Now I pride myself on my artistic independence but working with Philip never felt like a business arrangement, it really was a collaboration and it shows in my best work for the band. He was a creative himself with a great eye who could read the flimsiest of my sketches and see other possibilities in my work that I was not even aware of myself.Īt his prompting, I used the first two letters, the T+H of ‘The Rocker’ as my guide and it all flowed from there. This was typical Philip and typical of our collaborations. Philip had run ‘The Rocker’ poster by Frank Murray who loved it but, Frank told me later, Philip had spotted a new letterstyle of mine on the poster that he liked a lot and asked me to develop it. ‘Jim, I love that silvery logo but would you do me a favour? Can you scribble off a rough of that lettering for ‘The Rocker’ and see if you can make it into a Thin Lizzy logo’. Then out of the blue, I got a call from Philip, I lived in Dublin and Philip in London. This was the variant I used for the ‘The Rocker’ poster and Philip loved it too so I went to work on it straightening the top line so the logo was more regular and adaptable. The next Thin Lizzy logo was accidentally a better version of the first which I redesigned just for fun, designing it to be more balanced and centered. I even added more flashy Cadillac wings too. The very first logo I did for Thin Lizzy, for their new ‘Vagabonds of the Western World’ album was directly based on the Cadillac style logo Tim had created and this was followed by another adaptation making it stronger, on Philip’s instructions. He name-checked the cover art I had produced for Tara Telephone for their publications, ‘Capella’, a little book of new poetry, and the poetry broadsheet we produced called ‘The Book of Invasions’. What I really appreciated was the fact that Philip, being the perfectionist he was, had really done his research on my art and reeled off to me a good number of my published artworks that he had checked out with Peter Fallon and Eamonn Carr of ‘Tara Telephone’.įrom poet Eamonn Carr, of the only Irish beat group, ‘Tara Telephone’ and later the drummer for Horslips, Philip was aware of my two poster poems for Peter and Eamonn, published in a limited edition back then, and loved them. I was asked by Philip to work with his band, Thin Lizzy, but that was not what amazed and delighted me most. The late Frank Murray, the Thin Lizzy manager, then flew over from London to Dublin with Philip to meet me in Neary’s Pub and get me on board. Strangely Strange’ and had just signed to Chris Blackwell’s Island Records so Tim was unavailable. The very first Thin Lizzy logo was in fact designed by fellow artist and musician Tim Booth, also a close friend of Philip in the early days. I was out of college and worked in advertising where they were called ‘Nameplates’, the rather grander ‘Logotype’ came later when I moved to a very creative ad agency full of knowledgeable designers and commercial artists. ▫ Should be ironed by reversed, to make it last longer.From the very start of my career, I was designing logos, long before I even knew the meaning of the word. ▫ Wash at 30 degrees celcius (86 fahrenhayt). Men (Unisex) Regular MoldĤXLarge: Chest 66cm / Height 80cm Women Regular Mold USA customers are recommended to choose one size larger. Length is measured from shoulder seam to the bottom of the shirt. Chest width is measured from armpit to armpit. Size Chart (Sizes are based on European mold)īuyers need to fix their size correctly before make a payment. ▫ If you are not sure about your body, you can decide by measuring the height and chest of a t-shirt that fits you. ▫ We use ecological paint that does not threaten human health in our fabrics and prints. ▫ Our products are made from high quality %100 cotton (180g/m2) fabric. Thin Lizzy T-Shirt, Thin Lizzy Logo White T-Shirt, Heavy Metal Merchandise If you wish to have it with printed on double side, please >ADD THIS OPTION<< (costs extra 6 Euro).
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