Tim Bradstreet: Master of the
Interview with Timothy Bradstreet by Jonathan Ellis.
the 16th of February 1967 in Cheverly, Maryland Tim Bradstreet grew
up to be one of the premier artists in our field. Described as dark
and gothic, Tim has become an essential artist in giving a look
to the urban underbelly, in bringing life to the night and the shadows,
to desire, rock and roll and tattoos, to scars, passion and guns.
In 1997 Tim was voted Best Artist by the Horror Writers Guild of
America. He's worked on comics, trading cards, Role Playing Games,
Book covers and actively pursues his desire for the cinema. Tim
displays a unique talent in his art that can make it beautiful and
gothic at the same time. In his works you'll see power, intimidation,
seduction, slick blacks and smooth lines, beauty, intricate design,
gracefulness and more. We were lucky enough to have a few words
with Timothy, and here's what he had to say.
comics? What lead to the life of a freelancer?
since I was a kid growing up I had a passion for comics. I wanted
very badly to be able to work in that field. It started out as a
dream and through the years there was something I can't quite describe,
driving me on to that goal. Hopefully it won't end there. I also
wanted to be a filmmaker when I was growing up and I hope to be
involved with that at some time in the near future. Freelancing
can be a scary business. As everyone knows, it's full of all the
dangerous pitfalls, no insurance, you never know were the next job
is coming from, sporadic payment, etc. The one thing that makes
it all worth while is you never have to go to the office to work,
or deal with that whole employee office demeanor bullshit. You are
your own boss. I wouldn't have it any other way.
Not to ramble, but I have a lot of friends who are creatively stuck
in jobs working on staff for game companies, computer companies,
what have you. Creatively, they are unhappy and yearn to be able
to go freelance to work on their own projects but they are stuck
in a sense because they have this security. A salary and benefits
can be evil.
admittedly hung out with numerous bands while developing your art,
anyone we know? Did you ever get contracted to do art for album
friends bands and friends of friends bands. Dave Wyndorf of Monster
Magnet and I worked on some concepts in the past. I met them in
Chicago, watched them play at Lounge Acts. I hung out with them
after the show and talked over the job which was doing cover art
for a seven inch for Cage Around the Sun. Now I've been following
these guys since the word go and I was totally jazzed about working
with them. I continued to talk to Dave over the phone and we worked
out what he wanted. I had a ball doing that job. However, for some
reason, according to the record company, Dave didn't like it and
it was never used. Now that's the kind of shit that rubs me the
wrong way. I have no personal animosity toward the band, but the
experience of going through all the hoops to do the job and then
getting brushed aside was very disappointing. I don't blame anyone.
It's a fickle business. I hung out with Tito and Tarantula (They're
the band in From Dusk Till Dawn) and Robert Rodriguez last October
and watched them play in Austin Texas at a cool joint called Stubbs.
Tito Larriva is a wonderful character and we talked about me doing
either a CD cover or T-shirts for them in the near future.
take a job designing CD covers when A: I like the music or the people
involved. Or B: I'm given carte blanch to come up with a concept
that works with the material. I just finished designing a CD for
a new Ramones tribute album. I was given only a little art direction
and just ran with it. I think it turned out very cool.
extensively use models, how would one be able to volunteer themselves
as a model for you?
usually won't get you on a cover very quick. Not because I don't
want to use someone who is willing and offers his or her services.
It happens all the time. I cast parts based on physical characteristics.
If I'm working on a cover for Hellblazer and I need a Hispanic girl
with shoulder length straight black hair, then that's the kind of
person I have to cast. No matter how much I want to use a certain
individual for something, if he or she is not right for the part
they simply have to wait until I have something that's right for
them. I try to get as close to the physical description of the character
as I possibly can. Working with Brian Azzarello on Hellblazer, I
sometimes ask, If you were directing a movie of this issue, who
would you cast in this part? To which he would reply, (for example)
... Um, Charles Dutton. This process comes in handy when I don't
have a script to work with or I must have a quick visualization
of what I'll need in the model. So, you know, I go out and find
a thickset bald black guy.
fascination, how did it begin? What defines a vampire for you?
whole Vampire fascination seems to have been born of the Goth scene
happening in the late 80's early 90's. The modern primitive scene
was part of it as well. I think that teen angst, and wanting to
be a part of something cool and different, fueled it. White Wolf's
Vampire the Masquerade hit at the perfect time. They came to me
at the perfect time as well. I was just starting to explore with
my style and I was ready for the subject matter. While I didn't
participate in the Goth scene, I operated very close to it. I very
much could identify with it. However, I didn't consciously do those
illustrations with Goth in mind. They're more like gypsy white-trash
punks. The approach I took with the photo realism and the alternative
culture I was dabbling in helped give the work credibility. I was
shocked at how Vampire took off. It became a kind of phenomenon.
did you begin integrating photography with your art? You've said
you want to learn more, have you tried anything to that effect yet,
say different lighting techniques, gels, or say... shooting a person
on a median strip during heavy traffic with an extremely low shutter
started the process with photos around 1988 and baby, I feel like
I've tried it all, though not even close. Yeah, I try to use techniques
that fit certain criteria. I've used gels and filters, hard light,
soft light, reflected light, different lenses, etc. It's a constant
learning experience. What I'm learning is that there is no substitute
for a good model, perfect conditions and a solid if not sometimes
radical composition in mind before I shoot. I love the photography
part of the process. I've had some interest from certain parties
lately about publishing a book of my photos. I would dig that most
they be straight portraits or computer adapted works as well?
a combination of them both. A lot of the shots are scenes, a lot
are portrait type shots and some are close ups. You can see a little
bit about what I'm talking about in the photo gallery section of
my website. Most of the printing that I've done is not gallery quality
stuff so I would be fine tuning them in Photoshop. Also some of
the shots would be tweaked in other ways. Adding graphic design
elements and so forth. Mostly just the fine tuning, adding a color
tint, sharpening, lightening, darkening and maybe a bit of filtering.
There wouldn't be a lot of special effects. I would want the photos
to stand by themselves as art for the most part.
artwork has been described as having 'dark power' and 'terrible
beauty. What is 'gothic' to you?
me, Gothic is both of those things. Bernie Wrightson's style is
described as Gothic. Although our two styles have a few similarities
in subject matter, they are like 180 degrees from each other. I
believe that Gothic can be anything that is dark and full of dramatic
lighting and shadows. Where you don't really know if something dangerous
is lurking in the blackness or just off camera. I think that an
artists ability to bring an extra dimension to the piece, that element
that you can't quite put your finger on, can be crucial to taking
the illustration to a higher plane. The characters expression, the
body language, the composition and how you choose to light the scene
can be huge factors in the success of the illustration. It's not
just the dark picture, it's the wordless story that's being told
that can make it special.
exactly is RED SKY DIARY? Who is Manfred Gallows and what's he all
Sky Diary is the story of Kerulan Ullan-Bataar, AKA Manfred Gallows.
Gallows is basically the present day incarnation of the Red Storm,
one of many names attached to Gallows' clan of Vampyre hunters.
Since around the time of Kublai Khan, for 700 years, the first born
male of his line has taken over the role of the Vampyre Hunter.
There are many legends surrounding these mysterious hunters. Many
Vampires believe him to be a Vampyre himself, having existed for
so long. Each newborn hunter is trained from birth to take his place
as, what I call the Mudir (Demon or Vampyre) Hunter at the appointed
time. The diary part of the title concerns the written recordings
of their activities by each of the hunters over 700 years. In most
instances, these journal-like entries make up the narrative of the
story. On the whole, it's epic. I plan to release the first story
as a heavily illustrated coffee table sized book. The story will
be written by Brian Azzarello and myself. After this book is published
I'll be concentrating on taking the project to film.
get a better Idea of what Gallows is, here's a poem written by my
friend Matt Sturm that hits it directly in the vein.
Among the Hindus I am Skanda - warrior son of Shiva.
In Tibet I Am called Yamantaka - Destroyer of the Lord of Death.
The Algonquin chant my name, Chiabiabos - Great Wolf.
I have been called all of these and more. I am Gallows.
I am Legend.
For seven hundred years I have prowled the shadow's edge,
stalking demons celebrating Caza de la sangre, the blood hunt,
haunting the unwaking realm between nightmare and reason.
The ageless predators dwelling within this despairing wasteland
know no terror greater than their own, yet to them I am fear.
For they understand I am the Watcher, and I am the Judge,
but above all else, I am the One, the Executioner.
And it is whispered among them that it is I
who will visit death down upon their immortal selves.
Within a circle of fire I spin an eternal and beautiful masque
raising the holy dust of oblivion to cover the sins of corruption
and banish this plague forever
from the world of men.
On and on for seven hundred years the dance has spun
I am not the first to learn it.
I only pray that I am the last.
you thought of working with Del Toro on it, not just because of
your recent work with him, but his great and original ideas displayed
in CHRONOS, and I'm sure to come in BLADE 2? Or perhaps Ridley Scott?
yes. I would love to work with either of them on the project. I
shudder to think what working with Ridley Scott would be like. He's
directed so many of my favorite films. Working with Del toro would
be a dream as well. He's one of those awesome talents that has really
only scratched the surface of his potential. The honest truth is
I would love to work with a director that has a keen visual eye
and knows how to tell a story. Darabont, Scott, and Del Toro all
fit the bill. They would all three, be at the top of the wish list.
you're currently working with Alex Alonso to get your collaboration
with Clive Barker, AGE OF DESIRE out there, exactly what's the story
and why has it been in limbo for the last ten years?
story of Age of Desire focuses on a young chap named Jerome who
volunteers as a test subject for some university researchers who
have developed a new Aphrodisiac Neither Jerome nor the other researchers
realize that the head of the project is actually injecting Jerome
with an extremely powerful dose that transforms Jerome's reality
and turns him into a hard on of biblical proportions. As the drug,
so powerful in fact, that it's burning him out like a match, works
through his body, he rides a wave of erotic excess that will finally
kill him. He actually believes himself to be on fire when the drug
hits it's peak through Jerome's activities. It's a beautiful little
story was adapted and originally illustrated (for the most part)
by P. Craig Russell. However, The publisher (Eclipse) didn't like
the more cartoony style Craig was experimenting with at the time.
Clive also didn't think it was appropriate. That's when they came
to me. It was my first job in comics as penciller/inker. Just as
I was about 2 pages from completing work on AoD, Eclipse went bankrupt.
I spent the next 6 months trying to get my artwork returned to no
avail. They also owed me about $3,500.00 which I never received.
This all happened in 1991. Out of the blue, early last year, the
artwork resurfaced and was returned. Since then, Axel and I have
been working on getting it published at Vertigo. I think very soon
now, we will finally see it published.
you found that pseudonym yet to experiment with your digital work?
What programs have you been experimenting with?
no, no pseudonym yet. I don't really think I'll need one. I've met
a little resistance in using digital artwork for certain projects
but we'll see that stuff start making it's way out when the time
is right. Some have said that people will not except me switching
gears like that, that my current style is too identifiable with
me. I don't agree. I believe I should have the freedom to work in
different mediums if it suits the material. And as far as software
goes, pretty much just photoshop.
such friends with such diverse film talent, have you been approached
about collaborating on any pics? Perhaps as creature, costume or
character designer. You mentioned recently working with Guillermo
Del Toro on Monte Cristo.
starting to take off a bit. Unfortunately, Monte Cristo is on the
back burner, but I'll begin working with Guillermo on his next film,
Blade 2. I'll be doing conceptual artwork and design. I've got a
new role playing game property that were looking into developing
into a TV show. And then of course there's Red Sky.
mentioned you'll be helping design a 'new breed' of vampire, and
we know from David's [David S. Goyer] comments that Blade will have
to team with those he hates to fight the 'greater evil'. Are the
two mentioned one and the same, and what can we expect? Heh. Lemme
guess. Long hair, leather, and tribal tattoo's - hope they shoot
in T.O. again.
does in fact have to team with the nightwalkers, but not without
hesitation and several nasty plot twists. The new breed are a threat
to all concerned. They have some very interesting design requirements
that are sure to be good for some eyepopping sequences. The regular
Vampires are going to be a challenge as well because there are a
lot of characters being introduced to this film that require their
own "look." I'm not sure (sounding like a politician) if I'm at
liberty to discuss this point further than that at the present time.
And yes, the plan is to shoot in Toronto again. I'll be up there
during filming to get some extra shots. We're very seriously discussing
me doing a Blade 2 movie adaptation for Marvel Comics. If that happens
I'll want to work pretty heavily alongside the still photographer
since I'd be using his shots for the artwork.
describe the page as being a sort of therapy for you...ahem...so,
what was YOUR childhood like?
I mean by that is that like everyone, I deal with stress, anger,
pain, frustration and so forth. But I have an outlet, the work.
I can work out some of these things by focusing on an illustration
and releasing those feelings on paper. That's why I sometimes say
that I live vicariously through these characters. They are the killers,
the villains, the heroes, etc. It leaves me at ease for the most
part. And just for the record, My childhood was splendid.
you were to describe your style, what would you say? Who have been
the major influences on your work?
kind of a tough question for me. I guess I described it somewhat
accurately on the subtitle of my art book, Maximum Black. "Iconic
images and cinematic illustration," though that is more describing
the subject matter. I guess it's evolving into a more chiaroscuro
style. I'm constantly simplifying it as I grow. Gone are all of
the feather lines that used to dominate every stroke. It's a hard
thing to try and eliminate things that work. I still use feathering
on skin and faces to accentuate the softness and the contour and
I've almost completely eliminated using it anywhere else. Eventually
there will be no feathering at all, just black and white shapes.
This doesn't mean there will be a slack off in detail, I'll just
be using a different technique to present it.
far as my influences go, they have evolved much like my style. At
first I was influenced by comic artists, guys like Steranko, Paul
Gulacy, Tim Truman, P. Craig Russell, Moebius, Bilal, Mike Mignola,
Phil Hale, Joe Kubert, Brian Bolland, the list could go on. As I
evolved and started using more photo-real techniques my influences
became photographers like Bruce Weber, and cinematographers like
Haskell Wexler, Vittorio Starraro, Chris Menges, Freddie Young,
Russell Metty, Frank Tidy, David Tattersall, Freddie Francis, etc.
With the photographers/cinematographers it's not just pretty lighting
and lush photography, it's all about the composition of the frame.
These guys are in a sense, master painters. The only thing that
is different is the canvass and the tools.
your dream project? If you could work with any companies, characters,
writers, artists, no restrictions, no rules, complete creative freedom,
crossover as many characters from as many different companies as
and if you wanted without any complaints, put together whatever
creative teams you wanted, and no one would stop you, what would
fancy here. I'd like to Red Sky Diary. I'd like to write it along
with Brian Azzarello. I'd like to do it as a heavily illustrated
9"X12" hardcover. Colored by Grant Goleash. Grant and I would also
provide an oil painting for the cover (already almost done). I'd
like for Axel Alonso to edit it and I'd like Vertigo to publish
it. I'd also like a mass market release, and carte blanch on the
advertising. I'd also like to do an Unknown Soldier 48 page one
shot that would be written by Azzarello.
a page count been established? What other avenues would you explore
to get the book 'out there'? To a wider audience then just the comics
page count has not been established. We are very much in a pre/proposal
state of things. Unfortunately, it's really to early in the ballgame
to be more specific about the particulars. The package I'm proposing
is definitely an attempt on my part to do this story in a way that
I'm most comfortable with. Doing it as illustrated prose or an illustrated
book cuts down on the amount of work I do. Instead of breaking my
back to do it sequentially, I can take my time and work on each
separate piece as a single illustration. I think this kind of package
would be a great crossover. It could appeal to comics fans, art
fans, and genre book reading fans alike. The natural byproduct of
doing it this way would widen the audience. I'm thinking also about
adding a cross platform multi media CD in the package as well. It
would consist of production drawings, notes and extras that I couldn't
put in the book itself. As we get further along with the project,
I'll be adding a new section to my website that is devoted to Red
Sky Diary. We'll be promoting it heavily there, as well as offering
limited edition prints, posters and some unique merchandising available
only through the site.
your dream project (version 2)? If you could work with any production
companies, studios, actors, directors, no restrictions, no rules,
complete creative freedom, get whatever and as many talent as you
wanted without any complaints, put together whatever creative teams
you wanted, and no one would stop you, what would you do?
one is easy as well. I'd like to make Red Sky Diary into a film.
Here are the particulars. I'd like Frank Darabont (Shawshank Redemption,
Green Mile) to direct from Azzarello's and my screenplay (or Frank's
adaptation). Castle Rock would be the studio. Russell Crowe (Gladiator
has nothing to do with this. I've been saying it for years, ever
since Romper Stomper) would star. I've got my wish list for the
principal actors if you want that too. David Valdes would produce.
Chris Menges (or whoever Frank would be comfortable with) would
be the cinematographer. I'd also like to be involved in the concept/design
journalism, in any form, how important is it?
it's very much part of the whole. The comics industry needs coverage,
good or bad, now more than ever. Magazines like Wizard, even though
for the most part it's a popularity contest, are good for the industry.
It gets people more interested and involved. The Comics Journal,
love it or hate it is very much a part of this industry. The Comic
Buyers Guide is another one. Online coverage is going to be the
wave of the future. And the industry needs it like a starving man
how does a day in the life of 'Timothy Bradstreet' work out?
well. Even though as an artist you kind of work in a vacuum, creatively.
If I didn't go to Cons or have a website I'd never know if people
liked what I do. But I get up and try to get to work before 1:00
PM. Does that mean I sleep all day and I'm just lazy? Quite the
contrary. I try to work 8 hours a day and many times I'll work 15
hour days. I'm just a night owl. With me the work is not just work.
It is a part of my life. So even if I've worked all day on something
that has to be done, I'll work all night on something that I enjoy
for myself. I've got plenty of free time too, and when I do have
it, I like to go to movies, go out drinking with friends, go to
galleries, see live bands or play in a tidal pool for a few hours,
but the table always beckons.
under appreciated creator currently in the biz?
ago, I would have said Brian Azzarello. But now he seems to be very
appreciated. How about Marcelo Frusin.
are a few to be sure, but I just let 'em run man. If they are becoming
a nuisance I just get up and go have a smoke. 98% of the fans are
welcome at my table any day.
body of work?
are several close competitors. The HELLBLAZER covers, The
PUNISHER covers, and about 25 illustrations I did for a game
called Armageddon. The company went bankrupt right after the book
was released. They shipped it like 4 months late. The UPS strike
was a part of that problem. No one ever saw that stuff. I art directed
(meaning I picked the artists and art directed them) and designed
the look for the game but the book's design guy screwed the pooch
and the layout inside ended up looking like shit. I will be reusing
the art in a new game I'm developing with Ken Whitman.
to those trying to make it in the Biz today?
are two kinds of writers and artists. There are those who want to
write or draw and love the process of what it takes to create, and
there are those who want to HAVE CREATED. What I mean by this is
that some people just want to reap the rewards but they don't want
to do the work to earn it. If you feel like you have a passion for
the work then nothing will stop you from attaining your goal.
has been your favorite book to work on?
titles everyone SHOULD be reading?
HELLBLAZER, THE PUNISHER (Shameless plug) and HELLBOY,
every time it comes out. 100 BULLETS, THE LEAGUE OF EXTRAORDINARY
character(s), title(s) to hopefully someday work on?
Hellblazer (I'd love to do some more interiors), Deathlok, The Unknown
Soldier, The old Blade: Vampire Hunter, Batman, Human Target, Morbius,
Killraven, Dr. Strange.
people see the industry as being in a slump right now, any beliefs
as to why that is?
seem to be a lot of reasons contributing to it. The glut from the
late 80's early 90's really turned a lot of people off. All those
Marvel titles. They were trying to just put out as many books as
possible to kill the competition. Valiant and their "variant" covers,
"Chromium" covers and zero issues, the collectors market crap. The
fire at the big paper mill helping to inflate cover prices. With
all the books that were being put out for selfish reasons, the talent
pool in the industry was stretched so thin you didn't know where
to look for a quality book. People just got tired of it. When most
of what an industry produces is crap, then interest dies off real
quick. Computers and computer games took a hold and that seems to
be what happened to new readers. Computer games have taken that
escapism that comics provided and raised the stakes. Why should
young people read about fantasy when they can interact with it?
I think that there is plenty of room for both. Whenever I hear someone
say that comic BOOKS will give way at some point to online comics
and the medium will eventually turn digital if it's to survive,
I cringe. Change is essential but it doesn't have to mean that we
throw away the books.
code, we want to get rid of it, you in?
certainly. However, I do think there needs to be some kind of rating
system. I don't want to see a 9 year old reading pornography. But
if I want to read it that should be OK. It would be cool if I could
do an X-rated book for DC and not have to worry about all the things
that someone says we can't do. Mature reader books is a good idea
but it would be nice to be able to stretch the boundaries once in
a while where it's needed and not have to worry about some suit
that says, "Not a fucking chance in hell. No penetration! No genitals!
No pubic hair! No nipples! And you can't say fuck if you are referring
to a sexual act." That applies to the violence factor as well. While
I personally like to do the violence off camera, show a reaction
and let the reader imagine it (which I think is more effective),
there are times when you need to show it. Why censor and water down
the creativity? Ultimately the job of protecting kids from seeing
things they maybe shouldn't, falls with the parents or the people
responsible for selling the material. When I was a kid, my fascination
for this kind of material was stronger when I had no access to it.
When I was lucky enough to see a naked breast or a gory picture
in Fangoria Magazine, I was in heaven. It was cool. But it didn't
make me a violent kid or a serial rapist or a wife beater. The fact
is kids are going to see this stuff weather we want them to or not.
Just like some kids are going to smoke weather we want them to or
not. The responsibility lies with the parents. They should take
their responsibility more seriously if it's a problem.
exactly are you determined to have a skull in each cover of THE
PUNISHER [aside from the one on his shirt anyway], was it a personal
challenge or just essential for you because it was iconic to the
really. It's exactly as you say. First off, yes, it is an iconic
element to the character. The skull signifies death. When you tangle
with Frank Castle, 9 times out of 10 gonna wind up in a body bag
with a tag on your toe. So that seemed like a significant, strong
graphic element to include. Why do I insist on including it on every
cover? Plain and simply because I was given the freedom to do it.
My criteria for each cover was that every one would look like a
1st issue, every issue would feature the Punisher and every issue
would have a skull. My challenge was to make them each unique and
different from the rest. Since the team of Garth, Steve,and I are
signed up to do another 12 issues, I'm trying to decide wheather
to proceed with the same idea or do something completely different.
I'm leaning towards continuing with the theme. It helps to make
these two series unique from anything thats been done before in
comics. I try to imagine looking at all 24 covers and have them
all look different but with the same basic elements. If I could
pull it off for 24 issues, what a special body of work that could
else have you got coming up right now?
now I'm continuing my monthly gig as cover artist for HELLBLAZER
(a job I covet). I'll continue doing another 12 issues of the PUNISHER.
I'm inking at least six issues of Vertigo's CODENAME: KNOCKOUT.
I'll be inking BATMAN/DEATHBLOW (with penciller Lee Burmejo),
a 3 issue deluxe format mini-seies from DC/Wildstorm. Cover art
for ACTION COMICS #775. Design work for Blade 2. I'm also
working on a bunch of new illustrations for a role playing game
that I'm developing with designer Ken Whitman called "Shatterland."
I'll be doing all of the artwork, book design, and art directing
for this project. Shatterland is also being developed for a weekly
Science Fiction action/drama for television. Plans are in the works
for me to illustrate a 96 page hardcover TRANSMETROPOLITAN
project with series writer Warren Ellis. I'm also doing concept
designs for Tom Gilliland on a new line of 12" action figures. They
are along the lines of GI Joe but way more radical. Like Victorian
supernatural hunters. It's pretty friggin cool. There is talk that
I could be doing an upcoming single issue of HELLBLAZER and
also an UNKNOWN SOLDIER 48 page one shot. Things are very
Right now, in the industry we need more... good ideas, talent
and less... shitty, no talent bad idea books.
just been given a chance to rework the industry, starting with the
major publishers and distribution companies, what do you do, what
DO you do?
Spielberg, Katzenburg and Geffen. They put a shitload of money into
a film about comics and then produce a TV show dedicated to it.
Then they could hire the right people for a distribution plan and
bankroll the publishers so they could afford the best talent to
produce a good product. I sit back and reap the benefits of my genius,
buy a 60 foot sailboat and work on my own stuff.
one of my interview 'games';
Of choice; what is your drink of choice: Newcastle Brown Ale
of choice: The Field, Gaslamp quarter, downtown San Diego.
The Duelists, The Mission, Lawrence of Arabia, The Sand Pebbles,
Ben Hur, Papillion, Planet of the Apes, Cool Hand Luke, Schindler's
List, Unforgiven, Vertigo.
Dune, Ben Hur: A Tale of the Christ, Last of the Mohicans, Fatherland,
Name of the Rose, Shibumi, In Cold Blood. I know he's not Hemingway
but I love all the Robert E. Howard Conan books.
This is what you would find in my CD player right now. Tool, Henry
Rollins, Chris Isaak, Johnny Cash, Willie Nelson, Kris Kristopherson,
A Perfect Circle, Crosby Stills and Nash, Bob Dylan, The Band, The
Spelunkers, and Fu Manchu
James Bama, Phil Hale, Serpieri, Milo Manara, Richard Corben, Travis
Charest, Mike Mignola, Edvin Biukovic, Duncan Fegredo. Keith Parkinson,
Jill Thompson, P. Craig Russell, Miguel Angel Prado, Chichoni, Gary
time: Seeing movies, collecting films, playing Frisbee, collecting
art, traveling, drawing, recording film score compilations for friends
and then designing covers and graphics for them, drinking, grilling
we go, tell us something no one else knows. Something you've never
I yearn to be Bob Schreck's towel boy.
Plug time! This is where you plug as many things as you want, comics,
websites, movies, Charities, prints, Bradstreet brand discount cuisine
- "It's not just for Cats and Dogs anymore!", novels, anything old,
new, current and upcoming, socks, everyone loves socks, art, and
whatever else. Anything that could somehow lead to money in your
pocket and worshippers and your feet. Sexy worshippers. Sexy worshippers
WEARING money. Yessssss, that works out nicely.
just plug my website. We're in the process of updating the whole
thing and adding a lot of cool new stuff. Here's the link Tim
Tim. There you have it, make sure to visit Tim's site to see some
great online artwork.
Jonathan Ellis is Interviews Editor for PopImage.
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