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Interview in Life in a Bungalow
Life in a Bungalow
Published on 8/17/2006

New "Missing Hearts Club" interview by George Koroneos.  You can check out the interview here or read the transcript below!

Life in a Bungalow
An Interview with Tara McPherson
August 17, 2006 by George Koroneos

Call her the queen of poster pop, call her a lowbrow goddess, call her the female Frank Kozik–To outsider art fans Tara McPherson is a master (or is it mistress) of cartoon imagery and is single handedly making it cool to like sad girls with missing hearts and super-hot space cadets. Life in A Bungalo got the chance to chat with Tara about the resurgence of poster art, her recent dabbling in vinyl toys, and her upcoming book from Dark Horse Comics, “Lonely Heart: The Art of Tara McPherson.”

Could you give a little bit of history as to how you got into poster rock art? Maybe how you got into art in general?

You know it’s one of those things that only makes sense in retrospect… like of course I would end up doing that. I always knew I wanted to be an artist, having gone to art magnet schools since the 7th grade. But I actually never had planned on doing rock posters for a living. It just kind of happened. Music has always been a big part of my life.

I started collecting records and posters at a pretty young age and have played bass since I was 15. After I graduated from Art Center, I finally had time to be in a band. So since I was the artist in the band, I got the job of making our flyers. They grew from little black and white xeroxes to more thought-out color posters. Then I then started doing them for friends bands and for the Knitting Factory in L.A. and it all grew from there. At first, I was very set on being a painter and didn’t want to even put any of my rock posters on my website, but after I had a good amount I decided to make a section for them.

When I started looking at my site statistics, I realized that the posters were getting more hits than my paintings were. Well, the proof is in the pudding and it was then I realized that posters are really fun, great things to make and there is a big interest in them within the art world.

For a while it seemed to be a dying art form, but now it’s pretty huge again. What do you think attributed to its resurgence and why do you think it’s survived all these years?

Poster Art has always been around in some form or another throughout history, it’s popularity wanes and ebbs. We are just experiencing a high point again. As far as it’s current resurgence, I think the rise of the Internet and awesome websites like GigPosters.com has helped in the ease of its accessibility. It brings the world closer and spreads information across continents in the blink of an eye. Also, new books like The Art of Modern Rock and Swag are helping to promote and sustain people’s interest with a tangible item. There are so many diverse and talented artists doing posters now too, like Jay Ryan, Dan Grzeca, Brian Ewing, Aesthetic Apparatus, Leia Bell, Print Mafia, Little Friends and others, that it has become a new movement and a force in the current art world. There are simply more rock posters being made now than ever before, which in turn means more posters are at the concerts people go to and more posters are in people's homes. Which is fantastic!

What bands are your favorites to work with and how do you actually go about using limited/signed posters to promote shows? I assume the limited once aren’t stapled to concert halls.

You'd be surprised! Sometimes they are stapled up… sometimes the people that work at the venue keep them and never even put them up. The average situation though is that the venue gets 10 to 20 posters around 2 weeks prior to the show to use as promotion, the band gets between 10 to 50% of the entire run to keep and sell as merch, and I keep the rest to sell on my website. That varies from job to job though. Sometimes I’ll do a poster for a friend’s band for free, like with Isis, so I’ll give them 50 posters, and keep the rest. But if it’s a paying job and they need more for merch, I get a higher art fee and give the band more posters. It just depends and each situation is different because sometimes I work directly with the band, or other times it’s through the management, the venue or the booking agent.

I have never really had a bad experience with a band ever; mostly all are super awesome to work with. That’s the great thing about rock posters… I’m happy, the band’s happy, the fans are happy. It’s a really great situation. I also get the opportunity to try new things with posters, stylistically and technically, that I might not do with a painting. Paintings take longer to do and are more planned out for me, so I feel like with the posters, there is room for the freedom to experiment because there is an inherent sense of frivolity with them. They’re rock and roll.

You also seem to have an affinity for comic book art. What have you worked on and how different is comic design from poster design?

Again, another thing I was super interested in when I was younger that I never thought I’d be doing. The past really does write the future! It was fate I think. Shelly Bond, an editor at Vertigo DC, saw an interview of mine in International Tattoo Art and asked me for a press kit. Right after I sent that in, they gave me my first cover, which was for Lucifer. Then I worked on more painted covers for Sandman Presents: Thessaly and The Witching. As life progresses and new challenges get presented, I was asked to create art for the interior pages. I jumped at the chance and I just finished my first painted comic for a new Fables hardcover graphic novel that is coming out in October. That is a 14-page short story. And now I’m starting on a 100 page painted comic called Donor, written by Stephen T. Seagle (American Virgin, It’s a Bird, House of Secrets) for Vertigo.

As far as similarities and differences go, I would say the comic covers are somewhat similar to posters in that they share the goal of attracting a viewer with a central image and theme. But the interior pages that I have begun painting are a whole different world. It’s definitely a completely new situation for me, which I like… I love a challenge, aesthetically and conceptually, of which these new projects have provided in spades!

Could you tell me the story behind your missing heart girl? It has become quite synonymous with your style.

That’s me working out my personal issues through my art. It’s my catharsis and is a necessity for me to maintain my sanity as a caring human being. Some people write poems, some write songs, I work it out through my drawings and paintings. That was the original conception of her, but now she has evolved into a character I call Orion. I’m always trying to place her in different stories and work out new things for her. Sometimes, friends will be going through a fight or a break up and I’ll get inspired to create something from that heartache as well. Whether it’s your own or your friends, it’s deep and painful and for me, it hits me on a level where I have to create something to work through it or help someone else work through it.

Take for instance the illustration used in my Depeche Mode poster. I knew I wanted that pose, but I needed some extra and interesting element to put in there. Well, a friend was over fighting with his girlfriend and the image of the black tears just came as an epiphany and I knew it was the perfect addition to the image. I feel it really captures that moment of desperation… trying to figure out love and life… but with an air of confidence. I think all my girls, no matter how sad they appear, all are determined and strong.

How hard was it to translate your style to the 3D world? For instance how did you tackle your Qee, Dunny, and Circus Punk?

It wasn’t hard for me to conceptualize them, but it was kind of weird designing in Illustrator. I rarely use that program, so that took some getting used to. But other than that it’s easy for me. I see most of my characters as objects in my head already, so I think they’re all just begging to be made!

Going back to the rock art, what does it take to get from a band asking you to make poster for them to final product? Do your designs necessarily represent the bands or are they just your interpretation of their style?

I think definitely it’s my interpretation of their music and style, but it’s very important to nail that. To create something that totally suits their band and will appeal to the fans. Sometimes that’s easier than others, which is why now, I pretty much only do posters for bands I really like. It’s more fun and I feel closer to the music. One thing with rock posters that I love is that I never get art directed… I have complete creative freedom to do what I want, which is how I work best.

The way the process of doing a poster goes for me is I start by writing down words and ideas to get a good concept going and then I start doing doodles to figure out the characters and placement of things. Then I scan my rough and blow it up to the size I will draw it at. I’ll trace the rough onto smooth Bristol. I like tracing my rough drawing because there is a certain looseness in it that is lost when you just redraw it from looking at it. Then I finish my final drawing and scan that. I’ll then do the color separations in photoshop, where each color is on it’s own layer. From there I send the file to my printer and he outputs films for each layer. Each layer then gets burned to a screen and is printed in succession until the poster is done. Voila!

What has your reaction been to the fans of your work? It was pretty crazy watching the people swarm over your work at the KRNY opening. Is it like that all the time? Is it overwhelming?

Ha! No, no, it’s only like that at the events… normally it’s just me and my intern at my studio working. It’s a very solitary job and most of the time I’m alone. That’s why I love doing those events! I get to hang out with people! I like to look at it as a reward for working by myself all the time. I get a few hours here and there where it doesn’t feel so lonely! It does get a bit overwhelming when I do the big long events though; say like the San Diego Comic Con, where I’m there for 9 hours a day for like 5 days in a row. Everyone is so very cool and nice though, it’s awesome, and makes my heart swell when I meet fans.

What advice would you give to kids who are making their own DIY flyers or posters?

Keep doing it! And experiment with new things as much as you can, whether it is conceptually, illustratively, or with different papers or printing methods.

Finally, what does the near future hold for Tara?

Well my first art book called “Lonely Heart- The Art of Tara McPherson” published by Dark Horse Press comes out September 6th! I’m so very excited about that. I will be doing a month long European book tour to support it too as well as some signings here. (Please check my site for cities and dates). The Fables: 1001 Nights of Snowfall story I worked on comes out in October. I have a bunch of toys in production with Kid Robot now (those should start coming out next year sometime). And other than that I’m going to spend the next year painting “Donor,” painting for gallery shows, doing freelance illustration and posters and designing more toys! Also, I teach a Concept Illustration class once a week for 3rd year students at Parsons in NYC. I think that should keep me pretty busy… maybe…