Audubon Reimagined by a Creations of West Hartford Artist Don Carter – http://www.we
October 10, 2017 - Finding Carter
Meet West Hartford proprietor and Creative Director Don Carter, who is also famous as a artist, Edgar Allan Slothman.
(Editor’s note, this was creatively published in We-Ha/West Hartford Magazine.)
Interviewed and edited by Jill Fletcher
West Hartford Magazine: Tell us about Audubon 2.0 and how that came about.
Don Carter: My grandfather gave me my initial bird margin beam when we was 5 years aged and we have been sketch and portrayal birds ever since. Throughout high school, art category assignments were somehow always solved with a bird. No, we was not one of a cold kids … substantially for that unequivocally reason. As we got comparison and we focused on my promotion career, we took a unequivocally prolonged interregnum from formulating any swift theme matter. It wasn’t until 2012 that we started to get behind into birds. Audubon’s work always tender me from an ornithological standpoint. But as we got into serve study his Birds of America, we satisfied how striking his compositions were. we had also grown an appreciation for cocktail art — so we started to consider about how to mix a two.
For each print, we demeanour for ways to mangle it down in some way. Often it is with geometric simplification or repeat patterns. For some, we emanate an wholly new tone palette pulling over from a strange as distant as we can go. But in all, we stay unequivocally tighten to Audubon’s strange combination – a core of these extraordinary ornithological visible stories.
I have finished 90 Audubon reinterpretations out of 435. My life idea is to finish all of them and hopefully get them published as a book. Several of them have already been published on drink cans and bottles for Collective Arts Brewing in Ontario.
WHM: Obviously we get a lot of compensation out of your art. How does that review to your some-more blurb work as an ad group artistic director?
DC: After 30 and years as an art and artistic director, yes, we have a lot of work that I’m unapproachable of from a pattern or art sense. But we consider what we get a many personal compensation from is when a work has some kind of discernible outcome on someone. At Mintz Hoke (Avon), we worked on an American Cancer Society skin cancer recognition debate that was credited for saving during slightest one man’s life that we know of. And during Adams Knight (Avon), we work on a Hartford Healthcare comment with copywriter, Pat Dugan (also a West Hartford resident). Pat and we worked a billboard that had a identical outcome – removing people to not put off carrying a colonoscopy – and several cancers were found that if left violent would have been deadly. We’ll take that over any endowment board or statue any day!
WHM: But your work has been awarded as well.
DC: I’ve won many, many awards for art instruction in a promotion and pattern business … local, regional, national, international. A lot of awards from a Connecticut Advertising Club including many tip awards like Best of Show and Gold Brush (for art direction). And this year, I’m quite unapproachable of being inducted into a Connecticut Art Directors Hall of Fame.
WHM: How do we keep your careers apart and how do they overlap?
DC: we total a pseudonym, Edgar Allan Slothman to do accurately that – to have a apart temperament not compared with my some-more blurb work as an artist … Creative Director during Adams Knight in Avon, as good as my other outward projects like illustrating children’s books and formulating children’s TV shorts for Disney. But as we get some-more open bearing I’m anticipating it harder to apart a dual completely. My colleagues during Adams Knight are unequivocally understanding of my Audubon work generally by amicable media. I’m always pity prints with coworkers and even clients. So it’s not unequivocally dual apart personalities … it’s only me, signing my work dual opposite ways. People ask me where a name came from. Obviously Edgar Allan Poe played a purpose in it … to supplement an atmosphere of mystery. And a Slothman comes from a adore of sloths and wanting to not be so stuffy. My friends know that we have an peculiar clarity of humor. So we unequivocally wanted a name to simulate that. Oh, and Edgar Allan Slothman is most some-more Google-friendly than Don Carter so my work is most easier to find online contra Don Carter, a late famous bowler and his bowling alleys.
WHM: What other art projects have we finished outward of your career as a artistic director?
DC: I’ve finished some portrayal – mostly epitome impressionism total with characters, animals or words. Right now we have several paintings in a gallery in China. And afterwards there are my children’s books. Many West Hartford residents might be informed with that work, my carrying given many talks during Duffy School and a Noah Webster Library when my children, Phoebe (yes, a bird name) and Grayson were younger. After carrying 7 books published, we attempted my palm during formulating children’s television. we pitched a lot of ideas with a lot of people. One of them ensuing in dual array of shorts for what was afterwards called Playhouse Disney. Those were Happy Monster Band and Dance-A-Lot-Robot. Being a large song fan, D-A-L- Robot was generally fun for me – removing Mark Mothersbaugh of Devo to do a songs.
WHM: What recommendation would we like to share with determined artists?
DC: An promotion mentor, Joe Hoke, once told me “Don’t get stranded in a middle. Pick a instruction and go all a approach with it. Not halfway. ALL a way.” And that’s customarily a easiest approach to spin a something into something special – something that stands out from a pack.
Prints of a Audubon 2.0 collection by Don Carter aka Edgar Allan Slothman, are available to squeeze with tradition framing during Frame Dimensions in West Hartford Center, 995 Farmington Ave. To see a whole collection greatfully visit: www.cargocollective.com/slothman