Album Cover Hall of Fame - Album Cover Art Interviews and News

Cover Story - "Unbelievable" by Howie Green

Cover Story - "Unbelievable", a mixed-media image created in 2006 by artist/illustrator Howie Green

Subject - "Unbelievable", a mixed-media image created in 2006 by artist/illustrator Howie Green. Used on the cover of Mick Boogie's "Unbelievable: A Tribute to Biggie Smalls", a 2007 release on Bad Boy records.

 

 

 

 

 

 

Originally published April 27, 2007 by Mike Goldstein

While commercial artist Howie Green has built a loyal following of music fans on the basis of his astounding collection of "album cover re-creations" - that is, his pop art-influenced interpretations of well-know record covers - one particular work caught the eye of just-the-right-person who, as we'll soon read, elevated this work into "real album cover" status...

Unbelievable: A Tribute to Biggie Smalls - the cover, by Howie Green

I always find it interesting when small personal projects, like my Biggie Smalls portraits, strike a chord with a public audience and go on to have life of their own. Being of a certain age I wouldn't exactly call myself a rap or hip hop aficionado - but I do know a great face when I see one and Biggie Smalls was one cool looking guy. I came across some photos of the Notorious B.I.G. when I was researching possible images for a mural project I was working on - a 30' x 15' wall of my album cover paintings. The mural, now located in Jacksonville, FL, needed to have a wide cross section of musical styles represented and I was looking for recording artists that were well known to most people. I found two vintage black and white promotional images of Biggie that reminded me of the kind of old school look that the jazz cats of the 1950s and the Blues guys of the 1930 used to have - "Cool" as they could possibly be.

I listened to a bunch of Biggie's tracks and I could see why he had become such a popular rapper and why he's become a legend since his death. His musical contributions are public record but what most interested me most was the way he looked. Most rappers dress up in big sneakers and street clothes and cover themselves with all manner of accouterments, but not Biggie. Biggie was a style maven and when it came to his look he had it going on! I know that an accident made him have to use a cane to walk around but the man turned the cane into a cool accessory. I appreciate anyone who can wear a hat and no one in recent history looked cooler in a hat that Mr. Smalls.

I did paintings of both the photos I found and proposed them for the mural but for various reasons they were not used and I put them in my online gallery for folks to see. About 6 months later I got contacted by a fellow named Mick Boogie who told me he was producing an album of Biggie's tracks and wanted to know if I would allow them to use one of my Biggie portraits as the cover artwork for the CD versions. I was happy that my art would finally get some use so I agreed and the album, by LCMG Productions, came out in early April to great acclaim and is making a lot of noise among the hip hop community.  Before the album's release I got my pre-release copies and was surprised at the stellar lineup of talent on the tracks including none other than Sean "DIDDY" Combs as the album's host. In addition to P Diddy the tracks include The Clipse, NAS, Jay-Z, 2Pac, Lil Kim, Lil Wayne, Mobb Deep, Kayne West and others.

Several days after the album came out I was very surprised to get a photo emailed to me by Mick Boogie of himself and P Diddy holding the CD with my album cover artwork (see below). I have received several emails from folks who appeared on the album expressing their appreciation of the cover and Mick is having me do a very large version of the cover done that will be given to P Diddy to hang up in the offices of Bad Boy Entertainment."

Over the past several years, the album cover has become an iconic image of Biggie and I recently saw myself referred to a "the man who painted Biggie Smalls". This I find kind of funny since no one could be further away from representing the hip-hop aesthetic than me - a bespectacled, badly-dressed and Boomer-aged white guy! 

 

 

 

 

 

 

 

Cleveland-based DJ/producer Mick Boogie sourced the title for this tribute record from "Unbelievable", a track from Biggie's 1994 release titled Ready To Die. Ready to Die was a hugely-influential hardcore rap recording, as it established the Notorious B.I.G., his record label (Bad Boy) and label impresario Sean (Puffy/P.Diddy) Combs as the ones to beat on the East Coast.

"Unbelievable: A Tribute to Biggie Smalls" - from the mickboogie.com (producer) web site -

On the 10th anniversary of the tragic passing of Christopher ‘Notorious B.I.G.’ Wallace, Mick Boogie and newcomer Terry Urban of the League Crew teamed up to release Unbelievable: A Tribute To Biggie Smalls, a project that many critics are calling “the best Biggie mixtape ever.” Hosted by Sean “Diddy” Combs, this 100% creative mixtape features Biggie material remixed the way it was supposed to be done. Original beats and special guest appearances, as well as plenty of crazy remixes, are abundant throughout the project.

"Unbelievable" Track List

1. Diddy Intro
2. Biggie and The Clipse: Blow
3. Biggie and Ray Cash: Gimme The Loot 2007
4. Biggie, Game, and Darien Brockington: On Top (Produced by The Kickdrums)
5. Biggie and AZ: Brooklyn
6. Biggie and Grand Agent & Liv L’ Raynge: Motherf*ckers
7. Biggie and Big L: Let The Games Begin
8. Biggie: Live For The Funk (Produced by Khrysis)
9. Diddy Interlude
10. Biggie and Jay-Z: Get Money (live)
11. Biggie and Kanye West: Kicks Open Doors
12. Biggie and Jadakiss: All Day Every Day
13. The Madd Rapper: Still Mad Interlude
14. Biggie and Lil Kim: Only One Thing
15. Biggie and Young Chris: Young G’s 2007 (Produced by Moss)
16. Diddy Interlude
17. Biggie and Jay-Z: The Commission
18. Biggie, Black Rob and Ness: Live at the BBQ (Produced by D-Dot)
19. Biggie and 2Pac: Party and Bullsh*t (live)
20. Biggie and Lloyd Banks: Never Been
21. Biggie and Nas: It Ain’t Hard
22. Diddy Interlude
23. Biggie and Ab: The East Coast Overdoser (Produced by Terry Urban)
24. Biggie and Prodigy: Escape From NY
25. Biggie and Puff: Lyricist Lounge Freestyle
26. Biggie and Lil Wayne: If You See Me (Produced by Garbs)
27. Biggie: Let It Go
28. Biggie and Mobb Deep: Last Dayz 2007
29. Diddy Outro

Howie Green bio information -

Howie's design and illustration work has won over 40 awards from regional and national design competitions. Howie's portrait "Madonna Smoking" was featured in the 2004 British Art book "Madonna in Art" by Mem Memet. Recently one of Howie's album cover paintings won First Prize in the Absolut Vodka 25th Anniversary art competition in Boston, MA.

In 1992 Howie Green came to national attention as a painter and artist with the publication of his book “Jazz Fish Zen: Adventures in Mamboland”. His colorful and whimsical artwork has been featured in 18 group and solo shows and has adorned 9 public and private murals. He regularly creates privately commissioned portraits and corporate logo paintings.

Born in Rochester, NY and raised in Rochester and Clarence Center, NY, Howie Green has a unique artist's eye for the colorful fun that springs out of our popular culture. Images from comics, celebrities, movies, TV and various other flotsam and jetsam that washes up on the rocky shores of our popular media all make their way into Howie's colorful and fun Pop Art creations.

When Howie entered art school in the mid-60s at RIT in Rochester, NY, it was an explosive time in popular culture. While there Howie was exposed to color guru Josef Albers, typographic master Hermann Zaph, sculptor Wendell Castle and most importantly color theorist, painter and architect Fritz Trautman. Later, when Howie was art director of "New Age Journal", he was contacted by Peter Max after he had done a Max-like illustration for the magazine. Howie recalls "Peter saw my illustration and called me to see if we would like to use him to do artwork for the magazine. I was thrilled! Not only did he do artwork for "New Age Journal" for me, but I also worked with him for several years on projects for the University of New Hampshire. I'm also proud to say, Peter did his very first sports painting for me for the cover of the Boston Celtics Media Guide."

Howie has continued through the 1990s and into the new millennium to paint and create new images and works that combine his endless curiosity, technology and color...lots and lots of color! Regarding his use of color Howie said, "I was in art school during the era, of Peter Max, Yellow Submarine and the San Francisco rock posters. What can I say? I guess it "colored" my thinking!"

Today, Howie uses a pop-fauvist color palette and has an eclectic, upbeat, approach to his subject matter. Howie says a lot of people tell him that they love "his colors". Howie comments "My colors? They don't belong to me. Colors are out there floating around. I just happen to use them all!"

Howie's celebrity portraits combine digital technology and traditional painting to reflect the genre developed by Warhol and Max, but in a whole new approach, unique to Howie. "I was looking for a way to do something with my art and with my growing pile of computers and technology and I found it."
Indeed...

In 2006, Howie created an album cover-covered cow sculpture for the 2006 Boston "Cows on Parade" display to benefit the Jimmy Fund and the Dana Farber Cancer Institute. His album cover cow - which featured 39 album covers by Boston-based bands - sold at auction for over $6000. Another work - his "Flower Cow" - sold at auction for $8500. Both cows were sold at the final auction in September 2006, with all the money going to benefit the Dana Farber Cancer Institute in Boston. His 2007 began with an installation at the Mellow Mushroom restaurant in Fleming Island Florida (featuring over 50 of his record cover recreations!), and his commission for the Notorious B.I.G. tribute album cover discussed in this article (available as a print, visit Howie's website at www.howiegreen.com to view this item).

 

 

Cover Story - "Frampton Comes Alive" by Richard E. Aaron

Interview with Richard E. Aaron - "Frampton Comes Alive", a photograph taken in 1974 and used on the cover of his 1976 double-live LP 

 

 

 

 

 

 

 

 

 

 

 

 

 

Subject - "Frampton Comes Alive", a photograph taken in 1974 by Richard E. Aaron, used on the cover of Peter Frampton's 1976 2-record set titled Frampton Comes Alive, released on A&M Records.

Originally published on April 20, 2007 by Mike Goldstein

Holding the record as the biggest-selling live double album of all time for nearly 30 years (such a big-seller that, in the movie Wayne's World 2, Mike Myers' character Wayne states that "everybody in the world has Frampton Comes Alive. If you lived in the suburbs, you were issued it free along with samples of Tide."), 1976's Frampton Comes Alive is the record that made guitarist/singer Peter Frampton (who'd made a name for himself as a "teen idol" in the UK with his band The Herd and then again with his guitar chops both in the studio and with the band Humble Pie), a household name. His band's powerful live performances, as well as his use of the "Talk Box" effects device, made hit singles of songs such as "Show Me The Way" and "Do You Feel Like We Do". The record was a compilation of a number of performances recorded in 1975, including shows in California at the Winterland Ballroom and the Marin County Civic Center, as well as two New York area performances. There was so much material available that A&M decided to make it a 2-record set, doubling the studio workload of the band and master engineer/remixer Chis Kimsey (see photos, below). Once it was decided that this would be a double album, A&M's art department needed to create an eye-catching package, and so our story begins... 

In Richard's words - "One day Peter Frampton, whom I had photographed many times by the early 70's, called and asked if he could take my photo portfolio of him to A&M headquarters in Los Angeles as the senior art director there was looking for a photograph for Peter's next record, a live concert album. Of course I agreed but thought nothing more of it. Although I was already in demand as a photo-journalist, I had pretty much given up on ever having an album cover credit; art directors, it seemed, preferred studio shots.

A few weeks later, I got a message on my answering service that Peter had called and that it was "very important" that I return his call in L. A. By this time, his career was beginning to take off, and the answering service operator was impressed that he had called -- "Do you really know Frampton?"

The message came in at 9:30 a.m., which made it only 6:30 a.m. in Los Angeles. I reached Peter immediately, and he said, "Richard are you standing or sitting?" " Why?" I asked. "Well you should sit. You not only got the cover of my LP but you also got three out of four of the shots inside the double album. " (Editor's note - Richard's photographs of Frampton, guitarist and keyboard player Bob Mayo and bassist Stanley Sheldon were used on the inside of the gatefold).  I was in shock. Finally, after three years, I got my first album cover, and it was from a musician who's music I actually liked and who was also a friend. He knew that it was my first album cover and he congratulated me.

A few months later at a party for Peter in New York, he showed me a mock-up of the cover -- a gatefold with a performing shot of Peter that extended over both outer sleeves. This was the first time I had seen the photo A&M had picked (Ed. Note #2 - interestingly, the shot used was taken at an earlier concert at Madison Square Garden in NYC and is not from one of the shows featured on the recording). The art department had put an extra diffusion filter over the photo to give the hypnotic effect to the viewer, a dreamy effect. The two background stage lights to the side of Peter's head had been re-positioned to make it more symmetrical, and also some coloring added in selected areas on the print. At the time, the only thing that really bothered me was that the focus wasn't sharp; I was trained to believe that every photo had to be technically perfect -- no exceptions. What would my professors at New York School of Visual Arts and the Brooks Institute say when they saw it?

Through the years, colleagues would good-naturedly kid me about the focus. At first, I would say that I had purposely used a diffusion filter. Then, about 10 years later on a radio interview, I came clean -- I told everybody it was out of focus. The album went on to become the biggest selling live LP in history, which just goes to show you: teachers, and critics, aren't always right".

BONUS PHOTO MATERIALS - For this story, Richard went into his archives and provided us with 2 additional never-released photos he took to document the making of this classic recording. Both images were taken at Electric Lady studios in New York City in late 1975 during the mixing sessions for the "Frampton Comes Alive" record.

The first photo shows the three lads in deep concentration - they'd just been notified that this record was going to be a double LP and now they had twice the work to do!

The second photo of Peter in concert was taken in October 2007 - the man still rocks with the best of them!

BONUS EDITORIAL - Here's an excerpt from my April 2016 interview with designer Stan Evenson that provides even more of the back story – In 1974 at the age of 23, and after graduating from Art Center College of Design (ACCD) being trained in advertising and design, I was fortunate enough to land right in the middle of the heyday of the 70's music business looking for a job as a designer. Initially I was hired by the renowned album cover photographer, Norman Seeff, who already had an extensive music celebrity roster by the time I showed up. Not too much later, my former ACCD professor, A&M Records Creative Director, and mentor, Roland Young, hired me to work under his direction in the Creative Services division at A&M. A&M Records was pure, unadulterated Hollywood, located on the former Charlie Chaplin Studio lot near the corner of La Brea and Sunset Blvd. While there, I had the opportunity to work on Cat Steven’s IZITSO advertising and marketing campaign - which included a billboard on Sunset Blvd with an oversized working yoyo that went slowly up and down - to working directly with George Harrison on a few of his Dark Horse Records campaigns. Eventually, I found myself creating the album packaging for Frampton Comes Alive!, a live double album package that went to #1 on Billboard Magazine charts fairly quickly and became one of the largest selling albums of all time, selling over 11 million worldwide and voted “album of the year” by Rolling Stone Magazine in 1976. 

I actually remember the late Gil Friesen - then the Executive Vice President when I was there and who, ultimately, became the President of A&M several years later - coming into Creative Services one day just a few weeks before Frampton Comes Alive! had exploded off of the charts and delivering a hand written note in ALL CAPS that read…"I DON'T WANT TO SEE ANY MORE 4-COLOR ADS…ONLY B&W OR 2-COLOR!" - instructions which demanded our immediate attention. Obviously, full color ads were much more expensive in the trade publications than one or two-color ads and Gil was exercising his authority and concern for budgets and wanted us to tighten our belts. Just a few days later, Gil delivered another hand written note in all caps, "I ONLY WANT TO SEE 4-COLOR ADS BEING PRODUCED FROM NOW ON!". This obviously meant A&M was suddenly rolling in the dough due to Frampton’s huge hit. A&M even built a three-story office building for their music publishing arm next door to their historical lot because of this new-found success. I was a very lucky young designer, at the right place and time, who was asked to design the packaging for this kick ass two-record set.

On a side note, I saw Peter Frampton at the Greek Theater in Los Angeles, doing his "Frampton's Guitar Circus" show, a couple of years ago. I went back stage to reintroduce myself and he hugged me as if he remembered me 38 years before. It was a fun, though, seeing him very bald but still having his act together after all those younger days during which he sported his famous long golden locks. Peter and I are close to the same age, him being 65 and I'm turning 65 in August this year. It was quite a trip for me at the age of 24 helping Roland, Jeff Ayeroff, along with Dee Anthony and Peter finally decide on the cover photo that is such an iconic image for that time. 

Richard E. Aaron biography -
In a career that spanned over three decades, Richard E. Aaron shot still photography for a wide variety of media, ranging from feature films, television and video to corporate public relations, entertainment publicity and album covers.

Perhaps best known for his music photography, he was honored by Modern Photography Magazine as one of the "10 Best Rock Photographers" in the world, he has more than 50 album covers to his credit including FRAMPTON COMES ALIVE which was, until being passed by Garth Brooks' mega-selling Double Live LP, the biggest-selling double live LP ever released. He shot the first photographic rock 'n' roll cover of Time magazine - Paul McCartney/Wings Over America. All told, his work has appeared in more than 6,000 magazines, newspapers and books worldwide.

His extensive work in music photography (4,000 groups photographed) led to his first tour assignment, "Fleetwood: The Visitor in Africa" (RCA Records), a tour shot on location in Ghana West Africa. Similar projects for many top rock & roll groups around the world followed. He traveled through the People's Republic of China for several months in 1986, where he documented the first Western rock group to record an album and tour.

Later on in his career, Richard worked with a variety of feature films, unit still and gallery photographer and as director cameraman producing videos on “Behind The Scenes/The Making Of” for feature film companies. He also continued to shoot for clients in the music business, contributing to music videos, CD jackets and other publicity.

A native of New York, Mr. Aaron and his photo agency had been located in Los Angeles since 1980. He was a graduate of the School of Visual Arts (NYC) and of Brooks Institute of Photography (Santa Barbara, California). You can learn more about Richard’s portfolio of work at his website – www.rockpix.com

Sadly, Richard passed away in December, 2016 at the age of 67.

 

All photographs Copyright 2007 Richard E. Aaron - www.rockpix.com - All Rights Reserved and used by permission to illustrate this story. All text Copyright 2007 & 2016 Michael Goldstein/AlbumCoverHallofFame.com - All Rights Reserved.

Cover Story - "Bob Dylan - Infrared" by Elliott Landy

Cover Story - Subject - "Bob Dylan - Infrared", an Elliott Landy photo most-recently used on the cover of “The Collection, Volume 4 - Nashville Skyline/New Morning/John Wesley Harding (Reissue), released in 2005 on Sony records.

Story originally published on April 13, 2007 by Mike Goldstein

This three-disc entry in Sony’s “The Collection” series of classic album compilations delivers fans three of Mr. Dylan's most experimental and exciting recordings – 1967’s John Wesley Harding (which introduced “All Along The Watchtower” and introduced us to Dylan’s “country side”); 1969’s Nashville Skyline (which featured the timeless “Lay Lady Lay” and a host of Dylan-penned country classics – including a duet with Johnny Cash called “Girl From The North Country” – as well as another great Landy cover shot); and 1970’s New Morning, which included Dylan standards such as “If Not For You” and “One More Weekend”. Sony, it seems, did not want to include music from Dylan’s Self Portrait album, which was released earlier in 1970 and confused/frustrated the heck out of critics and fans alike (although it did include a striking album cover painted by Dylan himself).

In Elliott's own words (adapted from his book “Woodstock Vision”) - "Everyone liked the Big Pink photographs I'd shot for The Band, and shortly afterward Al Aronowitz, a writer and friend of Dylan's, asked me to photograph Bob for the cover of the Saturday Evening Post."

"I rented a little VW bug and drove up from the city to Bob's house in Woodstock. This was during the height of his fame, when he had been seen publicly only once in a couple of years, and many people thought he had died in a motorcycle accident." Aronowitz introduced us. Bob told me how much he liked the Band photos, grabbed his guitar, sat on an old tire, and began playing while I took pictures. It occurred to me that millions of people would be thrilled to be ten feet away from Bob Dylan while he was playing, but he was so casual, it seemed normal to me."

"He suggested some other things. 'This is what I do up here, take a picture,' he said while putting the garbage cans away. He sat on the step of his equipment van and then in front of an old British cab he had. After a while he asked to use the camera. For some of the pictures I used infrared color film, which made the leaves bright red."

"Although he was comfortable with me, he was nervous in front of the camera, and his uneasiness made it difficult for me. I was never the kind of photographer to talk people into feeling good, I let them be the way they were and photographed it. Usually it worked out, because I flowed with whatever mood they were in, without resistance until things lightened up."

“He asked me to come back with the pictures when they were ready, which I did the following week. He liked the photos, and we started to hang out a bit…He was very happy, in love with his lovely and gracious wife, Sara, and his family. He was hiding from the world, savoring the magical experience of having young children. That’s why I didn’t publish the pictures for many years. He cherished his privacy and didn’t want any media attention on his family.”

"I was very impressed with Bob. He was a very special person. He intuitively understood what was going on in a situation. There was a feeling you got when you were with him that was exciting. I believe it was the flow of creative energy surrounding him that sort of spilled over onto you. Over the years I've seen him walk into rooms, even in the presence of other very famous people, and suddenly everyone's attention becomes totally focused on him. It's difficult to have this type of charisma: people always want a piece of you."

The photo was shot at his Byrdcliff home in Woodstock, NY, in 1968
 
Elliott Landy bio –

Elliott Landy, born in 1942, began photographing the anti-Vietnam war movement and the underground music culture in New York City in 1967. He photographed many of the underground rock and roll superstars, both backstage and onstage, from 1967 to 69. His images of Bob Dylan and The Band, Janis Joplin, Jimi Hendrix, Jim Morrison, Joan Baez, Van Morrison, Richie Havens, and many others documented the music scene during that classic rock and roll period which culminated with the 1969 Woodstock Festival, of which he was the official photographer.

After that, Elliott moved on to other inspirations and art forms, photographing his own children and travels, creating impressionist flower photographs and doing motion and kaleidoscopic photography in both still and film formats.

His photographs have been published worldwide for many years in all print mediums including covers of Rolling Stone, Life, the Saturday Evening Post, etc. and album covers, calendars, photographic book collections, etc. He has published “Woodstock Vision, The Spirit of A Generation”, in book and CD-ROM format, and authored the book “Woodstock 69, The First Festival”.

More recently, Elliott has published a book based on his photographs of The Band (Elliott Landy: The Band Photographs, 1968-1969), with more books based on his archives planned in the future.

Elliott Landy trivia – “curiously, because our names are anagrams of each other – DYLAN/LANDY – many people thought I didn’t exist – that I was Dylan under an alias!”

For more on this artist, please visit his site at https://www.elliottlandy.com

Cover Story - Bowie's "Ziggy Stardust" by Terry Pastor

Cover Story - Subject - Terry Pastor creates the album cover for "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", released in 1972 on RCA Victor records.

   

 

 

 

 

 

Originally published on April 7, 2007 by Mike Goldstein, AlbumCoverHallofFame.com

Always in the top 50 of everyone's "Greatest LPs of All Time" listings, this record tells the story of a visiting Martian who's on a mission to save the world from its day-to-day humdrum. Of course, this is best accomplished via sex, drugs and rock'n'roll, with the Messianic main character being torn apart by fans in the end (so much for a "Peace & Love" message).

In addition to singer/songwriter David Bowie taking on the role of the lead character, the Spiders From Mars band also featured Mick Ronson on guitar, Trevor Bolder on bass and Mick Woodmansey on drums. A note on the album cover suggests that it is "to be played at maximum volume".

The Brian Ward photograph that serves as the basis for this cover image by artist Terry Pastor shows Bowie-as-Ziggy standing on London's trendy Heddon St. (just off of Regent St., a popular shopping area in the West End). Many Bowie fans seek out this spot on trips to London (although the phone booth shown in the background as removed years ago).

In the words of artist, Terry Pastor -

"I was given a black and white photograph printed on matte paper - David Bowie's management wanted some colour put into it. I also did the cover for his previous LP, Hunky Dory. This was also a black and white photo that I coloured up in the same way. Perhaps this is why the label decided that the Ziggy cover would be similar? I applied the colour using photo-dyes with an airbrush (a DeVilbiss Super 93). The lettering for the front cover (which isn't included on this print) was lettraseted (rub-down transfer lettering) - a very hands-on way of doing things, but in 1972 that was the way things were done. No Mac computers in those days!

I was working on the back cover one evening at my studio, which at the time was in Covent Garden, London when I received a phone call from David asking how the cover art was going. I told him I had finished the front and was working on the back cover photograph. He was very excited hearing that, having no idea there was an image for the back cover. He asked me what the image was, and said that he was really looking forward to seeing it. From that you can assume David didn't have any real input into the art direction at this stage of the cover. He probably had much more input when the photograph was being shot. The back cover, featuring Bowie in a phone box was done in exactly the same way.

Also an interesting point - before this album was released, I would bump into David occasionally in the West End (Central London) or meet up in a pub, and he would go totally unnoticed. Within a matter of months from the release of Ziggy Stardust, he became a mega-star and would get mobbed if he appeared anywhere in public."

Terry Pastor bio –

Mr. Pastor has worked over 40 years working as an illustrator and photographer. Traditionally working with an airbrush, the last few years has found him working with design and illustration in digital formats.

With a focus on food photography, he works alongside his wife Carol, who is a Cordon Bleu-trained cook, writer and food stylist for national magazines and cookery books.

A self -confessed motorhead, he is passionate about cars (particularly Corvettes, as a proud owner of a 1984 Crossfire) and motorcycles (he’s produced some amazingly-detailed illustrations of classic bikes and cars – you can find (and buy) editioned prints of some of his favorite machinery on his website at http://www.terrypastor.co.uk.  (Editor’s note - I personally bought one of his prints of a 1947 Indian Chief, as I’m an Indian rider myself. It is REALLY a fantastic print).

His clients include: Sony, Nintendo, Ford Motor Company, Psygnosis Software, Lever Brothers, NASA, Akai, Saab, Phillips, RAF Red Arrows, Playboy Magazine, G.M.Corvette Division, Nissan, IBM, Honda, MacDonalds, most major book publishers and record companies.