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One such designer of neo-Americana is Christopher Martin of Last Match Studios. A stalwart of the "underbelly" of design for the past fifteen years, this native Southern Californian continues to draw, paint and screen his way across the scene with his wild, yet classic touch. Getting his start in the Los Angeles rock scene, Martin found himself rendering images for bands like The Cadillac Tramps and Supernova; this led to the creation of a clothing company, Swank Threads, which ultimately morphed into Hi-Fi Mfg. In 1995, Martin headed north to set his roots in ever-fertile art scene of San Francisco, CA. Once there, Last Match Studios was born out of necessity for both Martin and other artists looking to create rock-themed posters and fine serigraphs. After a three-year stint up north, Martin returned to Los Angeles to continue his work with Last Match, but in the meantime he served as the Art Director at Epitaph Records and was a Sr. Graphic Designer at Lucky Brand Jeans.
Inspired by vintage graphics with a style that is familiar, but unique; Martin's work is comparable to that of a favorite pair of well-worn jeans. Utilizing the latest technology to specialize in traditional design and illustration is no easy task... By bringing the best of the past to the present, Christopher Martin and Last Match Studios will be well-worn for many years to come.
What is your interpretation of "Classic American" design?
Who are some of the artists that have influenced you?
Is it difficult to use modern tools to generate a vintage look? Not at all, computers lend themselves very nicely to all aspects of design. I have to admit that I was computer hold out for years, I think mainly because I didn't want to spend the money, but when I finally came around, it opened up a whole new level to my work. I think the single most useful tool that artists have gained over the past few years are search engines like Google. I can remember going to libraries and book stores to try to find reference material and now you have access to everything at the tip of your fingers. Not to mention self promotion. That being said the thing to keep in mind is the computer is just that, another tool. There are so many people these days passing themselves of as artists because they can type and select a font. It's funny until recently artists strived to make everything perfect, they spent years learning a craft to do clean lines and all that now is the default, anyone can acheive it. As a result you are seeing people like myself striving for the exact opposite, deconstructed, distressed, loose graphics that feel hand done.
How did you realize that the "classic" look was your forte? I don't think I've ever had any sort of realization. I have always just done what I've liked. I think I've been fortunate to work for places like Lucky Brand. Where there is an appreciation for traditional design. As well as an incentive to expand on this theme and to actually mature as an artist. I think it is real important as a commercial artist to work for people of a like mind. I have found that there is nothing more counter productive than trying to work for someone with fundamental differences from myself. It's putting a square peg in a round hole. It may be called different things, employer, boss, etc. but the relationship between artist and patron still exists and is vital.
Do you have formal design training, or are you basically self-taught?
When doing band-related projects, does the sound of the band drive the concept of the design?
In this super youth oriented climate, are you finding more or less demand for your style? More definitely more, I've never thought of it that way before but I'm busier than I've ever been. One might get the impression that everyone is looking for the newest and latest when really, truly new things are the exception and can take a while before they develop a broad appeal. I think people are really rediscovering what's already there. What I see are people gravitating to the slightly familiar and that's kind of my whole philosophy. I try to do original art the feels somehow familiar.
What kinds of things would you like to be doing in the future?
Contributed by Matt Heinemeyer
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