Innis & Gunn Artwork

Work! I'm supposed to post bloody work here, aren't I? It's easy to forget that sometimes.

In 2012, I was lucky enough to work with Innis & Gunn, the Edinburgh-based brewer of delicious oak-aged beer, on a couple of projects. I'm very proud to have been on board (they're a damn fine company and it's damn fine beer).

For I&G's involvement in the Edinburgh Film Festival, I made a little cartoon (above) depicting the importance of the oak-aging process to the unique flavour of their beer. Although short, this was still the most ambitious hand-drawn animation I've ever tried and I think it turned out pretty good, considering.

The animation was edited down to a lean 60 pages and made into a lovely little flickbook that was distributed amongst festival-goers back in June. It can be seen at the end of the short video I made below:

(note, it's surprisingly hard to flick a flickbook straight-through only once while holding it in front of a video camera. Please forgive my slightly juddery attempt. Music is 'P' from the album John's ABC by the Fence Collective.)

Using a combination of the old-fashioned (drawing stuff over-&-over-&-over) and the new-fangled: (Photoshop trickery), I was able to put the whole thing together on a fairly short turnaround. Although frustrating, tedious and difficult, animation is something that I hope to explore further. My Wired illustrations, which I animate for their iPad app every month, are getting increasingly ambitious and are good practice.

Innis & Gunn Edinburgh cityscape illustration

I also produced a few illustrations for their beautiful Bartender's Choice book, including the above Edinburgh cityscape and a small set of drawings depicting various stages of the brewing process.

(more on the Bartender's Choice section of my site)

Big thanks to Lucy and everyone over at I&G for getting me involved and for all their help - they've been amazing to work with. Fingers-crossed, I'll have more to share in the spring.

Oh, and not that I like to toot-my-own-trumpet too loudly, I'll just that, when it comes to perks, this job had one or two:

It's been tricky, but I've kept some aside for Hogmanay. Dancer.

Red & Black Drawings

Between 2006 and 2009 most of my artwork stuck to a pretty rigid format. These "Red & Black" drawings, as I call them (despite often including blue), were the first things I ever exhibited publicly and became popular enough to encourage me to take a few (itsy-bitsy, teeny-weenie) steps towards selling work for actual money. Money I could spend in shops.

In June 2006, Flesh Design in Edinburgh put on a group exhibition titled Rouge with the theme of, um, rouge (red). I had been invited to submit work by RueFive and would be showing alongside many people I still consider friends. People like Elph, Gopherhead and Concetta Barbera.

At the time, I'd been playing around with a dip pen and figured that a few drawings using red ink might work for the show. I didn't have any "good" paper to draw on besides a big stack of smooth manila card left over from a college project so, rather than leave the house, I just used that.

The ink took to the cardboard surprisingly well - it stayed bright and didn't bleed. Further experimentation found that, if I took my time, fairly fine detail was achievable without making an almighty mess. Great. This'd work. All I needed was something to draw.

God knows where my ideas came from, but they came. They weren't good ideas, but they were better than no ideas. Six fingered hands and balaclava'd characters abounded. What I lacked in drawing ability, I made up for in patience (I still do this).

Somewhere along the way I started using acrylic paint to add black backgrounds. Doing this made the drawings really pop. It also made them kinda spooky, like goth or something. When framed (using simple wooden frames that matched the colour of the cardboard), they felt like weird comic panels and the glass made the acrylic seem completely flawless. People sometimes thought that the drawings were printed or cut outs glued to black paper.

I find this early work, like everyone finds their early work, hard to look back on. I wasn't a particularly good draughtsman and many of my ideas, with their Bunny Suicides humour (which I didn't even like at the time), make me cringe.

After the relative success of Rouge (I sold work!). I made more Red & Black drawings. Loads and loads more. I made them for shows at Analogue, Recoat, Here and Amble. I got better at making them and some (like the ones on this page and these ones), I still really like. I drew so many of the bloody things that I was scared to draw anything else. They were reliably straightforward to produce and generally well received. I covered entire walls with them. It got a bit silly.

It's been a few years since I last made any Red & Black artwork. I still have the cardboard and the pens and there's some part of me that wants to revisit them. A bigger, smarter part of me wants to leave them behind as a weird period in my life that's over now. Anyway, making an arse of the background and having to start again was always so unbelievably frustrating that my old heart probably couldn't take it.

I've put a small collection of these drawings over here: Red & Black Drawings. I will add more of my favourites whenever I get the chance.

Burnistoun

Burnistoun returns to BBC Scotland for its third (and final) series this week. Iain Connell & Robert Florence's fictional-town comedy is a really nice mix of Scottish humour, wordplay and weirdness and is worth a watch.

I know that, as a fairly traditional sketch show, Burnistoun can divide opinion. The genre hasn't exactly been fashionable of late, which is a shame. In the no-laugh-track / post-Curb / post-Office world, it's easy to forget that sketch comedy has given us some of the best. stuff. on. telly. ever. and, like Limmy's Show alongside it, when Burnistoun hits, it hits big. I really like it.

I was motivated to mention this / draw a picture when Rab urged people to watch more written comedy. To "tell the telly people you've seen enough panel shows". Hell yeah. Who want's to live in a world where there's more of this than this, or this, or this? Throw more money at the writers, costume departments and set designers, please.

Via their production company Bold Yin, Connell & Florence have recently been encouraging growth, collaboration and innovation in Scottish comedy. A wonderful thing. We've got some of the funniest people in the world living up here and, with a poke and a prod, they might get a little of the attention they deserve. AndyDee, I'm looking at you. Let's get Swatpaz on the TV too.

You can watch the new series of Burnistoun as it airs on BBC iPlayer and there's a bunch of old episodes and clips on YouTube. Rab (who, incidentally, Alex & I spotted in the town the other week but were typically too shy to say hello to - sorry) also has had his fingers in a lot of other pies. Pies close to my heart. Heroquest, anyone?

Withered Hand: Heart Heart EP

Of all the things I work on, I think the stuff I get to do for the Scottish music label Fence Records is my favourite. I've been a fan forever and this latest project has allowed me to be involved in something that I remember wishing I could do back in college.

Back then, Fence would release really cool little EPs on CD-R as a kind of record-club called Picket Fence. I had tons of these things. The artists had complete freedom and, because it was quite a small-scale set up, you'd get loads of odd music and weirdness that you couldn't find on 'proper' albums. Each PF release came in a neat wee cardboard sleeve with artwork by the act themselves and, if I remember correctly, a spray painted issue number. *

I loved that stuff. I remember showing them to my classmates saying how cool it would be to work on something like that.

Well, recently Johnny and Kenny asked me if I'd be interested in working on the artwork to a kind of spiritual-successor to the Picket Fences. Of course I bloomin' would! Didn't they know I'd said to my classmates how cool it would be to work on something like that 10 years ago?

So, as of last month, I'm happy to announce the launch of Chart-Ruse. The initial set in the F3NC3 R⅓CORDS’ 33s subscription-based EP series. **

Kicking things off, is Heart Heart EP by Edinburgh's mighty Withered Hand. The 7'' vinyl features 3 tracks plus a King Creosote remix which is exclusive to the record itself (as in, you can't even download it like you can the others). The title track is particularly fantastic and can be enjoyed here:

For the artwork, I gathered together dozens of ancient maps, charts and diagrams and set to work with my (digital) scissors and glue to collage together a bright green (chartreuse - get it?) fantasy-world of mountains and sea monsters. The reverse (which can be seen properly here) features a broken-heart design that I adapted from Withered Hand himself.

The end result is something I'm really happy with. I tried to keep it loose and fun and, well, Fencey, while at the same time giving the series its own particular look and feel.

Moving on from here, the artwork for the next two Chart-Ruse EPs (by Delifinger and a still-secret third artist) will feature different islands and additions to part 1. Following that, we'll change the colour, change the title and change the artwork for the next 3. And so on, and so on. Confusing? Yeah, kinda, but that's the fun of it. As time goes on, it'll start to make sense.

The Chart-Ruse subscriptions have sold out but you can buy Withered Hand's Heart Heart EP and pre-order Delifinger's Escapes EP individually. Keep an eye out for news on the third release, and subsequent sets in the series, by following Fence or myself on Twitter. The full artwork is on my site and there are more photos on my Flickr.

* The spraypaint would make the CD stick inside the sleeve in the most maddening way. It somehow added to the charm, however.

** Fence, as you may have noticed, LOVE a convoluted title and a bad pun. KC's doing, I think.

What I Wore Today: Skateboarding

What I Wore Today If you don't know, What I Wore Today (drawings only) is a Flickr group started by Gemma Correll that encourages people to regularly draw self-portraits wearing, well, whatever you're wearing. It results in a nice mixture of both drawing and fashion styles.

My outfit choices are worryingly repetitive so I usually try to add a wee activity in there too. This drawing is from a few days ago on a visit to my parent's house - it was the first time it had been dry enough to go to the skatepark in 6 months. I grabbed my board and nipped round for a wheech about. I was a wobbly old man. My legs are still sore.

Also, I've recently started a What I Wore Today section on my site where I'll try to archive all of these daft things.

Tiptoeing Boots

While making You Only Went Out To Get Drunk Last Night for Kid Canaveral, Alex came up with an idea for what ended up being my favourite scene in the video. She suggested that our 'character' might tip-toe through the bedroom, drunkenly attempting not to wake his partner. This was perfect. It added a gag to what was pretty much a filler sequence. After a few sums, it looked likely that I'd be able to time the shots with the quietest part of the song which gave a really nice build-up to the finale.

Executing the idea proved fiddly. It was 2am and we had very little equipment to speak of. Our bedroom, while not tiny, is also pretty tight for floorspace. These limitations took most of the directing decisions out of my hands - we had to go under the bed. We had to animate the boots from above, pinching the cuffs with our fingernails.

Up until this point, our roles had been set. I'd animate the objects and Alex would work the camera. This scene was different. We swapped back and forth a number of times trying to get something, anything, to work. The problem was two fold: animating the boots was uncomfortable (really uncomfortable. lying-with-your-weight-on-the-edge-of-a-wooden-footboard uncomfortable) meaning we'd only get a few minutes before the 'mover' had to abandon their post and start over; also, you were working blind with no way to tell if your hand was in shot, if you'd moved too far or if what you were doing would achieve the desired effect.

We got there, though. I turned out to be the better animator / endurer of pain and Alex was the better filmer / communicator of how things looked. There was a lot of 'Dave, I can still see your fingers on that left boot' going on. The end result, while not exactly beautiful, is pretty much exactly what I tried to achieve. A success in particular because neither of us knew what the hell we were doing.

On a related note, Kid Canaveral are nominated to support Graham Coxon. You can help their chances by heading to the page and liking their video entry under the Edinburgh Liquid Rooms dropdown. Good idea that.

EDIT: a direct link to the vote page for the KC video is here. God you're a lazy bugger.

Hair of The Dog at Mono, Glasgow

Hair of The Dog Web Flyer (white background)

In just under 2 weeks time I will be participating in a weekend of showing off at the wonderful cafe/bar/record shop that is Mono here in Glasgow. Jonnie Common is set to release Hair of The Dog, a full-length remix album that sees his fantastic debut Master of None set upon by a bunch of talented friends. To celebrate the launch there will be a number of certain things:

Thing number 1: The remix album will be released as a download code exclusively available on a limited-edition Gocco screenprint by myself. It features my Headless Dog drawing and will be available at the event and via the Red Deer Club webshop (p.s. you can head there now to pre-order the album should you wish to guarantee yourself a copy). It costs £5 and will be shipped from Monday 28th November. I will do a follow-up post with images of the Album soon. A print and an album for a fiver! Wait, what?

Thing number 2: Jonnie will also be unveiling a new interactive sound-installation that he’s made in collaboration with Zero Waste Design. Over the whole weekend (25th, 26th & 27th November), all visitors to Mono will be able to ‘mix’ Master of None in a wonderfully inventive way (trust me, it’s awesome). Nip in for lunch and a wee bit of lo-fi surround sound. I’ve had a wee sneak peak at what these guys are up to and I’m really looking forward to seeing the finished product.

Thing number 3: If that’s not all, I will be putting together a small exhibition of bits & bobs (drawings mainly, hairy ones) closely related to my work on Master of None. There will, hopefully, be some new work, large & small, as well as a few older pieces and, if I can figure out the logistics, a wall drawing or two. Remember, this will be a 3-day only show so if you fancy a look you won’t have long to stop in before it comes down.

Thing number 4: Finally, there will be a closing party on Sunday the 27th at 7:30pm featuring live music from Ben Butler & Mousepad, Dems and GRNR as well as a couple of DJ sets in between by Found and The Japanese War Effort. All these acts have contributed to Hair of The Dog by remixing a track of Jonnie’s music. Entry is £4. This’ll be the time to visit if you wanna catch everything at once. Not bad eh? Here are the summarised details:

Hair of The Dog
by Jonnie Common ft. David Galletly
Runs: Fri 25th - Sun 27th Nov
Mono, Glasgow
Free entry

Closing Party
ft: live music & DJs
Sunday 27th Nov
Mono, Glasgow
£4

Please, please, please stop by if you can. It’ll be a weekend of food, drink, art and music. I’ve put some web-flyers and a blurb up on my site should you like to post them on your blog or your social network of choice. Any help in this way would be greatly appreciated as we’re getting to the full-on headless chicken stage and it’s becoming hard to stay on top of the internet stuff. If you’ve never been to Mono, it’s a really great little place and well worth a visit in its own right - good food, nice atmosphere, one of the best record shops in Glasgow.

Keep up to date via Twitter: @jonniecommon / @davidgalletly. As is the way nowadays, you can also visit the Hair of The Dog Facebook page for more info + some chatter. We’ll both be around Mono throughout the weekend too, so say hello.

Jonnie Common: Master of None

Jonnie Common - Master of None

In August, Jonnie Common released Master of None, his debut solo album. I was massively proud when he asked if I would provide some drawings (one old, one new) for the artwork. If this sounds familiar, I briefly wrote about this project back in July - it's worth revisiting in a little more depth with some new photos, though. 

From my side, it was a fairly painless process. I sent over my Dog drawing and put together a big, furry pattern for the inner sleeve. JC then added some rockin' pink magic and handled the layout. The end result is a really great wee collaboration - something completely new and different to what we'd think up individually.

I first started talking with Jonnie a while back after I made a little music video for Infinitea by Down The Tiny Steps (his old band). I did this on a whim to accompany a blog post announcing it as my 4th most listened to  track of 2009. By happenstance, Jonnie also knew my work and we began chatting about maybe collaborating on something or other. This was a weird thing because I was a fan, y'know? I'd been listening to his stuff for damn near 10 years and I'd seen plenty DTTS / solo sets at various Fence gigs. How many dudes who live on your iPod do you get emails from? Aye, exactly.

Anyway, Jonnie's a good dude. I've since caught up with him a handful of times in person and we're hoping to work together on a couple different projects over the next few months. Stay tuned here or on jonniecommon.com for further news and information.

Jonnie Common - Master of None

As for Master of None, it's my favourite album of the year by a long way. I really, really love it. Honestly, it's amazing. I kinda wish my artwork wasn't on the cover so I could sound completely genuine when I gush about it to my friends. I also kinda wish I didn't know Jonnie so I could act like a totally lame super-fan without being, um, a total creep. Alex says it's her go-to record 'it feels like having a conversation with a friend' and it's a rare day that we don't either give it a spin or find a track or two sneak into a playlist.

Without writing a flat-out review (there's a great one up here on Song By Toad), I'd just like to recommend you give Master of None a listen. It's a sweet, funny, charming album that can effortlessly drift from a beautiful letter to his future kids (Heir To The Throne) to a wordplay-fuelled rap (Bed Bugs) without missing a step. Jonnie's distinctive voice (in both senses of the word) somehow creates a personal, cohesive whole from a big ol' mountain of sounds and styles.

And, man, the man has a way with a lyric - I'd happily write out Hand-Hand in its entirety just for fun. There's more ideas in those 4 minutes than in most full length LPs. Highlights: opening with "sing for us, Jonnie!", facing mortality "when I leave this planet, I don't wanna leave a mess" and a curiosity about horse-hair brushes: "do they pluck them from the living ones or do they take them off the corpses?". It'll put a smile on your face and a shake in your arse. Listen to it, learn it, sing along:

Hand - Hand - Jonnie Common by FollyOfYouth

Good eh? As I mentioned, being associated with this LP in any way makes me very proud. For any artist, designer or illustrator, providing artwork for music you love is a dream job that can't easily be beaten? I mean, what else comes close? Film posters? Maybe, I dunno. Oh yeah, I've put a few more photos of the vinyl cover up on my Flickr page.

Jonnie Common - Master of None

So, should you want to check out Master of None for yourself, it is available on vinyl (with an mp3 code included) through Red Deer Club records. You can also download a digital copy over on Boomkat and, should you want to try-before-you-buy, you can stream the whole record (!) right here on Soundcloud.

Support Jonnie Common, he's one of Scotland's finest songwriters and he's made a wonderful thing.

Fence's Flamin' Hott Loggz Poster

Fence's Flamin' Hott Loggz Poster

Again I am delighted to have been allowed to help out the Fence Collective with another poster design. This time it's for a Guy Fawkes shindig up at their Anstruther HQ. Johnny 'Pictish Trail' Lynch asked if I could come up with something suitably silly to illustrate his 'Gunpowder, Treason and… Plop' Bonfire Night theme.

My time was quite tight but, thankfully, the brief kinda suited something being a little rough around the edges. Taking a cue from my What I Wore Today drawings, I cranked out this pair of beardy fellows and a titular hott-logg and things just came together. This is actually my first ever fully hand-drawn poster design, which took me a little by surprise. The colouring was added digitally but apart from that, it's all pens and paper. Getting text to sit well with my drawings is something I've always struggled with.

As with all Fence events, I wholeheartedly recommend you get your arse along to the Hott Loggz party if at all possible. Fence Records consistently put out some of Scotland's finest music and their live gigs are a joy to witness. Recently I've caught a little sneak-listen to some upcoming releases and, honestly, if you follow what they do, you're in for a treat. Here are the details:

Fence's Flamin' Hott Loggz
An all-day (2pm - 1am) event of music & excitement
Saturday, 5th November
Anstruther, Fife, Scotland
Featuring a yet-to-be-announced line-up of Fence Collective members + friends.

Tickets are available here.

I'm gonna try my best to head up for the show. Despite the promise of a bonfire, a Scottish seaside in November will be damn cold, so wrap up warm.

What I Wore Today 2

whatiworetoday2

This is my second What I Wore Today drawing for this blog. If you don't understand, there is a Flickr group here started by the illustrator Gemma Correll that accepts open submissions of self-portraits depicting the clothes you're currently wearing. I have been posting up my artwork there for quite a while now and I find it provides a perfect little mini-project for those times I'm suffering from block or simply just want to make something. Go have a look, there's some amazing stuff from more serious fashion illustration to more dorky, humorous stuff.

I just battered this illustration together quickly. It's not great, but it's better than nothing and, quite frankly, I did it just as an excuse to draw. I need practise. I need practise drawing and I need practise writing (I would like to be a really good writer). You don't get out of a lull by sitting about watching telly and you don't make better art by not making any art. Putting together a self-portrait gets you into a kinda reflective mode and it almost seems like it might be appropriate to accompany such drawings with a personal, diary-like post but I'm not sure if that's a good idea.

Ah, I dunno. Maybe it is a good idea. Maybe every time I draw myself, I'll write a little something about my life. Hell, I could make it up if it feels too personal or honest. Righto David. Starting now, with this picture and these words, I'm gonna go into autobiography mode with my What I Wore Today drawings and this decision, while not exactly soul-searching, is plenty for this evening.

Kid Canaveral Music Video

Above is my debut as a music video director for the single You Only Went Out To Get Drunk Last Night by the very fine Kid Canaveral. It was animated, filmed and edited by myself with some help from Alex and Fergi - particularly in the dancing kitchen scene.

I've posted about this clip before on my old blog but, happily, I have new reason to post it here. I have just recieved news that it will be featured in the BBC Music Video Festival 2011 and will be shown at The Forum in the centre of Norwich, from the 19th of September to the 1st of October - on bloomin' giant screens no less.

'Chuffed' doesn't explain the half of it. Having an animated film shown by the BBC is one of those things you dream about. Yeah, it's rough around the edges. Yeah, it was made with sellotape and fishing lines in our messy wee flat. Yeah, I don't really know how to work a camera. You know what? I don't care! We had the most fun ever staying up until 5am making the video and I'm still very proud of it.

Filmmaking is something I'm growing increasingly fond of these days, in part due to being a complete novice and knowing it's ok to make mistakes. I'm always looking to find time to knock together a new video and if anyone wants to work on any projects, get in touch. You'd make my day.

For more info on the Kid Canaveral video, I did an interview about it a while back which you can read here. You can also watch and subscribe to whatever other nonsense I make on my YouTube channel. Big Thanks to Johnny at Fence and Kate Canaveral in particular for all their help with this project.