"I didn't mean to call you a meat loaf, Jack!" - David Kessler

There hasn't been many "alternative" posters created for An American Werewolf in London. I think that was what initially drew me in wanting to create something for it for the Mondo fam. I'm usually drawn towards posters that dont have too many pre-existing pieces of print work under their belt. It means the subject matter hasnt been played out and/or over saturated. I see this all the time with a handful of properties and I'll say; thats a huge reason behind why I dont tackle some really popular titles.

I knew of Ken Taylors beautiful subway poster as well as Olly Moss' effectively awesome and simple, almost 1970's-european-onesheet-tribute-zeitgeist poster. It was so freeing to feel limitless to tackle pretty much anything from this film that I wanted to...seeing as such little amount of art existed.
I ultimately decided to focus on Piccadilly Circus - a revered landmark in downtown London. I wanted to more or less capture a wet, rainy classic London setting (is there any other?) and let the location do most of the work.

I love the look of the Shaftesbury Memorial Fountain and wanted to subtly illustrate the famous Rick Baker Werewolf into the fountain itself, so at first glance perhaps you dont even see it. Just some ornate aspect to the fountain. Originally my idea was to keep the wolf even more hideen and smaller in scale, then I hit the "fuck it" button. I also wanted the poster to sort of trick the eye into almost thinking its an 1800's period piece in its look and rendering of the fountain but then have the glow of tacky retro neon it firmly in the 80's.

The upward perspective of this piece was the most challenging. Architecture always is for me, especially when its not straight-on. Specifically speaking, recreating the lit up Phillips and FujiFilm signs with the correct perspective was tough but I think they turned out!

Originally the warm-toned version was the reg. Mr. Rob Jones at Mondo and I came to a decision of going with a more patriotic palette for the reg and the more reto, sun-bleached-black-brown color palette for the variant. I'm a sucker for warm tones and I really felt that while the cold palette of the reg was much more vibrant and fresh, the variant looked "of the era" the film was made.

Exclusively released for Texas Frightmare Weekend 2017
Remaining copies to be made available at near later date via MONDOTEES.COM

Regular Edition
24" x 36" Screenprint

Glow in The Dark Variant Edition
24" x 36"