discovered by the police, so we had to be careful who we spoke with. It was good times and we had fun, but when I look back, Southern CA in the early to mid 90's was dangerous!! It could get pretty crazy...

    7. What was the transition from street art into the gallery world like for your personally? What kind of dynamics were you met with when beginning to do exhibitions? Did the process of creating work change for you or become more difficult?

    I had a foot in both worlds early on. Or I should say, I was aware of both and wanted to do graffiti, but also show in galleries, some day. It was always a goal of mine. My first solo exhibit was in 2001, and it came at a time where I had given up on graffiti actually. I just felt it wasn't what I wanted to do and I couldn't hang with graf crew politics and all the bullshit. I'd been interested in showing my work in galleries since 1993, so it had been 8 years of working towards that, showing in coffee shops, member shows, juried exhibits, and of course painting walls. In 2000 I had given up on graffiti and pursued the gallery scene and illustration. I decided to pick up graffiti again in 2009 on a trip to London. It felt freeing this time and there were no constraints!

     

    "Floating in the Garden" by Jeff Soto

     

    8. What projects or creative obligations are you looking forward to in the coming months?

    I am painting a mural for Empellón Taqueria in NYC in a couple weeks, really looking forward to painting and eating there! There's plans in the works for Germany, Spain and Tokyo, currently working on these... and I am curating some shows for the Riverside Art Museum over the next couple years. Also the usual gig posters and some projects on my list with Prints On Wood. I have been super busy since last summer, and my to do list is several pages long... good problems, but I never seem to catch up.

    9. Completely aside from work or career obligations, what do you have going on personally that you're excited to dive into in the coming months?

    I have been taking an hour here and there to prepare my planters for our veggie garden. I missed last year because I was too busy, but this year I'm just.. making the time. I enjoy working outside, digging, building stuff. Its a very different frame of mind from making art. It's a good break. We will have some nice vegetables on the dinner table this summer!

    soto-memorial-of-forgotten-11x14_1 "Memorial of the Forgotten" by Jeff Soto
  • POW Chats: A Conversation with Artist & tokidoki Creator, Simone Legno

    selfie simone legno 2 Selfie by Simone Legno

     

    POW chats with illustrator and tokidoki co-founder, Simone Legno, about his first POW release, "Selfie," and more. 

    1. Can you talk about your first POW release, "Selfie?" What's going on in that image?

    "Selfie" represents both the positive and the negative aspects of life. It chronicles the journey of life and the young girl in the front of the piece is taking a selfie to document her existence. The photo that she is taking is documenting this particular point in time in her existence. The other characters that you see are symbolic details and icons which represent different moments and feelings in life.

    2. What's your connection to Japanese culture and how does your interest in it inspire your work?

    I find a lot of inspiration in Japan. I love the country and the culture. From the urban streets of Shibuya to the quiet beauty of Kyoto, I have been fascinated by Japanese art and culture ever since I was a child. I frequently visit Japan for work, so it is a constant source of inspiration in my art.

    selfie simone legno

    3. Can you talk about where you 're from and what it was like growing up there? How did you gravitate towards and find your creative inspirations in your youth?

    I grew up in Rome, which is a city that is soaked in art. As a child, I was surrounded by works created by the great Italian artists of Western Civilization. Their artistic genius definitely inspired my artistry as I was growing up. In the 80s, Italy was bombarded by Japanese pop culture, so my generation was influenced by the art and animation coming out of Japan. We were also exposed to American pop culture, so my work utilizes iconography from all of these different sources of inspiration. For example, I use iconography from my own culture in my work. So, you will see pizza and soccer - themes from my heritage in my art. Most of the characters that I have created also have Italian names.

    4. So you just returned back home after a trip to Asia. Can you tell about your recent endeavors in the country?

    I enjoy creating and exposing my art to broader audiences. To celebrate the Year of the Monkey, I recently held an exhibition in Shanghai that showcased a limited edition capsule collection that I designed at Lane Crawford. I also just returned from a very successful art show in Manila, where all 40 of the pieces I created sold out pre-show. The pieces included both paintings and sculpture. I would like to hold something similar in China someday.

    Simone-Legno-art

    5. What were the early stages of the tokidoki brand like? What was going on for you back then?

    It all started with my online art portfolio. Today, everyone seems to have a presence online, but back then, when I created my website, having your portfolio online was a novel concept. My website became quite popular and I caught the attention of the people that would become my business partners: Pooneh Mohajer and Ivan Arnold. They convinced me to move to Los Angeles where we partnered to build tokidoki into the brand it is today.

    6. What does your creative process typically entail?

    My day starts very early in the morning so that I can answer business emails from Asia and Europe. I never start painting until I get through my morning emails. I need to be mentally free of business. Once business is out of the way, I feel like I can have my head a little more free. I do most of my sketching in the early hours of the morning and at night. I drink some coffee and then I get started.

    Tokidoki, 2/15/11, 10:03 AM, 8C, 5666x7464 (289+358), 100%, Repro 2.2 v2, 1/30 s, R33.4, G23.8, B43.6

    7. What creative projects do you have planned for the coming months that you're able to share?

    This year we are opening retail stores in mainland China and Korea. We are also trying to expand our retail initiatives in South East Asia. I am very interested in painting and fine art, so I would like to hold another art show featuring my work.

    8. Aside from work obligations, what personal plans and goals do you have on your mind in the coming months?

    My team and I are very busy trying to develop tokidoki as a global brand and we hope to become a part of pop culture. Although my work obligations take up a lot of my time, I always strive to be a success in my personal life as well. My family means a lot to me and I want to be a successful father to my daughter. I try to maintain a healthy work-life balance so that I can look back and feel proud about both my personal and professional life.

    tokidoki simone legno

  • POW Chats: A Conversation with Illustrator, Painter & Muralist, Greg Mike

    greg mike true colors "True Colors"

     

    1. Hey Greg! Your first POW release is an image used for a mural that went up last year in your home-city of Atlanta. Can you talk about that mural visually and thematically and the dilemma related to it that followed suit?

    The mural “TRUE COLORS” was painted in my hometown of Atlanta, GA and was all about not "judging a book by its cover."  From the outside and at first glance you see a angry wild bear, but upon further investigation, the colored, happy characters are apparent.

    The mural was all about feelings and letting out what’s truly inside.  People are constantly being judged by visuals and what’s seen on the outside. I respect the real and those who dig deeper.  Life’s too short to be something you're not or put up a false representation.

    The piece was self-funded as a gift to the city on a wall I’ve painted for the the last 3 years.  I think it’s extremely important for artists to invest their time and money back into the city to help inspire future growth and development.

    Three months after it was painted, it was covered without notice by a local art institution with an advertisement. It was a disappointment to say the least that they didn’t reach out when they have my number.  We created the print on wood so the piece could live on forever and also generate capital to fund another mural in the city.  I am all about walls evolving, I grew up painting graffiti.  There’s just rules to the game. Tags get covered by bombs, pieces cover bombs, productions cover pieces.  Advertisements shouldn’t cover local art. I also think it’s important to respect artists and speak with them before covering any work when it’s at a certain scale and make sure murals ride for a decent amount of time.

    2. Greatly put. And this is a really great piece to introduce your aesthetic to art enthusiasts that may not be in the know. Can you talk about your style and specific influences that play into your highly colorful and characterized work?

    I am influenced by BOLD and LOUD colors and imagery.  I grew up studying everyone from Walt Disney to Salvador Dali.  I am interested in new worlds and characters that don’t exist. Everything from wild animals to cartoon characters. The characters I create are inspired by the people around me that I interact with and the environment.  I live vicariously through my character LARRY LOUDMOUF that speaks a language of our generation though the LOUDMOUF says submissions.  His voice is now larger than just mine, it’s a collaborative organic movement that I am only one part of.

    GREG-MIKE-ART

    3. What are your creative practices, routines or rituals prior to jumping into an illustration or painting? How do they differ from your creative processes prior to beginning a mural?

    I usually start with a pencil, then utilize microns for inking.  Most murals start out as sketches and are refined.  More recently, I have been referencing and incorporating more realism into the work where I will study a number of photographs.  As for colors for murals, I usually have a general idea in my head in terms of the palette and will define it while working on the wall.  My work is always changing during the process.  I studied design for a bit, so I am a huge fan of balance.  A lot of times I will balance my colors on the spot as it leaves more freedom in the creative process.  I like to allow for a bit of change so it feels natural and not just like I am a giant printer replicating work on large format walls

    4. Can you talk about specific projects that you've gotten to work on that you're particularly excited to have been a part of?

    Honestly, I’ve been excited about all my projects.  If I am not excited, I won’t do it.  Each project has its own challenges and are exciting for different reasons.  All projects drive me to create, whether it is public art I’ve produced, solo shows, mural / music festival I founded (www.outerspaceproject.com) or the crazy projects we’ve brought to life through my design studio and gallery ABV (www.ABVagency).

    5. Yeah your background in pubic art as a muralist and as an all-around crusader for the arts is really striking-- you even founded ABV AGENCY / GALLERY which you just mentioned. What goes down there?

    After I started showing work at different galleries across the U.S. and designing for various brands, I decided I should start my own creative hub in ATL.  ABV (A Better View) was created as a gallery and studio space for all of my creative projects.  Over the years, we have developed some interesting collaborations with brands that incorporate the contemporary art and design world. We do everything from art exhibitions, live art projects, branding, collaborations and more.

    AMERICAN-DREAM-GREG-MIKE

    6. Fantastic. So I understand you reside in Atlanta, but were actually born in Connecticut. Can you talk about where you're from, what it was like for your growing up there and how you made your way to the ATL?

    I was born in Danbury, Connecticut.  Luckily, we had a really rad graffiti scene there.  Everyone from Cost and Revs and the whole DF / IMOK crew used to murder it there. I was just a little skate and snowboard rat back in '96 when those dudes were killing the scene.  We had really nice train bridges that were great to paint on.  Eventually, I moved to Florida when my parents split and was skating and painting on the streets through high school.  I ended up going to Florida State University to study studio art and graphic design, and got some formal training.  I got super bored on the weekends and used to head up to Atlanta, GA to hang in a larger city.  I was designing clothes for a bit while doing art on the side.  After traveling the world for fashion design work, I felt like I needed to go back to my roots and focus 100% on my true love.. My art.  That was about 7 years ago and here we are today.

     

    7. In regard to creative work obligations, what plans or projects do you have coming up that you're looking forward to?

    I am working on some more solo shows in markets I haven’t hit yet, and a few group shows. More murals and festivals are booked for 2016 which will be announced soon.  I hope to continue to be able to create on a daily basis and do what I love.  Life is too short not to enjoy it and follow your passion.

    8. Completely unrelated to work and obligations, what do you have coming up for yourself personally that you're looking forward to?

    I’m tying the knot in May!  Very excited about that.  :)

  • POW Chats: Dan May Talks Process & Practices

    Summer-May

     

    Long-time painter, Dan May, took time out of his schedule to discuss his creative practices, processes and his recent POW release titled "After the Rain." Get the details below!

    1. Hey Dan! I hear you're from Rochester, NY. Can you tell me about where you grew up specifically and what it was like for you there?

    Yes, I'm originally from Rochester, NY. I spent quite a few years growing up there in a great neighborhood with a huge extended family all living in and around the area. I had a really supportive family and spent most of my days drawing/painting and enjoying the outdoors. From Rochester, I went on to college at Syracuse University, and eventually, made my way down to NYC. About half of my life was spent in New York... lots of great memories there and it was a great place to grow up! 

    2. Where are you currently as we do this interview? What's the scene like for you?

    I currently live in Harbor Springs, MI... it's a tiny town in Northern Michigan-- a "no stoplight", Norman Rockwell-esque town. It is very small, but filled with incredible beauty. Located right on Lake Michigan, there is no shortage of outdoor activities. Everything from skiing, biking, hiking, boating, you name it... it's all in our backyard-- literally. It is one of the most beautiful places I have ever lived.  Having lived in many large cities -- New York, Chicago, Atlanta, Cincinnati, Jacksonville -- I have met so many incredible people and have been a part of various art scenes within those cites... I would say that this area is about as far from a "scene" as you can be. I like it that way though... it's quite a serene place that is loaded with inspiration. That said, we love getting away to larger cities whenever we get a chance. The world is so big and there is so much to experience, but it's great to call northern Michigan home.

    3. You're described as a narrative artist. What does that mean to you?

    The work has always somewhat mirrored events in my life and the world that I observe around me. You may find elements of pain and despair within my work, but there is always a glimmer of hope. I love painting from a place of deep emotion. Even when things are going great in my personal life, I find it easy to tap into what is circulating around me... not only in my immediate life, but in the world we live in. My paintings shed light on part of a story, the images are "scenes" from a much larger narrative. Like walking into the middle of a movie, not knowing what came before or what will happen next, you are left to fill in the blanks.

    The overall body of work is not necessarily sequential as in a traditional story, but the overall narrative continues to grow and evolve as I go through life. I studied illustration in college and I think that some of the storytelling elements that you find in illustrative work can be found within my paintings. It is really a blend of narrative and surreal... kind of like this rambling response, I suppose [laughs].

    dan may after the rain print on wood

     

    4. Can you tell me about your release with POW titled "After the Rain?" Where was your head at when creating that piece?

    'After the Rain' was originally produced for an album cover. As I mentioned before, I tend to paint what's happening around me... so building on the world that I have been creating and coming out of a long cold winter here in northern Michigan (with spring finally in sight!), I envisioned a creature emerging after a turbulent storm... the skies are beginning to clear and he's been trough a lot, but he's looking ahead to what comes next.

    5. When painting characters and creating storylines depicted in your work, what are the underlying themes you're commonly working within?

    Sometimes I have no idea what will come out when I sit down to paint. I'm constantly taking in things from my surroundings. While not taking physical notes, I am processing this and turning my thoughts into imagery. I have focused a great deal on the technical side of things... trying to develop the look and "feel" of these creatures and their world. Now, I am really focusing in on their stories... their surroundings, the challenges they have faced, and what lies ahead for them. While painting, I am thinking about life, death, family, our interactions with each other and our planet... why we are here? what else is out there in the universe? In many ways, these creatures are really telling "our" stories.

    1443936226032

    6. Who are your primary influences who aren't visual artists? Any thinkers, chefs, musicians, scientists, people in general?

    I wouldn't say that I have specific influences. I listen to a variety of podcasts while painting. This has been a great way to hear from some really fascinating people and listen in on many interesting discussions. Hearing other people's journeys through life is very inspiring to me. Even though we are all over the world pursuing different things, there are so many parallels that tie us all together. We all have unique stories and I love hearing them.

    7. Can you describe your studio/work space?

    The studio I'm in now is my favorite by far. It's located on the lower level of of our house. It's a large, quiet space where I can create well into the night and wee morning hours. I have a painting area, a computer & printing area, an area for drawing and even some space for "reflecting". Only down fall is there's a lot more to keep clean :)

    8. What rituals, activities or practices do you partake in before beginning on an illustration or painting? 

    Not sure that that I have any specific rituals that I partake in. But each day does include plenty of coffee, podcasts and music. I also try to include working out/getting outside into each day. Not always easy, but I try.

    Plight-of-the-Wanderer

    9. Odd question, but do you dream/ remember your dreams? If so, do tell.

    It's weird. I'm not really a vivid dreamer. Sometimes I will recall bits and pieces, but nothing that makes any sense. I'm not sure what this means, but perhaps I'm working all of the imagery out during my waking hours? [laughs]

    10. What creative projects do you have coming up that you're excited about?

    Well, this year I started something called, 'The Daily Creature Project'. Basically, I have been carving out an hour or two each day to explore an idea or thought involving the creatures that I have been exploring. So far, it has been an incredible challenge. I wanted to find a way to work out my ideas while offering some affordable original art to my collectors (all drawings are priced under $100).

    So far, the project has been very well received. I plan to continue this for the entire year and then see where I can take it from there. We have even discussed the possibility of putting a book of these together... either way, it has been a great way to keep the ideas flowing. Aside form that, my wife and I have been working on a book of my art. It will encompass the past several years of "Gentle Creatures" artwork, sketches, stories, etc. It has been in the works for a while, but we hope to bring everything together very soon. Additionally, I am working behind the scenes on some really exciting stuff that I hope to share more about in the coming months. 

    11. What plans completely aside from work obligations do you have coming up that you're excited about?

    Well, the biggest thing coming up for us is the birth of our second son, due this summer! We can't wait to welcome him into our family :)

    Fleeting-May

     

  • Chopping Block: Aha C

     

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    POW: At a first glance of your name, Aha C. Two possibilities came to mind. I would either be interviewing the 80’s pop band turned surreal painters, or very mysterious artist, who prefers to go by four-letter moniker. Alas, it is the latter. Telling by your full name, however, your background may be a bit different from most. Can you tell us a bit about it?

    Aha C: Well, I am from 80’s but don’t tell anyone ;D. But the real secret of my alias is my little brother... Well, now he is not so little, but when he was a toddler (he is much younger than me) and was learning to speak, he had some problems with my name. My name is Joanna, but Polish short version is Asia (we pronounce it not like the the Asian continent, but more like Ashia), and that was too much for him. So he changed my name to Aha. Short and simple :) And since then everyone started to call me Aha, first my whole family, then my friends. The ‘C’ letter came from my husbands’ surname. ‘Aha’ was too short and too popular for many sites, so I had to add something to that.

    GuRv5KChkC3oa3BgQ81qY7ptR3w74wVvoON9Csq72hU

    "Dandelions"

    POW: Is there anything about your upbringing that shaped your path towards being an artist?

    Aha C: My parents were always very supportive. They encouraged me to follow my dreams and to take new challenges. And they taught me to be consistent in what I was doing. All my life I drew something on anything with everything. And each time I saw new crayons or paints, they always got them for me. So I could make my own artistic experiments. I am a self-taught artist, I never went to any artistic school. Actually I’m an engineer. I graduated Technical University. But all my life I was searching for someone, who could teach me how to draw. And I learned from several artists, who taught me a lot. I think that my technical education and contact with some fabulous painters shaped my artistic path. Of course this is just the beginning. I’m learning all the time and searching new ways to express myself.

    w2N6Qk30PGk-4CyPfqzS_VL0snk5vHjP1OkDMRO4jpA

    "Birch"

    POW: While browsing through your art prints, I chuckled a bit when I saw the print, “Color Your Zebra.” I’m always a fan of art that’s minimalistic and playful; your style embodies the two qualities to a T. Have you always created artwork in this manner or was this a style that developed over time?

    Aha C: I’ve always loved minimalistic graphic designs with strong contrasts. But on the other hand I just love impressionism, art that can’t be clearly defined, something unsaid. So I think, that you can find bothof these in my portfolio. It seems I can’t decide what style to choose, but I guess the truth is that I’m just not able to resign from any of them. My style is developing all the time, I love to study painters of the past, but also to watch present artists on the Internet. All this influences me a lot.

    raLHYfLJ51J_M3OlTq56SC_CPs3Rx6CXXur1zOfKw40

    "Color Your Zebra"

    POW: With artwork on sites like Society 6, I’d say you’re carving out an impressive space for yourself in the commercial world. How do you continue to create work that remains unique in spite of the repetition that takes place in mass production?

    Aha C: Repetition doesn’t make art less unique. And thanks to POD sites and digital printing you can have your works on different products. I always liked to decorate things and now I’m far more able to do it. I don’t think there is something wrong with mass production. This is just a different kind of art. And creativity is also needed.
    I think, that some artwork suits mass production while some shouldn’t be used like that. Not everything will look good on mug or pillow. And some works are fun and will look great only on a t-shirt. I’m trying to separate those things.

    RwPgvQT-x94tjvqXLQDcxntQjtRCuno8XOf4fW6ojyQ

    "All you Need is Cat"

    POW: Each illustration possesses a vividly executed message. They seem like they would make great first pages in a children’s book. Have you given thought to publishing one of your own?

    Aha C: Yes, actually I was thinking about it. I have a friend, who is willing to write a book for children and since she told me about it, I can’t stop thinking about drawings for children There is one book (exactly one piece) illustrated by me. It is in a comic style, but it was made not for children. It was a gift for my friend. Still it was fun to do it.

    UVXsqvBOxYY1Zl3cahzEOA-DOnQrlEXioj1zXBsxdAE"Wildlife"

    POW: What would you say is your single most definitive accomplishment as an artist?

    Aha C: After many years of doing so many different things, I have achieved a situation where artistic expression is becoming my way of life. And I think it is my accomplishment as an artist.

    0zUc0Mqc5qHsQzDTQ7qa3v8IYGA8jurNCM0dOt44cfI

    "Starry Night"

    POW: What’s next for you? Any interesting new projects coming your way?

    Aha C: There is so much to do, and so many ideas and plans. One of the things I have already started is sacred art. I started to learn iconography. This is a very difficult kind of art using egg tempera and with a very strict rules of painting. It’s unlike anything I’ve ever done. It requires a lot of patience, accuracy and knowledge. It’s a challenge, I hope that I can cope with it.

     

     

     

     

     

     

     

  • Wood Prints for Peace

    the peace project_ POWThe Whole 9 is an online community that brings together creative minds such as, artists, photographers, writers, musicians, you name it! It's a place where people can connect and show case their work. The Whole 9 not only allows people to connect online, but they also hold workshops and seminars for people to explore their creativity and use it to enlighten this world.

    One of their most recent projects is The Peace Project, which is a project that helps accomplish world peace through the works of artists and creative minds. Through their works, they raise funds to help support peace and justice in areas such as Africa. The Peace Project finds problems around the world and creates solutions by addressing them: a major goal for change.

    We had the privilege in creating 70 wood prints for The Whole 9 gallery's Peace Project, a traveling art exhibit that debuted at the Culver City's Affair of the Arts last weekend. The Affair of the Arts was a day long event where 60 photographers, painters, artists, and more came to support The Peace Project. This exhibit features artists's visions of peace and passion for change in the world.  

    Here is more about what the Peace project has done with the funds they raised from the sale of the photo wood prints.

    • Educated dozens of children in Sierra Leone, Africa.?
    • Distributed 10,000 pairs of crutches to amputees, war victims, polio survivors and mothers and children in Sierra Leone on World Peace Day, 2011.
    • Designed a Peace Museum for Sierra Leone in conjunction with the United Nations.
    • Created and produced Peace Tips, specially designed crutch tips that last one year, extend the life of crutches and greatly improve mobility for users.
    • Designed a house that can be built in less than a day and then built 40 of them (plus our first Peace Center) for victims of Typhoon Haiyan in the Philippines.

    Currently, they are working to bring skills training to the Peace Center in the Philippines and designing a Peace Center that we’ll build in Sierra Leone adjacent to the Slaughter House, one of the most infamous sites of violence during the recent civil war. Sierra Leone’s Peace Center will be operated by their trusted partners from Community Association for Psychosocial Services.
    Information by http://www.thewhole9.com/thepeaceproject-home.php

  • Custom Wood Frames

    If you haven't heard already, we have recently added the option to order a customized frame with your wood print. We have worked together with Roma Moulding, a framing company based in Italy, to get these beautiful hand crafted frames available. We chose Roma Moulding because they are handcrafted by real people and they use 100% real wood.

    roma moulding custom frames

    Our customized wooden frames are priced accordingly to the size of the print, with the starting price of $18 for a 4x6  framed wood print. They come in three different colors of black, brown, and white. These Italian frames are definitely a bang for your buck. They not only add a clean look to your wood print, but they also become a great accessory for your home.

    Roma moulding_printonwood frames

    Many of the art releases done by our famous artists look better with the customized framing option. I must say, it makes the art piece look more legitimate. The photo below was from the "Strawberry Terry" release by Buff Monster. We added the print onto a wooden board, then framed it in white. Now, how cool does that look!

    Strawberry Terry buff monster printonwood2

    The customized framing option definitely is the cherry on top of a cake. It finishes the printing job and makes it look more expensive. It also can play as protection for the harsh edges on the wood print. These Italian frames aren't just any wooden frame, but has adds quality to your piece! To learn more about our customized framing option visit http://www.printsonwood.com/custom-wood-frame.

  • New Print Alert! Dan May Releases "After the Rain" March 22nd

    after the rain wood print dan may

    Visual artist Dan May has been described as a 'narrative painter,' stringing together storylines and character plots in each of his mystic works. For his first POW release, May provides a comfortingly gloomy, yet optimistic scene depicted in "After the Rain". 

    The Syracuse University graduate has become an acclaimed go-to for surreal and textured paintings with an inkling of Where the Wild Things Are essence and facade. Yet in a world of their very own, May's characters and creatures maneuver winding forested hilltops, burrows and grassy fields, piecing together a riddled tall-tale. 

    Exhibited widely across California, Washington, New York, Florida and beyond, May has taken his paintings to the most Eastern and Western regions of the United States, as well as partaking international exhibitions.

    Offering up a signature and immediately recognizable style, the artist continues on, bringing forth the favored qualities in his upcoming print release, "After the Rain." Releasing Tuesday, March 22nd, "After the Rain is an 8 in. x 8 in. fine art print on green-friendly and sustainable birch wood. Each print comes hand signed and numbered by the artist. Limited to a run of only 40 prints, fans new and old will want to claim theirs fast. To nab yours this upcoming Tuesday, simple click here!

    dan may after the rain print on wood dan may print on wood after the rain dan may wood print after the rain

  • Photo Show Report: "Images From the Crypt:" Early Photos of Rozz Williams and Christian Death by Ed Colver @Space Gallery Pomona

    ed colver images from the crypt

     

    Over the weekend, punk rock photographer and POW collaborator, Ed Colver, displayed a series of iconic images at Space Gallery in Pomona, Ca. The exhibition featured archived shots of California rock icons Rozz Williams and Christian Death during their early years as musical groundbreakers. The images originate from Colver's expansive collection of film photographs captured in Los Angeles, Ca during punk's heyday between 1978 and 1984.

    Colver has become somewhat of a household name over the years, as the primarily self-taught photographer who unwittingly photographed and archived one of America's most inarguably influential subcultures: punk. Through books, photo exhibitions and interviews with both prestigious publications (LA Times) and trendsetting periodicals (YAY! LA Mag, Pitchfork), Colver and his photos find themselves at the forefront of Southern California's historic punk rock conversation.

    Ed Colver's images have graced covers of particularly notable punk albums, from Black Flag's Damaged, Black Flag's Louie Louie, Circle Jerk's Group Sex, Channel 3 Fear of Life, among many more. In all, Colver was commissioned to photograph more than 250 album covers for dozens of record labels including EMI, Capitol and Geffen.

    Colver is regarded as a trendsetter by many, unknowingly defining the aesthetics of punk rock photography from its inception.

    To learn more about Edward Colver, check out an interview with the photographer here. Also, be sure to swing by Space Gallery Pomona, between now and April 10th, to check out the exhibition.

    Space Gallery Pomona:

    250 West Second Street
    Pomona, CA 91766

    909.623.1694
    Tuesday–Friday 12:00pm–6:30pm
    Saturday 3:00pm–9:30pm
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  • Coastal Obsession Logo Prints

    coastal obsession pow

    It's always a great idea to start a business that is inspired by an awesome cause. Coastal Obsession is a merchandise business that was created by a mother and daughter, Nance and Dani, with the idea that was influenced by the ocean. They wanted to build upon the idea of keeping the ocean clean and healthy, including the wildlife inside and out of it. All their designs portray either a part of the ocean or how they raise awareness to help the ocean. For example, the logo above is of a pelican, which adheres to the idea of keeping the ocean clean to save those pelicans. Coast Obsession works together with One Percent for the Planet, an organization that works with business who want to contribute to helping out the wellness of the environment.

    Coastal Obsession has created three circle logo wood prints with us, that displayed their pelican logo. These custom circle wood signs are fairly small, allowing them to be easily displayed inside their facilities. We love working with companies that aim toward influencing the wellness of the environment in a positive way!

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