EZRA FIKE
Musician, Photographer, Designer
Hi, I’m Ezra. I’m a 21-year-old with a drive to create the best content I possibly can. I have an intuitive understanding of what it takes to make something exceptional, and an eagerness to improve my skills.
GRAPHIC DESIGN
DASANA —Concept Identity
"Dasana" is an identity I created for a musical side-project that has
slowly evolved into something more. I wanted the logo to convey a
sense of spaciousness. In creating the logo, I took inspiration from
animated production house logos of the 80’s and 90’s, as well as
from brands like Phaidon.
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INCH —Concept Identity
This is a conceptual wordmark I did just for fun and ended up
really liking. The letters are based on a font but I
heavily manipulated their shapes and proportions.
It was created with the purpose of being used for some sort of creative multimedia studio.
It was created with the purpose of being used for some sort of creative multimedia studio.
PROCESS ONE —Brand Redesign
"Process One" is a photo lab based in Kansas City, MO. I became
interested in their business and decided to do a bit of conceptual
work that could eventually be pitched to the business as a rebrand.
The design is based on the shape of the tab you wind into your camera to begin shooting a roll of film. I was able to retain the core elements of the original logo while also modernizing and condensing it.
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The design is based on the shape of the tab you wind into your camera to begin shooting a roll of film. I was able to retain the core elements of the original logo while also modernizing and condensing it.
JUNQUIE —Brand Identity
This is a wordmark commisioned by an online thrift store.
The client wanted something that felt slightly wild and
DIY. I kept that in mind when creating this logo.
To achieve the look I wanted, I cut out letters from paper and scanned them into the computer, then arranged them and experimented with colors. While early color tests gave results that felt too "toy-like", I finally landed on a color combination that felt balanced and adult, still retaining a playful edge.
To achieve the look I wanted, I cut out letters from paper and scanned them into the computer, then arranged them and experimented with colors. While early color tests gave results that felt too "toy-like", I finally landed on a color combination that felt balanced and adult, still retaining a playful edge.
MEADOWBROOK NATURAL FOODS —Brand Redesign
This is another conceptual redesign that I did for a local health food store. I drew the initial sketch on paper, then digitized it and manipulated it till I acheived a shape I liked.
F!KE —Personal Brand Concept
I’ve experimented with developing a personal brand for a while. Exactly what I would do with one is kind of beyond me at this point, but it was fun playing around with some ideas. Perhaps it could be turned into a standalone website for design, or a clothing brand, etc.
MUSIC
I have been making music since I was very young under many pseudonyms and in many styles. Genres I have contributed to include vaporwave, ambient ritual synthesizer, and experimental pop and electronic.
PRAISE FOR "MILK"
"An exercise in whimsy, in a child’s boundless joy, and in texture. This album breathes and bellows and oozes something deep and something inherent I think anyone can find in themselves. It’s not nostalgia but rather a depth of purely good emotion that I only tend to see in the faces of my nieces when they are concentrating on coloring a picture just right."
-Bryan Patrick
"'Milk' is a wonderfully charming album... A playful loveletter to cassettes, hiss, and warble."
-Jogging House
"An exercise in whimsy, in a child’s boundless joy, and in texture. This album breathes and bellows and oozes something deep and something inherent I think anyone can find in themselves. It’s not nostalgia but rather a depth of purely good emotion that I only tend to see in the faces of my nieces when they are concentrating on coloring a picture just right."
-Bryan Patrick
"'Milk' is a wonderfully charming album... A playful loveletter to cassettes, hiss, and warble."
-Jogging House
FIELD RECORDING
I have been doing audio work for many years. As a child, I would record everything I heard, exploring the farm I lived on to find noises that intrigued me. This fascination with the world of sound has led me to continue seeking out new environments, objects, and people to document through audio. I plan to release these documents for free, as a catalog of the places I’ve been. I also intend to continue honing my skills at sound design and mixing for film.
PRAISE FOR "MAIL ROOM"
"Oh, the summer job. Ezra Fike has finished a stint at a print shop / mail room, and he’s taken something with him. No, not the proceeds, not a souvenir cartridge or roll, but the sound. In so doing, he’s made something memorable out of something tedious; he’s created a warm document of his temporary employment.
"As a person who once spent a summer making copies, I can relate. My name gave me a particular disadvantage in that I had to put up with comments of 'Richard, the Copy Guy!', 'Making copies', and so on, thanks to a popular skit on SNL. But I also heard rhythm in the sounds, zoning out while sitting on a chair facing the copier, entering into a proto-techno trance. Fike has been far more productive, recording a wide variety of sounds from feeder to flipper, printer to squeaker.
"As soon as the machine starts, it comes to life. One recalls the initial wonder of the copy machine, conceived in 1938 by Chester Carlton, who used 'a handkerchief, powder and static electricity', and popularized by Xerox in 1959. Before it inspired stupefaction, it inspired amazement. Think of the possibilities! We can make so many copies! Xeroxing may be a dull job, but it’s still an important one, as is the servicing of the machine itself. Anyone who has ever worked in such a field knows the lost time that results from a paper jam, or even worse, from a broken component. When no backup is available, the job goes to Staples, and the employee may be docked.
"This particular machine is fast and efficient. Nothing gets in its way; it pumps out documents at a rate approaching 100/minute. There’s no screech (even on 'Squeaker'), no hint of turmoil or smudged ink. While Fike is unlikely to send this to the Neopost manufacturer, it would make a great commercial: the machine that makes music while fulfilling its task. In 'Conveyer,' we hear distant human voices. The task is complete; it’s time to go home.
"Mail Room may be the idealized sonogram of a short career, but it’s also a pristine aural memory, a snapshot that works like a tattoo without the pain. While playing the EP, I wistfully recall a job I once hated, remembering the joyful times as well: the fluid dynamics of the machine and the interactions with coworkers at lunch hour. But in the years to come, Mail Room may also become a valuable sonic document, as technologies are replaced and someone asks, 'Did anyone think to record the copier?' By preserving these lulling, hypnotic rhythms, Fike underlines the often-overlooked beauty of the monotonous."
-Richard Allen, A Closer Listen
"Oh, the summer job. Ezra Fike has finished a stint at a print shop / mail room, and he’s taken something with him. No, not the proceeds, not a souvenir cartridge or roll, but the sound. In so doing, he’s made something memorable out of something tedious; he’s created a warm document of his temporary employment.
"As a person who once spent a summer making copies, I can relate. My name gave me a particular disadvantage in that I had to put up with comments of 'Richard, the Copy Guy!', 'Making copies', and so on, thanks to a popular skit on SNL. But I also heard rhythm in the sounds, zoning out while sitting on a chair facing the copier, entering into a proto-techno trance. Fike has been far more productive, recording a wide variety of sounds from feeder to flipper, printer to squeaker.
"As soon as the machine starts, it comes to life. One recalls the initial wonder of the copy machine, conceived in 1938 by Chester Carlton, who used 'a handkerchief, powder and static electricity', and popularized by Xerox in 1959. Before it inspired stupefaction, it inspired amazement. Think of the possibilities! We can make so many copies! Xeroxing may be a dull job, but it’s still an important one, as is the servicing of the machine itself. Anyone who has ever worked in such a field knows the lost time that results from a paper jam, or even worse, from a broken component. When no backup is available, the job goes to Staples, and the employee may be docked.
"This particular machine is fast and efficient. Nothing gets in its way; it pumps out documents at a rate approaching 100/minute. There’s no screech (even on 'Squeaker'), no hint of turmoil or smudged ink. While Fike is unlikely to send this to the Neopost manufacturer, it would make a great commercial: the machine that makes music while fulfilling its task. In 'Conveyer,' we hear distant human voices. The task is complete; it’s time to go home.
"Mail Room may be the idealized sonogram of a short career, but it’s also a pristine aural memory, a snapshot that works like a tattoo without the pain. While playing the EP, I wistfully recall a job I once hated, remembering the joyful times as well: the fluid dynamics of the machine and the interactions with coworkers at lunch hour. But in the years to come, Mail Room may also become a valuable sonic document, as technologies are replaced and someone asks, 'Did anyone think to record the copier?' By preserving these lulling, hypnotic rhythms, Fike underlines the often-overlooked beauty of the monotonous."
-Richard Allen, A Closer Listen
This is one of several recordings I have made in large shopping centers. I hope to continue building this concept up into a more focused body of audio work.
FILM SCORES
The Woodswraith is a feature-length independent fantasy film by director John Hollback. I have been tasked with creating the music and sound for it. While the score is not yet finished, I can show you some samples of what I have completed so far.