One of the first true "Limited Edition" silkscreen posters released for a Dave Matthews Band Show, the 2004 Gorge poster was printed in both yellow and blue versions. The poster seems oddly illusive, and opinions about its print run have varied.

In an attempt to learn more about the print, I contacted Dean Welshman. An artist, designer, and all-around nice guy, Dean was kind enough to take time out of his busy schedule to answer some questions regarding the specifics of the poster, and exactly how it came to be.

(DP) Alright Dean - There has been some confusion about the number of 2005 Gorge prints out there. Based on our conversations, I understand the Yellow and Blue editions were both limited silkscreens, with print runs of 700 and 300, respectively. Does that sound about right?

(DW) Yes, about that. DMB’s management ran a run of 1,000 which sold out in the first hour of the first show.

The design is obviously a nod to George, Washington - where The Gorge is located. Anything else we should know about the design of the print?

2004 Gorge Poster (Yellow)

We submitted three designs -- all referencing the Gorge in some way. The alternates were more literal, guitars and landscapes. I thought about an image of George chopping down a tree at first but we wanted to maintain as much of a west coast vibe as possible and that seemed more aimed at traditional ideas and imagery. Dave also had just done an interview with Rolling Stone (had a hat on on the cover similar to the one George is wearing) and expressed some political views, so I thought, maybe a more heroic image of George Washington and a more indirect nod to politics? A positive spin in the midst of uncertain times and political landscapes. I sketched out an image of Washington inspired by a now defunct bank’s corporate identity that I found in the garbage! It was just simple, graphic and to the point. When they selected that design concept, I originally thought I would render it as a flat vector design based on pure shape and color but also had Robert Rini, a friend of mine and a talented illustrator in mind. But…he’d just have to get an image together overnight -- which he did. Robert provided the gestural hand drawn look and feel based on my original sketches that were inspired by an old logo, essentially. Recycled art for sure. The orange color scheme was Bob’s idea as an alterative to the black, red and blue ones that were printed in limited quantity. The yellow and orange was also in synch with the color scheme of the “Live at the Gorge” cd that came out right about the same time. The typeface, “Mest” was selected after I got the George image from Bob and responded to its formal quality. I later saw that it was used for the DMB fan club materials so that kept things in the spirit with what they were doing at the time too.

From start to finish - how long would you say it took to complete the design? What was your process - did you work strictly digital or was some of the illustration done on paper?

Two weeks design. One night George image. One week to print the run working from idea, to sketch, to professional illustration, then back to digital to assemble. The image was illustrated ink on paper and then colorized and type set in Adobe IllustratorCS.

I understand that the posters were printed by Clone Press in Seattle. Did you take part in that process as well?

Yes. Bob and I had printed with them prior. I was a designer at the University of Washington Art Museum at the time and we were printing a lot of stuff with them already. Art posters, gallery openings, mainly. Their shop was pretty close to where Dave got his coffee in Seattle (has since moved to the Shilshole area) and he said he had seen their work for Pearl Jam in the windows and liked it. We were explicit in the exact colors we wanted, and the files were so simple that the final was dead on to our comps. Oh, and it always helped to bring them some beers after they were done printing to get a good look at all the cool stuff they were printing for Modern Dog, Ames Design and SubPop and get the inside look on other designer’s work before it hit the market for the various tours. They also turned me onto the design work of Seripop in Montréal and had a great story about drinking with Krist Noveselic at The Tin Hat just up the road from where the posters were printed.

Did the band have any input on "okaying" your design, or did you pretty much have full control over what was printed?

We really had full creative freedom on this one... a nice perk! But the design fee was for ten 10th row tickets and backstage/on-stage passes so maybe they thought they’d just let it be in our court since they weren’t paying out. Ironically, my friends couldn’t make the show so we just GAVE away eight tenth row tickets to people outside of the Gorge. I think they thought it was their lucky day! Good karma all around.

The night after it was printed, I came by my friend’s house and met Dave (they’re neighbors). He liked the simplicity of [the poster] and signed a few. We talked politics a little and I gave him a batch for the archives. I hear one was auctioned off for a good sum for a local school district in Seattle.

The art was popular enough to be printed in two colors for the Gorge, and later used for the Vote for Change Tour. Did you know the art was going to be used for the VFC prints or was it a surprise?

I had suggested it to the DMB management after they contacted me to do another poster. It had slight modifications and was spec’d as 4 PMS colors on uncoated paper. Since I just gave them a disc, they converted it all to 4/C process and ran it on a commodity coated sheet. I changed the design slightly and Bob rendered stars for the background. The colors just don’t have the same punch but get the point get across. I wish they didn’t screw with it.

And the VFC print was apparently an offset with an open print run?

See above. I think it was in the thousands for that leg of the tour with Ben Harper and My Morning Jacket. Two great bands. Afterwards, we received a call from Bonnie Raitt’s management who loved the poster and wanted [us to create] one for a show. Unfortunately, the turnaround time was too tight and we missed the opportunity.

Tell us how you came to be a graphic designer, and what you are currently working on.

I went to art school in RI in the 90’s and was doing a little gig poster work during that time for a long gone but hypnotic band called the Jungle Dogs. At the time I was mixing a more formal design aesthetic with rock music. And listening to a lot of music of course. I always wanted to do some more work in that vein at some point. I followed my wife to Seattle and had no trouble getting work in studios and then eventually a five year stint at working for the UW. Dave Matthews and I have a mutual friend who works there (he also visits the museum) and that’s how it all started. I was just blown away by the local designers in town and wanted to design something for music again, for a large audience. Incidentally, one of the design studios that I worked for in Fremont prior was right next to the Pearl Jam studio. I just never had the nads to say anything to Ed when I saw him on occasion, also knowing that Ames design handles most of their stuff and ARE the Jedi masters of gig posters.

Having lived in Seattle, you were exposed to a lot of great music and art. Who are your favorites, both musically and artistically?

Lately, I’ve been listening to the Band of Horses, Cat Power, Sleater-Kinney, Broken Social Scene, My Morning Jacket, Dylan’s Modern Times, mixes from friends and a great live Stones show from ’73 - Bedspring Symphony”, also KEXP podcasts. I’d love to design something for any of them!

What's next?

I just moved back to Rhode Island after ten years on the left coast to raise our baby girl and take a job as an Art Director for a magazine here. Also fix up the house we just on RI’s south shore, and hopefully catch some good waves this year. Miss the music and art of Seattle but Wesport was just too damn long of a drive!

Any chance we'll see another DMB print from you in the future?

I hope so! I just bought one of the last unopened Gocco silk screen presses. When I get some time, I’m going to put some ideas together and send them back to Seattle and see if I can get Dave’s attention. But it’s tough finding the time when you’re a dad.

Anything else you'd like to add?

Please note that Robert Rini is a freelance illustrator, master mix-tape maker and award winning writer. Also, I do have some artists prints [of the Gorge poster] left and of course am available for potential freelancing.

Dean may be reached by e-mail at: deanwelshman@yahoo.com.