Positive and negative spaces competed in the lettering of Greg Irons' scream-personified poster for The Move, Cold Blood and Albert King at the Fillmore West. The advent of Irons, and contemporary artist Lee Conklin on the poster scene, made the work of earlier artists Wes Wilson and Bonnie MacLean seem positively tame by comparison.
The handbill was only printed once before the concert. It displays a calendar of upcoming Bill Graham events on the reverse and measures 4 5/8" x 7".
There were also some pre-concert double-sized mailers printed that were conjoined with the BG160 image. They measure 7" x 9 3/8".
Irons moved to San Francisco in 1967 and roamed around Haight-Ashbury with his sketchbook, creating images he would later use in his posters. As usual, promoter Bill Graham needed a poster in a hurry, and Irons succeeded in producing one overnight. As his talent as a draftsman developed, a distinctive line quality and refined sense of balance set Irons' posters apart. His cartoonist inclinations are often evident, and he became one of the seminal figures in underground comics. Irons also found work producing album graphics and book illustration, but it was the art of tattooing that became his passion.