I just added prints alongside ticket stubs for the Phish Mansfield run! Inspired by the song Scent of a Mule. The original painting was ink, watercolor, and gouache paint. Prints are 11×14, signed and numbered, and limited to an edition of 100. Tickets are based on PTBMs, and the barcode links to the setlist on Phish.net!
I’m happy to present my ticket design and print for Phish’s 3-night run at Deer Creek in Noblesville, Indiana. They are now available in my shop: joseeen.etsy.com. I’m currently working on setlist art, and hope to have all the Spring shows available in a week! A portion of ticket and setlist art sales will be donated to the Mockingbird Foundation. This summer, I am also participating in Phish.net’s Conditional Pledge, donating fifty dollars if they play the song(s) referenced in my art for each run!
Prints are 11×14, signed, and limited to an edition of 100. Ticket stubs include a postcard version, as well as other surprises!
I am happy to share the first of many tickets and prints I have created for Phish’s 2022 summer tour! I had decided early this year that I wanted to create ticket stubs due to tickets going digital for most shows. This was upsetting to many people (myself included) who collected ticket stubs, especially the Phish Tickets By Mail (PTBM) stubs, which always featured amazing artwork.
I had previously created tickets for the April MSG Run, but it was a last-minute creation, based on the poster I had created. For the summer artwork, the tickets were the focus of the composition of the images. I originally planned to make available an uncut sheet version of the tickets, but later opted to create 11×14 prints using the artwork.
Tickets and prints are now available in my shop! I plan to continue creating setlist art as well!
You can feel good about an MSG run, especially in April! I just finished these setlists up. For the headers, I used my ticket stub designs, which are also available in my shop. Scan the barcode to link to the setlist on phish.net! I plan to create stubs for summer tour as well!
I’m excited to present my print for Phish’s 4-day April run at Madison Square Garden in NYC. Continuing in the style of the New Yorker covers, this print was based on the March 13th, 1978 cover, originally painted by Saul Steinberg. I recreated some elements of the original while altering others and included a few song references.
A small amount is available in my shop, and the rest will be available on 4/22 at the NYC PhanArt show at the Stewart Hotel
All the images were originally small gouache paintings which were then scanned and digitally arranged to create the final poster.
I was unsure if I wanted to base my poster on a New Yorker cover as I had done with the initial New Years’ MSG poster for the canceled NYE shows. I was getting many messages about it and eventually chose to humor the thought. I looked at hundreds of different covers trying to find something that would interest me and eventually came across one of Saul Steinberg’s covers. I found a grittiness in his work that encapsulates the feeling of New York City. I also enjoyed how it’s the polar opposite of my NYE poster.
The print measures 12×18 and is printed on 100 lb gloss cover paper, printed by Fireball Printing in Philadelphia. Each print is signed and numbered and limited to an edition of 200. Each print ships with bonus stickers, postcards, or prints added to each order. A portion from each print will be donated to Mockingbird Foundation.
Since tickets this year are digital, I decided to create some ticket stubs for the shows! A lot of people collect stubs, especially the Phish PTBM tickets, which contain amazing art. I based the tickets on the PTBM dimensions and even included a barcode that actually scans, and directs you to that night’s setlist via phish.net! At the moment these will only be available at the PhanArt show on 4/22, but I hope to get more made and available in my shop after the MSG run.
First Setlist art of the year! I’m excited to be at it again, with some small changes and new artwork! I’ll be making these prints available as a set of four 8.5 x 11 prints. You can purchase prints here: Phish Riviera Maya 2022
This show featured two bustouts: Peaches en Regalia, which was performed for the first time since July 22, 2017 (138 shows), and The Maker, which was performed for the first time since October 15, 1994 (997 shows). So Damn Lucky also made its Phish debut at this show. Tweezer contained Freddie’s Dead teases from Trey and The Lizards teases from Trey and Page. Trey teased Tweezer in Soul Planet and Tube. Trey teased Smoke on the Water in Meat. The encore featured Dave Matthews on guitar and vocals.
This show contained the Phish debut of (I Can’t Get No) Satisfaction, albeit a partial version containing only the first verse and chorus. The unfinished Down with Disease’s lyrics were changed to reference “sand” and “beach.” Trey teased Wading in the Velvet Sea in Antelope.
Axilla contained the Axilla II ending. Trey teased the theme from Speed Racer in Twist. Trey asked Chris Kuroda to turn off the lights during the pause in Divided Sky, and said “don’t shine that thing in my face.” Sleeping Monkey was dedicated to their hosts and the beautiful beings that welcomed Phish to their home and contained a Shipwreck quote.
Fat Man in the Bathtub was performed for the first time since December 30, 2010 (386 shows). After Weekapaug, Trey quoted a line from Silence of the Lambs and Page added a Shipwreck quote. My Friend My Friend did not contain the “Myfe” ending. Trey teased on Broadway in Melt. Trey teased San-Ho-Zay and Third Stone From the Sun in NMINML.
I am ecstatic to share my print for the Phish New Year’s Run at Madison Square Garden in NYC! This print is 12×18, printed on 100lb glossy cover paper. Prints are signed and limited to an edition of 200. Inspired by the New Yorker magazine, I sought to capture the sights outside MSG during the new year’s runs, often firsthand! I also included over 30 song references throughout the print. This print was comprised of over a dozen small gouache paintings, which were then scanned and digitally arranged.
The print is directly inspired by the May 25th, 1940 cover of the New Yorker, painted by Joseph Low, who created many covers from 1940-1980. While I did not initially plan to do a New Yorker cover, it was Low’s style for this painting that spoke to me. It felt familiar, but I knew I hadn’t seen this image before. I saw the possibilities of creating song references in this style, and went for it!
My biggest challenge in creating the painting was the lack of outlines. I’m fond of using outlines in my work, so this required rethinking my process. I would sketch up an image, darken the lines, and place it on a light table. I then placed a watercolor paper on top of it and would paint an image without lines! As I became familiar with Low’s style, I began painting without sketching first, and my painting started to get smaller. It felt very natural, and while researching more of Joseph Low’s work, I suddenly knew why.
I first came across the October 22nd, 1942 cover some time in elementary school. It may have been an issue of Scholastic Arts magazine or a framed cover in the library, but it was an image ingrained in my brain. I remember trying to replicate the style with markers, but never quite got it. I eventually moved on to other things, but that cover really stuck with me. Who would’ve thought I would rediscover these covers years later!
So, the reaction to my print was mind-blowing! I posted a picture of it when I got my test prints and was bombarded about how to get one. I decided to do a preorder of 50 prints which sold out instantly! My general on sale sold out within hours, so at the moment it is not available in my shop. I will have the remaining prints in the edition available at the PhanArt show at the Stewart Hotel on 12/30 during the New Years Run. I will have a small amount of Artist and Test proofs in my shop in early January. I will also have a surprise print that will be only available at PhanArt!