Thursday, August 16, 2012

Rigor Mortis Printing Co. Screenprint Till They Drop - Dallas Observer (blog)

Daniel Rodrigue
Richard Reed (left) and Jonathon Kimbrell
Four box fans buzz away inside Napkin Art Studios as Jonathon Kimbrell screenprints a batch of business cards for Rigor Mortis Printing Co., a new venture he launched with Richard Reed in May. The motto etched into the card's skull logo ("Print to the death!") seems fitting for a company operating out of an 1,000-square-foot garage, but one advantage to printing in 100-plus-degree heat is that the eco-friendly, water-based media Kimbrell and Reed work with dries in an instant.

As Kimbrell methodically prints sheet after sheet in the studio, which is sandwiched between Dowdy Studios and Dallas Lampworking on Garland Road, just behind Goodfriend and Good 2 Go Taco, it's impossible not to notice the wall behind his workstation. It's covered with dozens of colorful limited-edition, hand-printed posters, prints and cards of various shape and size for The Polyphonic Spree, Old 97's and Sarah Jaffe, and touring acts ranging from The Sounds to White Denim to Pink Martini.

Kimbrell's work owes a huge debt to pop art and culture. He cites Andy Warhol, Robert Rauschenberg, Roy Lichtenstein, Ed Ruscha and Tom Wesselmann as his primary influences, but it's easier to spot the influence of music, film, classic comic books, vintage pin-ups and mid-century advertising and design on his work.

Dallas may not know Kimbrell or his Napkin Art Studios by name yet, but there's a good chance one of his hand-printed designs caught your eye in a storefront, record store or theater marquee, not to mention the 3-D billboards he designed for Good Records. Remember the ones with the Hank Williams "confounded cat hair" lyric?

For the past two years, Napkin Art has cranked out screenprinted posters for Record Store Day at Good Records, as well as posters for Granada Theater, for acts as diverse as Sleigh Bells, Carolina Chocolate Drops and the Ian Moore Band. Texas Theatre's lobby currently stocks a few of the limited-edition prints Napkin Art produced for special screenings of Fist Full of Dollars, Carrie and 8 1/2.

Because the requests kept rolling in faster than his one-man operation could crank out, and because he wanted to keep Napkin Art separate from his other work, Kimbrell and Reed teamed up to found Rigor Mortis Printing Co. earlier this year.

Daniel Rodrigue
"We just joined forces," Kimbrell says. "Equal partners. Equal owners."

Together, the two specialize in T-shirts, posters, album sleeves, patches and pretty much anything a band, promoter or other musical entity wants designed or printed.

"Yes," Reed jokes. "Even panties."

"The Rigor Mortis stuff is already booming," Kimbrell says just three months after launching. "Plus, I have some new Napkin Art paintings in the works, as well as some commissioned works. It's been, and is going to be, a busy summer."

Kimbrell moved to Dallas from West Texas in 2004. He held a day job until June 2010, but now he's a self-described "full-time artist." After that first year, Kimbrell says he discovered how bare and brutal Texas summers could really be for an artist. "The ship was pretty close to capsizing, but there was no turning back," he says. "I had to figure out how to keep things going. And I definitely have to thank Chris Penn and the Old 97's."

Penn turned the Old 97's on to Napkin Art. The band needed 300 gig posters in a hurry for a spring tour with Teddy Thompson. Kimbrell delivered, and the Old 97's liked the print enough to commission 200 more for the band's "Midsummer Nights 2011 Tour" with Sarah Jaffe.

"Music is the biggest part of all of this," he says, looking around his studio. "It makes up probably 90 percent of what I do." He's been collecting vinyl for more than a decade, quite heavily in the past three years. Kimbrell regularly posts album art and tracks to his blog-turned-Tumblr, Classic Waxxx. He's the kind of collector who occasionally buys an album he already has, which just means "classic staples" by the likes of Paul Butterfield or Bo Diddley end up as studio copies. Which brings the story back to Good Records.

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