Interview

Quebec City's summer music festival: Commemorative posters for the 50th edition

Fred Jourdain / Martin Parrot

On the Red Hot Chili Peppers in 2016, the festival also 50th anniversary. How did That happen?

In January of 2017, I was called in for a meeting with Louis Bellavance, the festival's line-up director. Two years earlier, he and I had a poster for the festival's 50th, but it did not go any further than that. However, after I produced the bass for Flea, in July of 2016, Louis convinced the board to give me the mandate to create something for the festival's 50th.

So I proposed a simple idea: let's not promote bands or the city's architecture or the festival's courses. Instead, let's create a collector's item, a souvenir for festival-goers, something artistic and simple. With a strong brand, you can create a sense of belonging. The festival has a personality, but it does not express itself visually through its posters and ads.

I had a pretty clear idea of ​​what I did not want but I knew I wanted something out of the ordinary. I wanted to mark the festival's history and it's mythical character. Louis liked my approach so I went in that direction. I drew a pile of sketches and went back to see him a few weeks later.

I had some promising leads but the ones I liked the most revolved around the concept of modernity and the past - a time that has come and gone but has not yet disappeared.

I wanted to evoke the historical nature of the Plains of Abraham and the massive shows that took place while at the same time adding to a funky vibe, as if a portal had opened up in between two eras.

How did you decide which concept to go with?

The festival is not about rock, blues, pop or world music. It offers a lot of different styles and it's a challenge to synthesize that into a single image. I did not want to draw something that would remind people of one band or one style.

I made lots of sketches using a bunch of ideas and went down several avenues. One of my concepts brought together three characters, the fate of musical deities if you will. I had an Art New inspiration for that illustration. After that, I play with the idea of ​​giants that comes from the past to the festival.

The creative process went well the board was not sure about my concepts so they asked me to make three posters, one for each of the festival's main internships. I was not sure about this new guideline, but it was working with a variety of concepts. I tried playing with some historical elements that could blend with the frenzy of the concerts.

One of the ideas I liked the Battle of the Plains of Abraham. I wanted to show a young and young people in the United States. Louis liked the concept but the board did not. By then, there were three weeks left before the beginning of the festival and I still had not gotten a green light to start drawing. That's when I gave them an ultimatum: I had to begin my final illustrations if we wanted to print them.

Ultimately, they decided to give me free rein and I took my ideas and finalized my illustrations. They ended up liking them and it was pretty unanimous. Two of my images were chosen and they became the face of the festival's 50th.

What were the two illustrations?

The first poster is a classic image of a musician, one that does not denote a particular style and that can blend in with any kind of music. It's a nice illustration and I played it safe with that one. I told myself that the board did not like that, - you know, the more psychedelic ones - then they'd approve this image. I even integrated the city's skyline and it worked out pretty well in the end!

The second illustration is a little more eccentric. Honestly, I took a risk and I did not think the board would like it. I called it "On the shoulders of Giants" and it reflects some of my original ideas. For example, how the vibe of the music awakens the past, and how these figures come from the past and enjoy the show. It turns out it was their favorite so I'm glad I went ahead and dared me to show it.

The festival is not going ahead with my third poster. It was more representative of musical styles that have always been present at the festival, like world music, jazz and blues. I liked it though, so I reworked it and kept it as part of my personal collection.

credits

Pictures: Anthony Jourdain, Catherine Côté, Fred Jourdain, Martin Poulin, Martin Côté

Translation from french: Peter Tardif

Share this

© Affranchi - The contents of this publication may not be reproduced without the author's consent


interview

Quebec City's summer music festival: Commemorative posters for the 50th edition

Fred Jourdain / Martin Parrot

On the Red Hot Chili Peppers in 2016, the festival also 50th anniversary. How did That happen?

In January of 2017, I was called in for a meeting with Louis Bellavance, the festival's line-up director. Two years earlier, he and I had a poster for the festival's 50th, but it did not go any further than that. However, after I produced the bass for Flea, in July of 2016, Louis convinced the board to give me the mandate to create something for the festival's 50th.


So I proposed a simple idea: let's not promote bands or the city's architecture or the festival's courses. Instead, let's create a collector's item, a souvenir for festival-goers, something artistic and simple. With a strong brand, you can create a sense of belonging. The festival has a personality, but it does not express itself visually through its posters and ads.

I had a pretty clear idea of ​​what I did not want but I knew I wanted something out of the ordinary. I wanted to mark the festival's history and it's mythical character. Louis liked my approach so I went in that direction. I drew a pile of sketches and went back to see him a few weeks later.


I had some promising leads but the ones I liked the most revolved around the concept of modernity and the past - a time that has come and gone but has not yet disappeared.

I wanted to evoke the historical nature of the Plains of Abraham and the massive shows that took place while at the same time adding to a funky vibe, as if a portal had opened up in between two eras.


How did you decide which concept to go with?

The festival is not about rock, blues, pop or world music. It offers a lot of different styles and it's a challenge to synthesize that into a single image. I did not want to draw something that would remind people of one band or one style.

I made lots of sketches using a bunch of ideas and went down several avenues. One of my concepts brought together three characters, the fate of musical deities if you will. I had an Art New inspiration for that illustration. After that, I play with the idea of ​​giants that comes from the past to the festival.

The creative process went well the board was not sure about my concepts so they asked me to make three posters, one for each of the festival's main internships. I was not sure about this new guideline, but it was working with a variety of concepts. I tried playing with some historical elements that could blend with the frenzy of the concerts.

One of the ideas I liked the Battle of the Plains of Abraham. I wanted to show a young and young people in the United States. Louis liked the concept but the board did not. By then, there were three weeks left before the beginning of the festival and I still had not gotten a green light to start drawing. That's when I gave them an ultimatum: I had to begin my final illustrations if we wanted to print them.


Ultimately, they decided to give me free rein and I took my ideas and finalized my illustrations.

They ended up liking them and it was pretty unanimous. Two of my images were chosen and they became the face of the festival's 50th.


What were the two illustrations?

The first poster is a classic image of a musician, one that does not denote a particular style and that can blend in with any kind of music. It's a nice illustration and I played it safe with that one. I told myself that the board did not like that, - you know, the more psychedelic ones - then they'd approve this image. I even integrated the city's skyline and it worked out pretty well in the end!


The second illustration is a little more eccentric. Honestly, I took a risk and I did not think the board would like it.

I called it "On the shoulders of Giants" and it reflects some of my original ideas. For example, how the vibe of the music awakens the past, and how these figures come from the past and enjoy the show. It turns out it was their favorite so I'm glad I went ahead and dared me to show it.


The festival is not going ahead with my third poster. It was more representative of musical styles that have always been present at the festival, like world music, jazz and blues. I liked it though, so I reworked it and kept it as part of my personal collection.

credits

Pictures: Anthony Jourdain, Catherine Côté, Fred Jourdain, Martin Poulin, Martin Côté

Translation from french: Peter Tardif

Share this

© Affranchi - The contents of this publication may not be reproduced without the author's consent