Award Winning Graphic Design with Dirk Fowler

Dirk Fowler's graphic design work has received national and international recognition. His work has been honored by The Society of Publication Directors, Type Director's Club, American Advertising Federation and the American Poster Institute. He has been profiled in feature articles for Texas Monthly, Texas Music Magazine and the Wall Street Journal. His letterpress posters have been featured in design periodicals, Communication Arts, STEP Inside Design, PRINT, NOVUM and numerous books including New Masters of Poster Design: Poster Design for the Next Century, The Art of Modern Rock and Swag 2: Rock Posters of the 90s and Beyond, for which he co-wrote the foreword. He has also exhibited in many group and solo shows in galleries and museums at the national and international level and has lectured nationally. He has curated multiple exhibitions including Graphic Content: Art of the New Music Poster and Contents Under Pressure: Art of the Contemporary Letterpress Poster. September 2023, Dirk will proudly be inducted into the West Texas Walk of Fame.

Transcript

Speaker 1 0:00

Welcome to you, I'm your host Hayden Browning. I'm here today with my wonderful guest, multi-award winning graphic designer and West Texas Walk of Fame inductee, Professor Dirk Fowler. How are you doing today? I'm doing great. Thank you. Wonder for everyone. What an honor to get inducted into West Texas Walk of Fame. How does that make you feel?

Speaker 0:31

Well, like you said, an honor. What an honor. I mean, it's it's really incredible just to be mentioned with the people already in the Walk of Fame, you know, people like obviously Buddy Hawley, Wayland Jennings, like to be included in a list like that, not to mention the the visual artists, you know, Paul Milosevic, Terry Allen, uh, these are these are heroes. And then to be alongside my former colleague Lynn Wood Krennick, uh, just amazing.

Speaker 1 1:00

You've done a lot of work for the school, and you've done a lot of work for other people. Do you prefer doing more work for the community of tech or do you prefer doing uh outside work for different corporations?

Speaker 1:15

Well, I think, you know, as a graphic designer, I mean, part of just what drives us is we like to make art that that pleases everyone, and you know, it serves a purpose. So I don't know that there's one necessarily that's more satisfying than the other. Um, I I really do prefer when I can be a do something that's a part of the community and helpful in in our local community. So, you know, if I really had to choose, I would say that. I I I don't do much corporate work anymore. Um, and it it it's it's a little more difficult. It's not maybe as satisfying as doing something to help your local community.

Speaker 1 1:53

Is it a little bit less creative? Do you have more of the uh the corporation's input coming in?

Speaker 1:59

Well, I mean sometimes they have you know more strict standards or their expectations are different, so maybe there's you know the the creative aspect isn't isn't what you want it to be, but I try to I try to you know bring my own uh uh creativeness into whatever it is I'm doing.

Speaker 1 2:19

Well you have a very I'd say from what all the art that I've looked at from you, you have a very prominent um expression through your art. I think if if someone can look at a poster by you and go, that's Professor Fowler.

Speaker 2:34

Yeah, you don't I don't I don't think the goal is to uh to create a style. I think that that just sort of happens over time. Once you you you find a groove and you find something that works for you, and uh you know the intent is not to, you know, not to start that way and create a style, it just happens, and yeah, if you can be recognized for a way that you work, uh people understand it, they maybe are more trusting, uh likely to trust you with their their job if if they already know kind of what you're how you're gonna approach it. I don't know if that made any sense. I I understand what you're saying.

Speaker 1 3:14

Do you have like a favorite poster that you you've done that you look back on and you're like that's the best work I've ever done?

Speaker 3:22

Well, I I I uh I usually say it's the one I'm working on right now. That's usually my favorite one, like the one I'm I'm kind of trying to solve a problem, and and so I really get into it, and then looking back on on some of the things in the past, you know, maybe you can see the the mistakes or like I wish I had approached that differently. Uh picking just one, I mean I've made uh a few hundred uh probably in the neighborhood of six or seven hundred posters at this point. So choosing just one is difficult. Um I will say that all that being said, uh the poster I made for Loretta Lynn is very special to me. Uh just the way that I kind of grew up listening to old country music and then getting the opportunity to do that poster. Plus, that one has received a lot of recognition, fortunately for me. Uh so that's maybe the one that people associate with me a little a little more than others. Um so yeah, I mean maybe maybe that's a favorite. I don't know.

Speaker 1 4:24

Maybe it's the one I'm working on right now. That's very similar to that. Uh I don't know if you follow Matthew McConaughey. Have you read his book at all? Uh I haven't. Uh in his book, he says, from 15 years from now, that's who I look up to. I thought that was very similar to what you were saying. Um I was gonna ask, uh, because my favorite, my favorite poster you've done was for the screening here at Lubbock for the tombstone. Yeah. Um do you have any like any idea about some some issues you might have ran into ever making posters that you felt like came out right at the end, but you had some trouble?

Speaker 5:03

Uh yeah, I every one I do starts out as trouble. You know, it's it it's always a challenge. Like, am I gonna be able to do it this time? Am I really gonna come up with a good idea? Like that's the there's this this fear, like, what if I can't come up with an idea? So I think that I like that actually. I kind of uh that helps me, uh keeps keeps things exciting for me. But you know, in the case of the tombstone poster, uh, you know, there are recognizable characters in that film. I I I knew I didn't want to make portraits of the the actors, but I wanted to capture something about them. So, you know, they're just in silhouette form, but if you've seen it, all of them together, the the main characters in the film, it makes a a skull. I thought that was a you know, who doesn't like skulls, right? So it's good iconography iconography and uh yeah, it worked out in the end. So I I don't know the how the process works. I mean it I do have a process, but like how you get to the end result is it's a winding road usually.

Speaker 1 6:10

Well I think that's most forms of art end up being kind of like that, you know what I mean?

Speaker 6:15

Yeah, I I would I think you know you you have a plan for sure, but you you know, the the path may change along the way.

Speaker 1 6:24

Do you feel like that's something that you enjoy the most about your job? Is like it's not narrow. It's more uh spectrum based on on how you get your work done.

Speaker 6:35

Yeah, I I mean I like I like rules to some extent, but I also like to break them. Like I I I I I don't want things to be so rigid that uh you know it it it doesn't allow for um that creative spark to happen.

Speaker 1 6:54

That leads me into like how did you go from small country growing up to this artistic mindset?

Speaker 7:02

You know, I I did grow up in a on a on a cotton farm, but I never thought about that restricting me in any sort of way. I I don't think that it it kept me from being creative or I don't even I don't know if it made me more creative. I think it was just that was the situation I had, and uh I when I was a little kid I just I loved to draw, so I just drew all the time. I just make drawings and uh luckily I had uh uh grandparents that encouraged that. They didn't see a problem with that, and they said, you know, okay, if that makes you happy, just keep doing it. Uh and eventually you if you love it and you're passionate about it and you just keep doing it, then you can turn it into something. Uh I don't know that there was a plan. Uh I just art was always my my go-to. I never had a a second uh, you know, like a fallback. Like if art doesn't work out, I'll do this. It was that was never an option. That was the only thing I'd ever thought about.

Speaker 1 8:06

So did you have this plan to become a graphic designer your whole life, or did you just kind of find yourself, hey, this might be what I want to do?

Speaker 8:15

I I think unless you were exposed to you know graphic design as a child, like you wouldn't you wouldn't think about that. I had no idea what that was. I didn't I didn't grow up with that plan. I just wanted to draw, I just wanted to make art. Uh you know, the the graphic design part of it came along later. Uh I learned maybe looking back on it that maybe I was always sort of destined to become a graphic designer because I liked, you know, I liked typography, or letters, you know. When I was a little kid, I I liked things that uh we use in graphic design. I just didn't know what it was at the time.

Speaker 1 8:58

Gotcha. Now that leads me into you do your graphic design work with printing press.

Speaker 9:05

Well, my posters for sure. Not I mean I do a lot of uh things, but uh yeah, I'm a letterpress printer. Um some screen prints, but most of my posters are letterpress.

Speaker 1 9:17

Is that grueling work? Is it is it a little more hands-on than sitting at a computer and editing art on a computer screen?

Speaker 9:25

I wouldn't say it's grueling. I mean, there's some tough jobs out there. I wouldn't I wouldn't think of it like that, but it it's it's absolutely more hands-on than you know, maybe a computer. I uh it it's physical, you know, I'm actually printing, I'm in control of the whole process. So I you know, I like that that making part of it.

Speaker 1 9:47

Your studio is called F2 Design, because I was very curious. Uh did you grow that from the start or did you come into that later? How did that go?

Speaker 9:55

So my wife's a graphic designer as well. Uh F2 Design is just a really clever, clever name. Two Fowlers, there's two of us, so we shortened it to F2, which is also a small tornado, by the way, an F2 size tornado. Um I don't know if there's such a thing as a small tornado. Uh but that's that's uh yeah, that's the name of our studio. Um she's a full-time graphic designer and and we do all sorts of design through that through that studio.

Speaker 1 10:22

That's awesome. I never, you know, there has to be a little bit of friction that comes with working with your uh co-partnered individual, is there not?

Speaker 10:31

No, not if not if you just understand that she's always right. Oh that's the right thinking. No friction. That's the right thinking. Um we have a really good uh I think we have a a great working relationship. We're great at bouncing ideas off each other. I mean, there's no there's no designer that I respect more than more than her. That's amazing. That's an awesome partnership.

Speaker 1 10:56

Um well speaking of your family, uh, I was I was curious as if uh besides your your wife and your other son who is uh tattoo artist, is there anyone in your life in your family that you've impacted with your art?

Speaker 11:14

Well, I mean I I have three kids and I think they're all the they're the most creative people I've ever been around. Uh you know, they've amazed me, they've kept me inspired uh throughout their lives. I I I get more inspiration from them than I think I inspire them, them. Uh, you know, my oldest son is a he works at a screen printing shop. Uh like you said, I've got one son who's a tattoo artist, and then I don't know what my daughter is gonna decide to do, but she's ex very creative. She's into theater, she's been in a lot of plays. Uh so I I just feel like I get more inspiration from them. That's brilliant. That's awesome.

Speaker 1 11:58

I I really like that. Uh my uh my dad has said that something similar to that along the lines to to me as well. I think that's something that most people that are adults can really look at is just yeah, they can learn from younger people just as much as younger people can learn from them.

Speaker 12:14

Oh I think I think yes, way more sometimes. I mean I uh of course you want to you want to do well and and and uh inspire your your children, but uh I don't know if I've ever been good at that. They they do it so much better.

Speaker 1 12:32

I think I think you might inspire them just in ways that you might not imagine. Yeah. I'm sure you're right. They might say differently. So we're gonna do a segment real quick called what was that? Okay. So I'm gonna ask you. Oh, yeah. I'm gonna throw everything at you. By everything I mean every description I can possibly think of about one of your posters. Alright.

Speaker 12:59

Is this a timed event or anything?

Speaker 1 13:02

I'm gonna give you uh several descriptions, okay, and I'm gonna stop, and then that's I'm gonna just one at a time, one at a time. What am I supposed to do here? You're supposed to guess the name of the poster. Oh, very good. Thank you. Um there's a paintbrush dripping down over a guitar.

Speaker 13:24

Uh this would be uh a poster I did for the Amarillo uh Amarillo Museum of Art. What's the name of it? Oh, that I could never remember that. Uh uh An evening with the arts or something like that. That's actually really close.

Speaker 1 13:41

That's actually really close. Uh Art After Dark.

Speaker 13:43

Art After Dark. I remember who it was for.

Speaker 1 13:45

Yeah, that you did perfect. Um alright. Uh okay. Right here. There's a woman. And her hair is up. But her ponytail comes down. She's blonde. There's a heart.

Speaker 14:11

I think there's a heart on everything in the hair tie. Okay. Uh this may be this sounds like a poster for no doubt. That's exactly what it is. Oh, good.

Speaker 1 14:26

Well, that was it. Yeah, that was it. That was the segment. How'd I do? You you got a 100. Oh, good. Excellent. That's the first. When you were just a newbie, a newbie to graphic design, could you see yourself getting better and better as you were going on? And did it hit a point to where you felt like you weren't necessarily getting any better and you had to like persevere past that point?

Speaker 14:53

Interesting. Uh I mean, I I think you, you know, I could feel, I could tell at some point, yeah, this is I'm getting more comfortable with a with a process and like how maybe how to interact with clients or how you know what the expectations are of problem solving. So maybe getting a little more comfortable with it as far as like the idea or the feeling of you know mastering something. No, but I I don't still don't have that. Um because every single let's let's just talk about if it's just concert posters. Every single concert is different, every band is different, every genre of music, every sound is different. So I'd never have the exact same problem to solve twice. It's constantly changing. Everyone's different. I approach it in different in a different way. I may have a little bit of a, you know, a little bit of a system, but I I'm still I still don't have any sense of like, oh, I I got this. Like, right, you know, so yeah, at some point I I knew that I was gaining confidence and I felt more comfortable with the tools that I'm using and and how to go about it, but uh the rest of it is just you you never know.

Speaker 1 16:16

Well, on the opposite side, have you ever had any experience where you've been doing a poster and then all of a sudden you can't think of what you want to put there or how this should look, and then you just go, I know it.

Speaker 16:29

I think that's the way that happens every time, really. To some extent. I mean, I I I never go into anything, you know. I I I don't, oh, I I wanna I want to draw a chicken. Like I'm just gonna make a chicken for this poster. The chicken just happens if if you know, maybe accidentally or in the in the process. I don't know why I said chicken, by the way, but uh it it's not chicken. It could be, you know, it's it's just uh like I said, every every problem is different.

Speaker 1 17:02

That's that's really interesting. Is there any way that like you might interpret that something throughout your day might have an impact on you understanding that one realization?

Speaker 17:14

Uh yeah, I mean, you know, sometimes the the answer comes to you in unexpected, you know, ways or moments. Usually I I just try to, you know, back to kind of like how do you get through that creative block. I think maybe that's kind of what you were asking me about. Um, you know, I try to do that with a sketch pad and a pencil and just you know keep sketching or drawing until I kind of get past that, and then maybe you can't, and so you close the sketchbook and you go for a ride on your bike, or uh you take a walk, and then while you're doing that, it it just oh, I got it. The answer just came out of nowhere, but it really didn't come out of nowhere, it came from what you were doing earlier with the sketchbook and and drawing, you just didn't know it at the time. Does that make sense? That makes perfect sense. I've I've had something very similar. Yeah, um you have to be open to kind of realizing when that happens though, and not just you know some people, you know, I I know a lot of younger designers that they think if it happened accidentally, it wasn't really their idea. You know, they didn't they didn't think of it. If it if it happened, you know, well, I didn't really that just happened by accident. Well, that's great. Like that those are the best the best ideas, the ones that you don't, you know, that just happened, then you're willing to see it and stop and and go for it.

Speaker 1 18:41

Well, has that ever made like a bigger impact on the end result of your poster for you personally, from your eye?

Speaker 18:48

Yeah, I mean I think that um you know again, you you just know when it's I mean you I just know when it's works, when it's gonna work, and when it's when it's good, and you just have to be willing to see that.

Speaker 1 19:01

How long did it take you to develop this eye for what is good versus what is bad?

Speaker 19:08

Uh I guess I've been doing it for almost 30 years, so I guess 30 years. Like I think it's uh I don't know that there was like a magic, you know, oh after five years I've got it. You know, I don't I don't know that I can pinpoint anything like that. I think I I probably did about 10 years worth of uh, you know, it it probably took me at least 10 years before I started feeling pretty confident with what I was doing.

Speaker 1 19:37

Ten years.

Speaker 19:38

It's not that long.

Speaker 1 19:39

They they tell they tell you though, you gotta fail to succeed. Oh yeah, yeah, that's what they say. How many how many classes do you teach?

Speaker 19:47

So uh this semester I I'm teaching a class called Design in the Community. Um, and that's kind of a team-based, project-based class. Uh we work with real clients from uh the community. Uh the teams is kind of competitive. Each team is working to try to, you know, solve that client's problem and get approval for for an actual design job. Uh and then I teach the history of graphic design, which is a lecture-based course. And uh that one is a lot like teaching the history of the world, because you know, we start at the beginning of time basically and and go through as much as we possibly can. How long has graphic design been around for? Well, I mean, if you think of if you think of graphic design as visual communication, which is what it what the way I think of it, uh, you know, it's hard to it's hard to explain it to people, but you know, that's what I think we're visual communicators. So when was the first time someone tried to communicate visually with another person? You know, hieroglyphs and other things. Even even earlier. Uh cave paintings, you know. Uh yeah, I mean that the first time probably someone drew uh an image in the in the dirt with a stick, they were trying to communicate something to someone else. Technically, they were doing graphic design. So we don't even really know when No. I mean, uh let's just say a long time ago, but the uh the term graphic design, those words, uh that has the words graphic design have been around since probably around 1920.

Speaker 1 21:25

Okay. So they they at that point they put a label label on it.

Speaker 21:29

Yeah, um, you know, commercial art, graphic art, it's been called many things and uh through the ages, um you know, tied to printing and printing arts, but yeah, the term graphic design is relatively new. Wow.

Speaker 1 21:48

That's a long history. And you have to teach all that? Yeah, yeah. It's fun though. That's I I'm glad you enjoy it because I mean I wouldn't want to do something I didn't enjoy. I know you're into music, but can you Give me a breakdown of your favorite genres and artists? No. No.

Speaker 22:06

No. Too difficult. Favorite genres, probably people or things that maybe you've never heard of. I I don't know. I I I think my musical uh background and or my taste in music is probably a lot of people say, Oh, I listen to everything. They don't actually when they say that. They don't listen to everything. I I have a a pretty varied Could you give me some names? So so um how do you feel about the Leuven brothers? Never heard of them. Yeah. How do you feel about um uh maybe like Rose Maddox? Yeah, see these things. These are like bluegrass musicians from the 1930s or something. So I'm into that kind of stuff. You like blues? Uh some blues, yeah. Uh I like uh I like a lot of old uh country bluegrass music, but you know, I also like Kendrick Lamar. Um I I don't listen to a lot of metal, but you know, I love Mastodon. Uh so what whatever, you know, I I try to I try to keep up with current music, but I feel more and more like that's impossible. I can't do it anywhere. It's getting a little bit harder. Yeah. And the older you get, the harder it gets. At some point you just kind of stick with the stuff that that you have. But I have a pretty pretty big record collection, so I, you know, that's that's also a part of what drives my or my taste in music is formed from this kind of obsession with finding cool old records and you know stuff like that. I love discovering, you know, some some vinyl record that uh, you know, I I like to buy records that I have no clue who that person is. And just listen to it. Yeah, it was made in the it's some record made in the you know like the sixties, and I can tell, oh, that's gonna be like a a garage band, like a sixties garage band, and then I'm just I just buy it, and you know, sometimes they're garbage, but most of the time they're just um you know, it's something amazing. It's just something that you've never heard of before, but you're so happy that you found.

Speaker 1 24:16

Yeah. I must be odd. I need to go do that. That's a genius idea. Well, thank you.

Speaker 24:22

It wasn't really my idea, but yeah. Uh you you should do that. Everybody there's nothing more fun than you know digging for records.

Speaker 1 24:30

Oh my gosh, a hundred percent. Uh you ever walk into like a guitar store or something, and you just you see the record section, you're like going through it. I have that, I have that, I have that, I have that. Have you ever done that?

Speaker 24:41

Yeah, probably. I've got a lot of records, so yeah.

Speaker 1 24:45

Could you put a number on it, how many that you have?

Speaker 24:48

Uh I mean, isn't it my collection is probably nothing compared to some some people I know that have you know massive record collections? I probably have you know a couple of thousand.

unknown 25:02

Wow.

Speaker 25:04

Wow. That's Apple.

Speaker 1 25:08

I know people with way more records than that, like a lot more. Is there one that you just like you come home and you're like, I'm gonna put this one on just every single time?

Speaker 25:16

Oh, I have too many for that, but um there's I I guess I probably have a couple of kind of go-to records. I don't know. You know, can't go wrong with the Ramones. So it's never a bad time to play Ramones.

Speaker 1 25:30

Yeah, you're gonna have to send me some of these names. I need to I need to branch out, apparently.

Speaker 25:34

Come on, man. The Ramones invented punk rock.

Speaker 1 25:39

Before before Nirvana?

Speaker 25:41

Yes, well, I guess that's more grungy. That's more grungy. Definitely before Nirvana. Definitely.

Speaker 1 25:47

I'm gonna have to listen to them. You you should. I am. Please do. I will. I promise you. If I if I come out of this with one thing, I'm gonna go listen to Ramones. Okay. A lot of communication whenever you're doing projects.

Speaker 25:59

Well, I mean, one thing you have to think about the the sort of how far is it gonna reach, you know, what's the scope of it? Is this if you're making a if a band asks you to make a poster for one concert, you know, that's a one-night event or something, and that you know, maybe I'm fortunate that they kind of live on through, you know, if someone has that poster, they can keep it. But that event, you know, that thing was here and gone. It's it's it's over. A logo. Like, think about you know, the the Apple computer logo. How long has that been around? A long time. Yeah, so it's gotta, you know, maybe you have to think more about the way you're approaching that, and the client's needs may be different. They're probably not gonna be as easygoing as some punk rock band that just needs a sh a poster for the show on Friday night. You know what I mean? No, I totally so you kind of maybe approach those things differently, uh, but still, you know, you have to, you know, I'm not making it for myself. I'm not making that poster for myself. It's for it's for someone, it's for so it has to be appropriate. If I'm doing a a logo for a company, it has to be appropriate, it has to look and feel like their business or whatever, you know, whatever organization, whatever it is, you have to understand it well enough to to make the you know something that's right.

Speaker 1 27:36

On the you you mentioned the Apple logo. Yeah. On that, uh isn't the the bite of the apple, isn't that uh in regards to uh the creator of uh the first uh computer so ha in regards to them like um I think there was like some uh some metaphor behind the bite taken out of the apple so that for the load.

Speaker 28:04

That bite is a visual cue that tells you it's an apple. What else do you what else, you know, do you hold a fruit that you pick up and just you know take a bite out of it? Do you do that with a tomato? No. So to keep it so that you don't confuse it with something like a tomato, that bite automatically just tells you that's an apple because that's the way you eat an apple.

Speaker 1 28:28

So there's other visual cues like that whenever you make your posters. That I that's what I picked up on is there's different cues for different things. Can you give us like a rundown, just like three three different examples that you've done on your posters that's real similar to that?

Speaker 28:45

So I I don't know if I can name like you know three visual cues that I've I've used, but there are things like if there are recurring uh imagery, you know, images that that happen over and over in in my poster work. For instance, uh I use a lot of I use the heart, the image of a heart a lot. I like playing off, I love that shape. And everybody knows what it means. When you see a heart, you know that communicates a word to you, right? Love. Uh I love that. So if you if you see a heart, you think I love that. Uh and I like that shape. I use it, I use it a lot. I like that the the feeling you get from it. You know, I like I like eyes. So I use a lot of eyes, and I like hands. I put hands on things. So you touch something, you feel it, it makes it personal, or you see it with your eyes. So if you see an eye, that communicates you know, vision or what what whatever to you. So I use recurring uh imagery uh sometimes just because I like them, but also because they they communicate to most people.

Speaker 1 30:01

Feeling. Yeah, that's awesome. I I never really thought about it like that. I mean, I see the art, right? I look at the art and I'm like, it resonates with me, but why? You know, that's what I should start asking myself is why does this resonate with me versus oh that's a cool that's a cool poster.

Speaker 30:18

Yeah. And I'm fine with you just thinking that's a cool poster, by the way. You don't have to put too much more thought into it than that. I'm a very deep thinker. But if you like the band and you like the poster and you feel like that poster represents my band, then that's I I did my job. I made the thing that connected with you. It spoke to you. You you didn't question its appropriateness, and that's so I I did a good job. You know, if I if I'm doing work for a heavy metal band and I decide, you know, I just want to put an eyeball and a cute heart on it, that's not I'm not doing a good job because I'm not representing that band in their music, most likely. I'm not. And then if the if the fan of that band sees it and they they're like, well, that doesn't look like that doesn't look anything like, you know, it's supposed to be, you know, skulls and snakes, and you know, that's the language it's supposed to to uh. Um you know, so so it has to it has to speak, it has to have the correct voice.

Speaker 1 31:28

So how much uh research do you do? You have to do a lot in order to get these details and these uh uh m minute descriptions from your drawings on the posters.

Speaker 31:41

Yeah, well I think everything is about research. Like you you should do you can't do anything, I can't do anything without a lot of research. So I want to know as much as I possibly can about everything. And try as many variations as I can, and that that takes understanding and research, you know. Go to the library. I I love that place. Books, I like real books, I have tons of them.

Speaker 1 32:07

It's so much easier to read than on your phone. Oh yeah. It's just something about holding paper. I can't see my phone very well. I wish I couldn't. Well, is there anywhere that people can look at uh some work you have coming up or if there's anything that you're you know gonna do later on?

Speaker 32:26

Oh yeah, I mean you can always uh you can I'm on Instagram just at at Dirk Fowler. Uh that's that's my social media. You can see what I'm usually working on at the time and and my craziness there. Perfect. I I have uh I have a exhibition coming up with my son. Um I think it's first week in November. Uh he and I have a show together for the first time, which is gonna be kind of cool. And Fort Fort Davis, Texas, at uh Webb Gallery, uh, so that's really exciting. His drawings and uh my posters. Now, is this your uh son that's a tattoo artist or your son that's a uh letter print?

Speaker 1 33:10

This is the uh the tattoo artist. Well that must be really nice to be able to do that with your son. We'll see. I'm excited about it though, for sure. Well, I'm looking forward to that for you. You're gonna be there? Sure. I'm invited. You're invited. Everybody's invited. Send me send me the address. Um anyways, have a wonderful day. Good night, Waco, and hello lover.