This write up will be given to attendees at the gallery at the opening TONIGHT, but for the rest of you who aren’t in San Francisco, here’s a sneak! These prints will all be on sale on the SpokeArt website, Spoke-Art.com THIS FRIDAY afternoon. Keep your eyes on the site!

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Last June, after the opening reception to the Quentin V. Coen show in San Fran, the founder of SpokeArt- Ken Harman, invited me to have a solo show at his gallery later that year.  I was immediately flattered- and then the fear set in. If it’s just me, not only was I looking at months of work in secret- but the success or failure of the Gallery that month was up to my ability to create and be clever. I initially was going to do a very diverse show with a bunch of unconnected works, essentially throwing the visual parts of my brain up on the wall and hoping people liked what they saw.  But after talking to Ken for a while, he seized on a couple of ideas I had and did what a good gallery owner should do- focus his artist.  This is the show that came of that.

“Unreal Estate” is a collection of locations that many of us know and have been to on a weekly basis at times, but we can never actually visit. These places are in our memories- transmitted and entrenched there through a cathode-ray tube.  Some of us have been going to these places for decades- some of these places were taken from us, way too soon.

I was asked to write about the pieces for use on various blogs and press.  As much as I’d like the work to completely speak for itself, I do so enjoy commentary tracks, so here is mine.

It’s weird to think about a pop-art solo exhibition as an intensely personal show, but I’ll do my best to explain it here.  Over the summer as I was preparing for this show, I did some research on “All In the Family” (a print I hope to get to in the future) and how the exterior shot of the house was a real place given the fictional address of 704 Hauser St, in Queens. Surprisingly- in the early 90′s, “All In the Family” creator Norman Lear had a show called “704 Hauser” featuring a new family living in the same house, occupying the same fictional location.  Reading about that was an odd revelation to me.  See- I always felt like “All in the Family” was like a televised echo of my maternal Grandparents in a way- an East coast blue collar family living in a row-home, a loveable but gruff father figure, a loving if slightly crazed mother- all dealing with a world that was changing rapidly around them. It’s not a perfect fit, but the themes were there- the show FELT like a visit to my Grandparents, if that makes sense.  Last Summer I had driven by their old house in Delaware for the first time since my Grandfather’s funeral in 2001-ten years had passed, and it was a heady mix of emotions seeing the house still there, but now occupied by strangers. Also that summer I read the news that “The Simpsons” might be ending over a labor dispute, and found myself strangely affected by that probability. (I sided with the taIent, obviously.) I had been there in the late 80′s watching their proto-versions on The Tracy Ullman Show and when they finally got their own program, my family and I made our weekly pilgrimage to Springfield.  The thought that the show might be leaving us, considering that I had spent more of my life watching Simpsons than NOT at this point, was a big deal. I thought of Springfield’s more famous locations- how all of us (in the western world, at least) know where to get a Squishy, grab a Flaming Moe, or remember when Jebediah Springfield lost his head.  And I realized these completely fictional physical landmarks of television shows are a kind of cultural geography.  A shared mental construct that we all participate in- and like actual buildings they will one day be torn down, their time-slots paved over, or we will maybe find new people living in those exact same addresses.

So this was the ooze of pop-culture and melancholy that I had kicking around in my head when I dove into this art show.  Artistically, I wanted to move away from what my audience would normally expect from me- big bold colors and a comic-book line quality.  I wanted to do these pieces in a more brushy, illustrative style, with more muted tones and colors that reflect a mood or time of day. My tried and true 4-color pop of past prints like ‘The King of Crabs’ was going to have to take a back seat while I try something newish.  I wanted these to look more like my Ghostbusters “Ready to Believe You” or the American Werewolf in London “Stay off the Moors” prints did.  It was a style I really like working in, but is definitely more time consuming than my normal deadlines allow.  The lead in time I had for this show afforded me the luxury to experiment more with my style.

“Night over the SNPP” 16×20, Signed and numbered edition of 100.  Glow edition of 25.

The first three prints I created for the show were all inspired by The Simpsons- I knew I had to kick them out of my head up front and move on, as The Simpsons could very easily dominate the entire exhibit if I let it.  I purposefully set these three images at night or sunset to force the color scheme away from the pastel and neon palette of the show.

I remember my Dallas-suburb Middle School placing a ban on Simpsons t-shirts in the late 80′s, as the show was considered a bad influence, and Bart an animated public-enemy #1.  Now, the show is an American monument- a purple and green and yellow Mt. Rushmore in time and celluloid. The Simpsons is probably one of our most enduring exports- it’d be hard to go to a country on the globe where the characters aren’t recognized.  Even in 1992 my young mind knew how out of touch the then-campaigning George Bush Sr. was when he said that Americans “…needed to be closer to the Waltons than the Simpsons.”  He lost that election to the more media savvy Bill Clinton- pop culture affecting Presidential politics.  Mr. Plow predating Joe the Plumber.

“Embiggen the Smallest Man” 16×20, Signed and numbered edition of 100.  Glow edition of 25.

Each of these prints feature a split fountain for the sky, which gives a nice depth of field and a more naturalistic look to the finished art.  A split fountain is an ink blend that’s mixed on the actual screen used for printing, which can produce some beautiful results. Although the process almost guarantees that no two prints are alike.  This is overlaid with a transparent black ink to provide clouds and a shadow layer over the other colors.  Artistically, my starting point on these came from hours of browsing Chris Ware’s sketch books published by Fantagraphics. In some of the pages, he has these beautiful little black and white line drawings of buildings and cars and telephone lines, all communicated with a simplicity that is hard to communicate in words.  With repeating patterns of hatching and parallel lines to denote shading, he’s able to evoke a mood of stillness and beauty. Obviously, my line art is a little more cluttered and brushy than Ware’s, and I’m working in color here, but it was the initial kernel of artistic inspiration for this series.  Some artists might try to hide their inspirations, but I prefer to put mine right out there- it’s more honest and informative in my opinion.

“Amanda Hugginkiss” 16×20. Signed and numbered edition of 100.

This one is my favorite of the bunch- the blue to pink split fountain echoing the setting sun.

“Amanda Hugginkiss” 16×20 Glow edition of 25.

“Sweeping the Clouds” and “Nest of Doors” each 18×24, and each in a signed and numbered edition of 100.  Wood Panel editions of 10.

The problem with starting a series like this is that you might write up a list of all the pieces you want to do, but once you’ve got a few images into it, you’ve already thought of a whole list of brand new images you want to do first and the original ‘sacred cows’ you wanted to hit get bumped further and further down the cue.  (All In the Family is a casualty of this process.)  This two part print of America’s favorite street is one of the ones that popped up and refused to wait it’s turn.

Growing up in the suburbs, my first exposure to what a ‘real’ city was like was Sesame Street. And when I say ‘real’ city, I mean apartment buildings, corner bodegas, and a positive multiculturalism that wasn’t reflected in my suburban surroundings.  When I finally did visit NYC for the first time in early 2001, I was half expecting to see a two-headed spelling monster pop his head around a corner or encounter a frog reporter.  I remember calling my brother and excitedly telling him I saw kids playing in the spray from a fire hydrant JUST LIKE ON TV!  I did see some people living in garbage heaps, but that wasn’t nearly as fun as it should be.  To this day, the original theme song of Sesame Street gets me misty-eyed.  This particular street corner is a cultural icon in an of itself. It’s where everyone I grew up with learned to read, to count, and more importantly to share and be kind.  This plywood set populated by people, foam or otherwise is IMPORTANT.  It presented a racially diverse cast in a way that had never been seen in children’s programming at the time. When it debuted, a Mississippi state commission voted to ban the program because of it.  Sesame Street, like All in the Family was an agent for social change. It’s easy to forget in the intervening years, but while Archie Bunker might have been an avatar for the white, lower to middle class audience it targeted, having him bump into a 1970′s modern woman like Bea Arthur’s Maude or Sammy Davis Jr.’s black/ jewish reality was slowly educating the audience that ‘hey, these people- they’re just people too.’  And the fact that the Grouchketeers had kids from all backgrounds was a very specific and groundbreaking choice. Progressiveness through Puppetry.

The fun thing for me in doing these prints is all the research that it involves.  I ‘had to’ watch a lot of Sesame Street, followed by a viewing of Follow That Bird (seriously a fun, great movie).  I wanted to depict the street and ‘Arbor’ (as the area in the middle is known) as I remembered it from the late 70′s through the mid-80′s. Thumbing through countless photos and video clips brought back memories I didn’t know were still there.  Now if I could just get my two year old to watch anything but Yo Gabba Gabba, I’d gladly forge new memories of this fictional and eternal corner that he’ll carry through to his children.

“Rusty Shackelford” 16×20 edition of 100.

King of the Hill is an odd duck of a show. Set in a mythical suburban Texas town, a mix of a very real Richardson and Garland (both towns adjacent to Plano, where I grew up), it rings with an authenticity any Texas-raised child would recognize. The thing that’s odd to me is that the show was aired anywhere else in the nation, much less the world.  No matter how extreme the characters are on screen, I know someone who could have been the archetype they were based on. I WISH I could say I never met a gun-nut conspiracy theorist like Dale Gribble, but I knew that guy, mirrored sunglasses and all. I’ll never forget my friend’s parents pulling out the night vision goggles one evening to see what the cops were doing up the block, a loaded handgun on the coffee table.  The provincial and Protestant Peggy Hill was no parody, but an accurate representation of just about every teacher I had growing up in Texas.  If there’s a character in television history that is most representative of my life- it’s Bobby Hill.   A short, fat, awkward outsider, obsessed with fruit pies in a football dominated culture.  (I still literally could not tell you the rules of pigskin to this day.) Now, my parents were East-coast transplants and my family life wasn’t anything like Bobby’s, but I’ve been to that house and seen that family repeated dozens of times, I tell you what.

I remember driving past the local propane dealer time and time again, never really understanding what the hell those places were for. We were charcoal briquette people. (Hank would be ashamed.)

I purposefully went for a dusty, gritty look for this print- trying to echo the sometimes frightening weather of central Texas. I spent more than a few hours under a mattress in my parent’s hallway, waiting for the tornado to come and kill us all, only to get the all clear signal from the local siren.  (Seriously- I can’t believe I live in a world where that is real- one day you’re just watching Mr. Peppermint on TV, and the next- wind is coming to kill you.)

“10 cents gets you nuts” 18×24, signed and numbered edition of 100.

“Banana Flambe” 12×24 signed and numbered GLOW in the dark edition of 35.

Next up, I went a little bit more contemporary with the Bluth Banana stand. This show wormed it’s way into me post-cancellation, I’m embarrassed to say.  But I’d guess that’s the case with the vast majority of AD’s fans today. As I was working on this print, the news broke that Arrested Development was in fact coming BACK to television, albeit through the subscription service Netflix, and later into theaters in a long-rumored film.  This is fantastic news- and what I believe is a first for network TV- the internet spoke as a collective and WILLED this show back into production. This isn’t the case of some stiff in a suit saying “You know what was popular? 90210. Let’s do that again, even though no-one ever asked for it.”  The only reason Dallas is back on the air is because people recognize it as a BRAND, not as a show anyone was dying for more of.   But this is something…else. We weren’t done with the Bluths, and we demanded a family reunion. And we’re getting it. Now, who wants to start a Kickstarter to get Firefly back?  The internet has spoken.

Normally for a variant, you go for a simple color swap with your screens, or add an effect layer, like glow in the dark, or print on a different surface like wood or metal. But with this one, I completely redrew the Banana stand and produced a whole new set of separations to get the “fire” version produced.  Twice the work, but totally worth the effort for a subject I love.  I could have gone with the model home, but I thought the stand proved itself more iconic for the insanity of this series.

“The Big Salad” 18×24, signed and numbered edition of 100.  Glow edition of 35.

I don’t think there’s been a show as socially changing as Seinfeld, at least not for my generation. It had a cultural ubiquity that hasn’t been found since. The diversification of media and the multiplication of viewing options that cable afforded after Seinfeld took it’s bow pretty much guaranteed that.  I believe it was truly the last great hurrah of the network comedy, much to their disappointment.  I’m reminded of a quote from Alec Baldwin’s Jack character from 30Rock, where that show’s version of NBC’s business strategy was to “make it 1997 again through science or magic.”  That ship has long sailed, though.  If there was any justice in the world, Curb Your Enthusiasm would be just as popular as Seinfeld ever was, but America just doesn’t tune in as a collective group like that anymore.  Seinfeld‘s crowning achievement, I think, was to bring neurotic, New York Jewish comedy to middle America- something that not even the great Woody Allen was able to do.  It was a sit-com that injected stand-up culture into the living room in a way that Carson and Letterman couldn’t. Seinfeld was a comedy about the small things- waiting in line, ordering soup, licking an envelope- the narrative stuff that stand-up is made of.  I would say the brilliant Louis C.K.’s Louie is Seinfeld’s direct descendant, with it’s seemingly free-form episode structure and stand-up framing device.  While Seinfeld’s main competitor in the show’s early years was the overly sentimental and catch-phrase heavy Tim Allen vehicle, Home Improvement- in a few seasons Seinfeld would become a dominant cultural force and Home Improvement merely a footnote.  Seinfeld made meanness funny, and all other shows seem tame in comparison. The ‘cool’ kids watched Seinfeld. The normal kids watched banal crap like Full House and Perfect Strangers.  (I have to admit to watching both shows in my youth.)  My group of friends was glued to Seinfeld every week, and it was all we talked about over lunch in the school cafeteria the following day.  I don’t know how many inane conversations I had to endure of people trying to force a group of friends into the roles of the principals on the show.   Consensus always made me come out as George- but at least no-one in my group was trying to figure out who was Chandler and who was Monica. I would have murdered everyone involved in that discussion.  Even the language of the show entered common usage like a virus- if I say “Master of my Domain” you know what I’m talking about, regardless of whether you’ve see that episode or not.  I could go on endlessly about the show, but this is an article about an art show about television. So-

For a show based almost completely around interior locales, there is one stand-out exterior shot in Seinfeld- the restaurant. Unlike the other prints in this series, the restaurant is an actual location you can visit and touch- reality and fiction intertwined.  While the diner is called ‘Monks’ in the show, it is in fact Tom’s Diner (of the Susanne Vega song) on 2880 Broadway in New York.  Fun fact I learned while researching this print is that the exterior of the actual diner in no way matches up with the set that was built in LA.

“Whatever Happened to Gary Cooper” 18×24 Signed and numbered edition of 100. Wood edition of 10.

The Sopranos is the precursor to all the great, serialized programming we have today. It was a watershed moment in television- anything that came after The Sopranos was going to be compared to it.  Being of partial Italian descent, as a child I always took a secret pride in the ‘rep’ Italians got in the media.  Films like The Godfather and Goodfellas gave the young me a racial identity that was PROBABLY very undeserved. (Especially considering how incredibly mixed my European background is… I mean, ‘Doyle’ isn’t exactly Sicilian).  But growing up in a suburban wasteland like Plano, Texas, you have to grab on to whatever you can to feel like you stand out in some way special.  What I find most impressive about The Sopranos is that it’s a show about mobsters who are very much influenced by the movies and fiction of being a mobster. It’s pop culture eating itself.  Unlike say, The Godfather- the characters in Sopranos have SEEN the Godfather, and it’s informed who they are. This is also partially their downfall- when it comes to the day to day work of ‘mobstering’, most these guys are very bad at it. The character of Christopher Moltisanti clumsily dishes out quotes from mob movies in the early episodes- showing that he not only missed the point of those films (honor, family), he couldn’t even be bothered to get the trappings correct.  The title of this piece, “Whatever Happened to Gary Cooper” is a quote from Tony’s therapy session in the first episode, showing that even he has bought into the illusion of machismo shown in the media of his youth.  I was wavering back and forth between drawing this image or the ‘Bing’ club, but in the end, that completely hilarious Pig sculpture and the oh-so-Jersey satellite dish.

“Unreal Estate” opens up on Feb 2nd at the SpokeArt gallery on 816 Sutter St in San Francisco.  Prints unsold at the opening will be available online afterwards.  The original line art for every piece, along with larger images of each one can be seen in our FLICKR FEED HERE.

Thank you for reading this admittedly rambling run-down of the show.

-Tim Doyle

Tim Doyle’s first solo show will open THIS THURSDAY at the SpokeArt gallery in San Francisco, located at 816 Sutter St.

You can RSVP at the official event page HERE.

Tim Doyle will be in attendance at the opening, so please come on by to meet and greet!  Also- free beer. Beer makes Doyle a lot easier to handle, trust us.

The show will be all silkscreen prints, and the original pen and ink drawings used to create the pieces will be for sale as well.  All prints will be limited in their regular edition to 100 copies, and the variants (be it glow in the dark or on wood) will be in smaller editions of anywhere from 10-35.

Any prints unsold at the gallery will be available on the SpokeArt store shortly thereafter!

Most of the images for the show are under lock and key, but we’ll post a full write-up when we can!

Until then, check these two out, and see you guys at the show!

“Night Falls on the SNPP”

16×20 signed and numbered edition of 100. Glow edition of 25.

“Amanda Hugginkiss”

16×20 signed and numbered edition of 100. Glow edition of 25- note, glow edition has an all blue color scheme.

-alex fugazi

New from soon-to-be-Austinite, Jon Smith comes these 3 awesome new gigposters!

Pictured above is his two part set for FITZ & THE TANTRUMS!

Each print is 18×24, and signed and numbered in editions of 130. Nakatomi will have much less for sale.

Here’s a better look-

You can get the prints for $30 each, or save yourself $10 and get a set for $50!

Below is Jon’s print for a private Elvis Costello show at some dude’s Birthday!

Woah! I want a poster for my birthday next year! Jon, get on it.

All these prints are available RIGHT NOW in the Jon Smith section of the Nakatomi store HERE.

(scroll down for the Elvis Costello print…)

-alex fugazi

Howdy howdy!

We here at Nakatomi have some VERY exciting news, even if our customers might not EVER know the difference!

We’ve just recently (Jan 1st) moved all our operations from out of Tim Doyle’s ever-shrinking house into a new space that will suit our needs for years to come!

Our new address is 2101 Airport Blvd here in Austin, TX- inside the AJL advertising building (pictured above)!

Tim Doyle has had a working relationship with AJL that goes back 6 years now, and the kind folks there have been MORE than accommodating in helping us set up shop and to lend us their decades of experience in the screen printing industry!  We had been looking for a space for MONTHS, and just happened to pop in to AJL one day to see if they had any ideas on spaces, and they had JUST had a tenant cut down on the space they needed in their shop. It was an amazing stroke of luck, and we couldn’t be happier!

In the middle of last year, we realized we were rapidly outgrowing Tim Doyle’s garage workshop and had even taken over his front room for all packing and shipping. With the arrival of the Doyle’s 2nd child last September, we KNEW our time there was at an end. (Babies are small, but dang they take up a lot of space!)

Back in the Summer of ’09, Doyle and Clint Wilson practically scratch built an ENTIRE silkscreen shop in the one-car garage at Tim’s place, and EVERY print that came through Nakatomi from that point forward was printed in that crucible of awesomeness. You can read all about the build-out of that much loved space HERE.

Our new shop  is conveniently just 5 minutes up the road from where we were, and located right next door to a tasty, tasty seafood vendor. (Fish on the CHEAP!)

Let’s take a look around the new space, eh?

On the ground floor of AJL, through these plain doors you’ll find our shop! What’s exciting about doors? Well, now that we’re a climate controlled room within a larger room, we’ll be weather-proof, in that humidity will no longer be a concern! If you’re a printer, you know what we’re talking about! If you look closely, you’ll see Sean and Zane, the Nakatomi printers, in no way threatening to stab me while I’m taking pictures.

This is a wide photo of the shop as we were still setting it all up- but the best thing about this all? SPACE. We’ve got almost 900 sq feet now, as compared to the 350 we were working out of before. Living the dream, my friends.

Here’s Doyle in front of the racks we have for inks now! Nice and clean! We threw out our legion of pre-mixed bottles from old jobs, starting fresh! Also, you can see Tim getting the respect of his employees on the right.  All this modular furniture, and even the walls themselves were provided by AJL, as they just have a ton of this stuff sitting around. What a swell bunch of people!

This is the BIGGEST print rack I’ve ever seen. EVER. This beauty came from a sign shop that was going out of business here in town, and they were just DUMPING their equipment at crazy prices. This rack would retail around $5K new- we picked it up for $100 flat. Crazy. AND- we needed this thing so we can print 24×36 prints!

We got the hot tip about all this great equipment getting cleared out from the ever-friendly Satch Grimley- a killer printer in his own right.

TOOBS! I know, I know- to you guys, this is no big deal- but to US…wow. Before, we had to store our boxes of tubes on the front porch or in a storage unit on the side of the house…now? It’s RIGHT THERE. Right next to the packing table. This is heaven. Brown, Craft, Telescoping Heaven.  AND- we can be as freaking LOUD as we want. No newborns to accidentally wake up!  Stupid babies, with your stupid little cute faces.

Look at those freaking flatfiles!

From the same score that we got the rack above from, comes this beautiful custom wooden testimony to excellence in cabinetry. All for the low low price of – $100. It seriously reaches to the ceiling. We had to take out part of the tiles up there to stand it up. That is CRAZY.  I feel like printing a bunch of stuff just to fill it up.

That’s one of our two new Auto-presses- a BIG ASS M&R Eclipse. This beauty is what we’ll be printing on mostly.

That is Doyle ‘licking’ the press to claim it as his own. He says he’s licking it, but we’re pretty sure he’s getting a little more intimate with the machinery. We’re sorry you had to see this.

This machine is from ’94, and works like it just rolled off the assembly line.  Which is good, as if we HAD bought one of these new, it would have run us something like 25-30K, easy (according to what I can find on-line). From that same shop-closing we got the racks and flatfiles, we got this press for a crazy steal at a mere $1500.

Our trusty staff remains the same, however- Sean and Zane do all the printing, packing and shipping, leaving Doyle to do the drawing and napping.

One of the exciting parts of all this is that we’ll soon be opening up for outside commercial printing jobs- we’ve been printing off and on for years for artists like Jon Smith, Olly Moss (A Life Well Wasted series), Josh Budich, Russ Moore, and many, many more, but it was always on a DL status- if you were a buddy we’d do it for you, but we didn’t advertise.  NOW- if you’re an artist and want to quality and attention to detail that Nakatomi puts into all their prints, you’ll be able to get on the schedule and sit back and let us rock the Squeegee for you!  With all this new equipment, all our prints are going to be better, sharper, and tighter than before! AND- we’re printing WAY faster as well!  (Hooray for automation!)

We’ll have an announcement when the new printing site goes live, but if you’ve had something printed from us before, hit us up to get in early, eh?

We’ll leave you with this picture of our founder, Tim Doyle, emerging from our darkroom/ screen storage-

That ladies and gentlemen, is either artistic genius, or an undiagnosed condition. Either way, onward and upward!

-alex fugazi

(shit just got real)

PS- BIG thanks to everyone who helped get this together, from Satch Grimley for the tip-off on the equipment, Lee Lundin and the AJL crew for all their technical experience, Nathan Beach for all the web design he’s going to have to do, and the customers and artists who make this all possible.

We just got restocked on the previously sold-out Bad Cat Comics #1!

All previous orders have been shipped out last week, so you should be receiving it soon.

Special thanks to the ROBOT6 blog over at ComicBookResources.com who called Bad Cat Comics-

” Bad Cat Comics looks to be the most inventive comic of 2012…”

Come and get your copy RIGHT HERE!

Do you want your local comic book store to carry this book? Tell ‘em to give us an email and we’ll hook ‘em up!

-alex fugazi

IT’s a THING THING! No, we’re not going to explain this!

Fresh from the mind of AYEJAY! comes this hilarious nerd-tastic ringspun cotton t-shirt!

The sale window on this shirt will close on 1/31- at which point we’ll print them to order, plus a couple for safety’s sake, and that’s it!

So head on over to the T-SHIRT section of the Nakatomi store and pick one up HERE!

-alex fugazi

Clint Wilson is having his yearly tube sale, and THIS time around, he’s bringing the HEAT!

Not only is Clint practically giving away prints at $50 for a tube of 5 prints, but EVERY tube sold will have one amazing print from his personal collection!

What’s IN SAID COLLECTION, you ask?

You know, stuff like THIS-

Clint has been working in print shops off and on for years now, and back before he helped start the Nakatomi Print Lab, he worked at the local shop- Obsolete printing. AND, while there, he managed to amass quite the collection of oddities, rarities, and things like printer’s proofs and test sheets!  Not to mention his straight up personal collection he’s throwing in!  Back in ’08, Obey/Giant sent a big-ass stack of these HOPE prints to Obsolete to paste up around Austin, and as a thank-you to the staff, the story goes, Shepard allowed the people to keep a couple each for themselves!

Below is a pic of Clint pasting some of these up for proof!

(Clint is the taller, thinner, younger guy on the right)

So, you might say, this poster is obviously an insane deal, (seriously, have you seen the aftermarket prices on these things?)  but what else you throwing in there, guys?

Here’s a few pics of what was just on top of this particular stack of goodness!

I asked Clint to give us a quickie run down of what artists’ prints he had off the top of his head, and this is what he came back with-

A couple different Fairey pieces, including the HOPE print,  Some Aaron Horkey prints, Brad Klausen Tron Alamo poster, Olly Moss test sheets,  some Jad Fair, Luke Cheuh, Daniel Johnston, several David Flores, Evan B. Harris, Buff Monster, Dalek, Jay Ryan, Kevin Tong, Jon Smith, Dan Grzeca, Anville’s Delorean on Foil, Dave Kinsey, some different Jermaine Rogers prints, Michael Sieben, 2 Cent, etc…

Keep in mind, this is just the TOP of the stack. He’s got 250 of these to give away, and one is going in EVERY tube ordered through this tube sale!

We will have 250 tubes. Each tube will contain 5 posters total.  One of them will be from the ‘special’ stack of awesome. The other 4 will be prints by Clint, from way back when he first started printing to whatever he did last year!

ON SALE INFO-

These will go up between NOON and 12:30 CST on the Nakatomi site in the CLINT WILSON section of the store tomorrow (as this is being written), Tuesday the 24th.  We will post a direct link here when it goes live, but the fastest way to find out is on TWITTER. (follow us, dummy!)

THINGS YOU NEED TO KNOW-

-You can order as many tubes as you’d like.  If you order more than 1 though, we might not be able to avoid giving you duplicates.  We will do our best, though.

-You can only order one tube PER order. That means if you want 2, you’d have to go through the system and place a new order. Because we only charge shipping once per order, ($8.99 US, $14.99 Canada, $19.99 World) for posters, that’s what it costs us to ship to you. If you ordered 10 tubes and only paid $8.99 shipping, we’d get hosed. So order as many times as you like, but only one tube per order. Hope that was clear.

Okay, see you guys in the afternoon!

-alex fugazi

Hey gang! If you haven’t heard of Star Wars Uncut, then prepare to have your minds blown!  From the Youtube description-

“n 2009, Casey Pugh asked thousands of Internet users to remake “Star Wars: A New Hope” into a fan film, 15 seconds at a time. Contributors were allowed to recreate scenes from Star Wars however they wanted. Within just a few months SWU grew into a wild success. The creativity that poured into the project was unimaginable.

SWU has been featured in documentaries, news features and conferences around the world for its unique appeal. In 2010 we won a Primetime Emmy for Outstanding Creative Achievement In Interactive Media.

Finally, the crowd-sourced project has been stitched together and put online for your streaming pleasure. The “Director’s Cut” is a feature-length film that contains hand-picked scenes from the entire StarWarsUncut.com collection.

Many thanks to Aaron Valdez (video editor – http://www.aaronvaldez.com) and Bryan Pugh (sound design/mixing – http://www.pughtube.com) for the countless hours they put into this masterpiece.

We can’t thank everyone enough for making this such a special project.”

Jacob Borshard’s 15 second FULLY ANIMATED bit starts at 14:02, and it’s a special subtitled take on what the local droids think of ‘Old Ben Kenobi!’  (pictured below)

Heck, for fun, he even created this fake poster for ‘film’ of what the Jawa captured droids were up to that day!

Congrats to Jacob for being included, and congrats to the entire crazy beautiful production!

-alex fugazi

Nakatomi is VERY proud to announce the release of artist Russ Moore’s first new print for us- “The Hero’s Triumph”!

This print will be available today (THURSDAY 1/12/12) sometime between 2 and 2:30 pm CST.  Keep an eye on our TWITTER feed for when it drops!

Russ just moved to Austin a few months back, and we were happy to help him with a print job he had for his site- http://greatunknown.bigcartel.com/ , and after meeting, we were very interested in working together- and this is the result!

Detail photo of the actual print below!

“The Hero’s Triumph” is a tribute to the greatest video game series ever made! This print measures 18×24 is 4 colors, and is signed and numbered in an edition of 100.  And not just signed, Russ inscribes all of his prints with the title, as pictured here-

This print is in hand, and ready to ship- no waiting here! This print will be available at the drop time in the ART PRINTS section of the Nakatomi store HERE.

DIRECT LINK TO PURCHASE- http://store.nakatomiinc.com/theherostriumph-artprintbyrussmoore.aspx

Stay sharp!

-alex fugazi

Here at Nakatomi, we get emails pretty regularly asking us if we allow local in-store pick up.  Well- the problem is we have NO STORE!  We run out of a front room and garage in Tim Doyle’s house.  (For now at least, big announcement on that soon.) 

But what we do have is a few retail outlets that carry our prints, (along with some long sold-out prints) here in Austin and abroad!  A lot of these places we stock up, and they sell inventory slightly slower than our own site, so they’ll have prints long after we’re sold out at times!  Make sure you call ‘em before you head out!

Here’s a quick list- if we forget someone, please email us and we’ll add you in!

In Austin-

Parts and Labour/ Shark Attack- 1117 S. Congress. Website- http://partsandlabour.blogspot.com/ 

Not only does Parts and Labour carry a TON of prints and stickers and comics by Doyle, but also a large selection of prints by Clint Wilson, Jacob Borshard, and several other local artists as well! 

Austin Books and Comics- 5002 N. Lamar. Website- http://www.austinbooks.com/

They have a small rack of prints by the back issues full of Tim Doyle prints, along with a regularly-rotating nerd-art gallery in the back!  Also- they have a small selection of the Hot ‘N Nerdy film festival prints that they commissioned and we sold out of months back!

Blue Genie OASIS- (Pictured Above) 6550 Comanche Trail Ste 203, Austin, TX 78732.  Website- http://bluegenieoasistexas.com/about/

By far the biggest display and selection of Nakatomi prints here in Austin, but also in the most beautiful location! The Oasis is a crazy-restaurant/shopping area in Northwest Austin, overlooking a beautiful cliff and lakeview with stunning sunsets!  Head out there, chow down, and pick up some prints!  These are the same guys who put on the crazy annual X-mas Bazaar we participate in!

Poster Cabaret- 900 E. 6th Street, Suite #103.  Website- http://postercabaret.com/

Poster Cabaret’s Austin location is a staggering array of prints and original art that has to be seen to be believed!  I have never seen that much art in one location, even including a FLATSTOCK convention!  I don’t think they’re open all week, but shoot them an email or swing on by if you’re downtown during the day! They have a large selection of Doyle prints that can also be found on their excellent website- merely a drop in their giant collection!

In Houston-

Space Montrose- 2608 Dunlavy St, Houston TX. 77006   Website- http://www.whosinspace.com/

This newish shop in Houston reached out to us, and it’s been a great relationship so far!  While we’ve yet to actually visit, they sure do seem to sell a lot of our stuff, so swing out and tell ‘em we said ‘Hi!’

Outside the US-

Paris, France- French Paper Art Club- 14, rue Deguerry 75011 Paris, France  Website- www.frenchpaperartclub.com

This gallery carries a good selection of movie prints and 12×24 art prints by Tim Doyle! 

London, England-Flood Gallery- 8 Greenwich Market London SE10 9HZ.  Website- http://thefloodgallery.com/

This rocking new gallery has a fine selection of movie prints and 12×24 art prints by Doyle!  Can’t wait to work with these guys some more.

Japan- SOON!  A new gallery is opening up in Japan this Spring and they currently have a large collection of Tim Doyle and Clint Wilson prints ready to roll!  We’ll keep you updated.

KEEP IN MIND-

This is just the galleries and shops that have brick and mortar stores, there’s also a long list of webstores that carry our prints as well- we’ll list them in a post soon!  Most of these shops also do have a website you can shop at as well. We highly suggest before you make the trek to any of these places you give them a buzz before you head on over to check inventory! 

WANT TO BE ON THIS LIST?

Have a brick and mortar store?  Shoot us an email through the contact form and we’ll get back to you with info regarding wholesale pricing.