• BOMONSTER just a regular BO at March Meet '14

    The annual March Meet nostalgia drags at Famoso has been going on for decades. But we've only been selling BOMONSTER original hot rod art and apparel on vendor row for three years now and we're starting to feel like regulars. Shortly after setting up the booth, vendors tell us stories about their other shows, racer's families stop in to introduce themselves, new friends hang out, old friends show off new tattoos of my art and loyal customers return wanting to know what's new. I always think "I'm new. My stuff is new. This is all new to me!" But I'm starting to realize you're only new once and then BANG! - you're a regular.

    All photos by BOMONSTER

  • BOMONSTER Rocks the Lake Havasu Rockabilly Reunion '14

    We just got back from a great three-day weekend of live music, cars, bikes, girls, friends, fun and we had a front row seat to it all. Situated right on the Lake Havasu beach next to the London Bridge, we joined a small city of cool vendors and offered our BOMONSTER art and apparel to a creative and cool crowd.

    What makes a Rockabilly Reunion a Rockabilly Reunion? Rockabilly music and pinup girls. Plus cars, plus bikes, plus beer. Add celebrities and an interesting crowd and it makes you wonder why there's not one every weekend. The weather was perfect for an outdoor concert, people watching and taking pictures.

    Big Len of Big Len's Chop Shop in Havasu asked if I wanted a ride in his full blown '49 not-street-legal Chevy gasser. I thought "Where?" He said "Get in." Then we drove out onto the main streets of town and he lit up the tires filling the car with tire smoke. I had to cover my ears it was so loud. We only had to slow down because the light ahead was red. That's the unique thing about Lake Havasu - the residents have so many off-road toys that everything is legal to drive on city streets. Although the speed at which we accelerated to the next light was probably not exactly legal.

    I don't know how Kennie Cuppetelli does it but he somehow talks three days and night's worth of great bands to come all the way out to Havasu to rock the crowds. There's a lot of great music but my favorites were Three Bad Jacks, Cashed Out, Beau Knott and the Burners and a band that absolutely knocked me out - The Hellbound Blues Band featuring Corey Miller on drums. Corey is an awesome artist, always compliments my work and pushes me to deserve it. He came into the BOMONSTER booth for picture since I was wearing his shirt this time. The night before, Elvis and John the drummer from Three Bad Jacks also stopped in the booth and talked music and art before going on stage and rocking the house.

    All photos by BOMONSTER. Models shown include Brenda Lee Pinup and The Pinup Angels (top photo), Kelly Jameson (in yellow dress), and Kimberly Winegar (#rebelwink1) in red top.

  • BOMONSTER's Scratchboard Secrets Revealed on Old Tin Rods

    Ronnie from Old Tin Rods needed a BOMONSTER original shirt design bad. He had a metal class with Gene Winfield coming up and he wanted to wear something with his shop name. He sent me a picture of his car, told me how he was going to finish it and paid up front. I was so slammed I didn't have time to create a detailed sketch so I emailed him a rough thumbnail sketch. "How about something like this?" I said. "Add a girl and we're good" he said.

    I wish all clients were that trusting. I've always done my best work when a client expects greatness and doesn't tell me how to make it great. Here's what I did...

    I work out the design on paper, scan and then print it out. I transfer just the outline shape to the scratchboard by rubbing the back of the printout with pencil and then redrawing over the lines of the printout. On the scratchboard I scratch just the outline with an Xacto #16 blade and then start adding details like the people's faces. I usually start with the most difficult - and in this case it's the faces. What makes faces difficult for me is one knife scratch width one way or the other and the whole face can look funky. I'd rather get it right early in the scratch so I don't have to worry about it later. Once the hardest part is done I continue scratching where the light hits to define the shapes and edges.

    I could have added his logo over a solid white floor glow but I like adding typography and logos in my hand-scratched style to integrate with the art better. It also looks less "corporate" although this piece did not run that risk. Hahaha. Here's the final...

    If you'd like a BOMONSTER original scratch for your company, email me at bomonster@bomonster.com and let's talk.

  • BOMONSTER The Artist at Grand National Roadster Show 2014

    Yes, BOMONSTER is an artist but at many of the cool shows we vend at to sell BOMONSTER art and apparel, it's the BOMONSTER t-shirts, stickers and prints which pays for the expenses to be there in the first place. With the annual GNRS coming up I started thinking about the builders and their passion for creating high dollar custom one-off roadsters and entering them in the America's Best Roadster Show. The prize is $10,000 but that pays for a half a paint job with this crowd. All of which got me thinking "Why not be The Artist for this show and bring some larger framed originals and make that our focus?" Weeks before I created some wild larger original scratchboard pieces and took them to Junior at Fast Frame in Ventura to see what he could do. I got them back a day before we left for the show and three days later two of my bigger pieces were sold and by the end of the weekend we had sold five smaller originals. I was thrilled for the sales and loved the framing that Junior did but realized these pieces were in my life for a total of three days before they were gone. For a brief second I knew what it felt like to be a successful selling artist.

    Oh yeah, and there was a car show too. here are some pictures...

    Of course I wasn't the only artist in the room. At the other end of the hall were the pinstripers who put on a live demonstration of real talent. I said hello to Jimmy C, Dave Whittle and Chris Blome and then went and checked out the featured Bonneville cars and my favorite part of any show - the 1/24th scale models before I had to get back to the booth to sell more art.

    All photos by BOMONSTER except the photo of BOMONSTER taken by his lovely assistant. Sketches by Denen Hitchers

  • BOMONSTER Featured Centerspread In a Racy Magazine

    BOMONSTER's original hot rod art is now featured in the Dec issue of Car Kulture Deluxe. The article covers BOMONSTER's formative years going to the drags to watch his dad race his six-banger roadster in the D/Roadster class, meeting a plaster covered Ed Roth while creating a new custom car which became the Mega-cycle bike/truck and BOMONSTER's scratchbord art technique and creative influences which includes Bernie Wrightson, Ed Hopper, Dan Piraro's Bizaro comics, Banksy, Tim Burton, German Expressionism and walks through contemporary art galleries. A BOMONSTER t-shirt design even made the centerspread.

    More of BOMONSTER's work can be seen on www.bomonster.com

  • BOMONSTER Rained Out at Mooneyes 2013

    The forecast was for rain and we went anyway. We've never been rained out at an event before and the thought of the weatherman being wrong and everyone having a good time without us gave us the incentive to set up our BOMONSTER booth the day before and arrive early on show day under threatening clouds. We set up next to Jack's Graphic Station and we're good friends so if no spectators showed up at least Jack and I could talk art and our "staff" could talk about us behind our backs.

    The Mooneyes show always draws a crowd because it's local to L.A. There's a 1/8 mile drag race, great bands playing on stage, lots and lots of cars to look at up close and a vendor village with just about every cool vendor in the kustom culture scene - plus BOMONSTER!

    The day started off promising as the lots filled and friends and fans showed up. Early morning sprinkles didn't scare anyone off but when it turned to a steady rain, the drags were cancelled and everyone in a hot rod with no top or windows in their cars left - which meant half the parking lot was empty in minutes. Even though the rain continued, the crowd got real interesting. Only the hard cores remained and they stopped in the vendor booths to stay dry. We didn't sell much but when friends came by we caught up with photographer Bill Garrett of the new Low View magazine, Juan from Deadend magazine, Pete, J-Bird and Tony from Suavecito, Holly from the Ventura Nationals and Born Free events and so many others who we were happy to share our portable roof with. After it rained some more the vendors packed up with hardly any sales but like I told Mrs BOMONSTER, "One of the best Mooneyes shows ever."

    Photos by BOMONSTER





  • BOMONSTER Scratches The Atlas Oil Tools Special

    When Keith Brednich wanted crew shirts for his restored 60's era cacklefest dragster rail- the Atlas Oil Tools Special - he wanted a wicked, whacked out, flaming monster of a design and thought of BOMONSTER. I love those old dragsters and I had fun scratching this shirt design for him...

    It was easy to get inspired. He sent me this great photo of his car at speed in the sixties. From there I laid out the design, scanned, printed and then transferred the outlined shape to scratchboard and added the details as I scratched.

    If you'd like a BOMONSTER original for your wall or on the back of your shirt, check out bomonster.com

  • Step-by-Step How BOMONSTER Became Just Another Car Guy

    One of the most widely read blogs in world about cars and things with wheels that are cool is justacarguy.blogspot.com. Jesse, the blog's creator/writer seems to show up at all the shows I do and all the ones I don't because he posts something new nearly every day. He's followed by millions around the world because he's one of the most ripped off bloggers in the world. What he writes on his own blog often turns up word for word, picture for picture, all over the world on other car blogs by people he's never heard of.


    So when Jesse asked me if I would scratch out a BOMONSTER original for a new masthead for the most widely read auto blog in the world I jumped all over it. Here's how I did it:

    My art is created on scratchboard – which looks like a piece of Masonite coated with a soft white Claycoat finish and then sprayed with a black India ink. My job is to scrape the black surface with a knife - which reveals the white Claycoat layer underneath. I taped the scratchboard to a drawing board - which I can pivot on my desktop. For this project Jesse sent me the photo of a vintage hot rod roadster at speed. He requested some slight modifications and left the rest to me. I threw his photo into Photoshop and leaned the car forward and enlarged the wheels. Then I Googled some aviator goggles because his photo lacked good detail. I added a light pool with a shadow and printed it out for reference while scratching. Since an Internet blog masthead is a small file I was able to keep the art size relatively small on an 8x10” sized scratchboard. I like to scratch larger pieces like shirt designs onto a 12x16” board for better detail.

    Sometimes I work from my own drawings and sometimes I work from photos where I tweak the perspective and can bend around in Photoshop. Since this was Jesse’s photo, I opted not to tweak it too far. And since my art is scratched with no room for error, I always work out the driver first as people are the trickiest part to get right. I figure at this stage I can always start over if the driver’s face turns out funky. Then I proceed by scratching out the basic outline following a faint graphite tracing. Graphite transfers are created by doing a soft pencil rubbing on the back of the printout and redrawing the basic shape onto the scratchboard. I wear cotton archival gloves to keep the surface free of skin oils – which can resist the Krylon clear coat sprayed on later.

    Many artists can do sheet metal well but bad lettering can bring down the quality of their picture. My challenge was to re-create the “brush-painted-in-hurry” look but not make it look like I can’t do good lettering. I opted to let the scratch marks show to give the feeling of hand painted numbers.

    One of the things that defines my style is a scratchy light effect created by scratching a lot of little wavy lines. It’s a time-consuming process and it’s important not make the length or the line quality too uniform. I just keep scratching until I like the look.

    On one hand black cars are easy because you just leave the board black. On the other hand, light adds life to a rendering so I scratch little “stipple” marks on the top edges to help define the car shape and to give the car body some dimension. Lots of little marks close together intensifies the quality of light. Here I’ve added some slight tire and flying salt detail.

    There are many scratchboard tool sets available online. I can see the value in all the different shapes and sizes but what works for me is one single tool – an Xacto knife with a #16 blade. The point allows me to scratch the fine lines and the flat edge lets me remove a lot of surface material if necessary. I also wrap the tip of the handle with a strip of black duct tape to soften my finger pressure against the harder knife handle surface. As it is, hours and hours of scratching can leave dents on my fingertips for days! I change blades often and will usually go through 7 or 8 blades to create one design.

    Every artist has to answer the question: “When is it done?” I have to be careful not to scratch too much but at the same time know how to create an intricate look. Here I’ve added some flying trails of “energy” behind the driver and the car and I came back to the wavy lines creating the pool of light at the base of the drawing. The left half looks finished because I’ve added stipple marks to the wavy lines and also threw in some longer scratches to look more explosive. The wavy lines on the right need that added touch to finish them off.

    Once finished I then scan and create a digital file for printing. I spray a Krylon non-yellowing clear coating onto the original surface - which removes a lot of smudge marks and evens out the surface. This one was a fairly simple execution and I was able to scratch it out in two hours after spending about an hour of prep time creating the printout. More involved pieces like my shirt designs and poster prints can take 10-12 hours of starting-and-stopping scratching to finish.

    More of my work can be seen on my website at www.bomonster.com or my facebook page: www.facebook.com/theBOMONSTER

  • BOMONSTER and the Great J.N. Roberts

    In 1967 my dad Winston Beaumont started a motorcycle results paper called Rap Up and went to many So Cal races and took pictures and wrote the articles. It didn't last long but the memories did. I was a little BOMONSTER back then and tagged along the best I could but mostly was left behind at camp while dad covered the race usually on foot. One of the emerging stars back then was J.N. Roberts. He was in great shape and known to train between races before anyone had thought to do that. The year before he had earned his expert #13 plate riding a stripped down Honda scrambler! I think it was a 305. He wasn't a member of a club yet and was just a great, natural rider. While most of the fast guys rode big Triumphs and sat most of the way, J.N. changed all that by standing the entire 100 mile race. He wore football pads while the photos back then show most of the riders wearing simple cotton sweatshirts and even t-shirts with no padding. These pictures were taken at a two-loop hare scrambles near the intersection of highway 395 and 58 - commonly called Four Corners. He won the overall as a new member of the Checkers M.C. riding one of the first Husqvarna 360s in the states over Triumph riders Gary Preston and Jack Byers.

    Years later I became an art director creating ads and TV spots for Nissan trucks and needed some dirt bike riders to ride in the background for a TV spot out near Palm Springs. He was a stunt man for films back then and was one of the riders. I was shocked to see his name on the call sheet and told him how I knew him from 20 years before. He wasn't impressed and seemed to brush it off like maybe I had the wrong guy. As the day progressed he and the other riders seem to just mill around on their bikes in the background in first gear while we were filming. I asked the director for them to step up the pace and hit the whoops in the background at speed and told him that I knew the rider could handle it. After it was relayed to J.N. word came back that he wanted extra dough to go faster and he had only signed on to do what he was doing. I didn't know much about "stunt" rates back then and told the producer I didn't want anything dangerous, just hit the whoops fast and in control. But apparently what I wanted qualified as a dangerous "stunt" - and it probably did seem dangerous to the city-dwelling Hollywood types surrounding us. I begged the producer to give him what he wanted and she agreed. We rolled cameras and he hit the whoops at a slightly faster pace. I wanted more speed but we ran out of money and we were losing light.

    But in my mind he was still fast.

    Photos by Winston Beaumont



  • How BOMONSTER Scratched His Way Into Ol' Skool Rodz Magazine

    The September '13 issue of Ol Skool Rodz is on the stands now and BOMONSTER's original scratchboard design "Keep Your eyes On the Road" is featured on the inside centerfold. It's a '32 Ford hot rod truck with a truck bed full of eyeballs driving across the desert - something you don't see every day. But then, "something you don't see every day" pretty much describes BOMONSTER's art.

    Usually my designs are scratched on black leaving most of the black as the background. This one was a little different in that I scratched away most of the black to a white background. Here's how I did it:

    I start with a piece of scratchboard taped to my drawing board and work flat on a table top. I transfer my design to the scratchboard by rubbing the back of a printout with pencil graphite and then redraw by tracing over the printout onto the scratchboard. Working under a desk lamp helps to see the lines. Around my board I have some reference photos to refer to while I scratch. Usually the first thing I scratch is the driver. People are tricky because one wrong knife scratch can throw off the look of a face, whereas an errant scratch on a car is less noticeable so I like to get the person right before spending a lot of time on the rest of the scratching.

    You can see by the photos here that it's a long process. Before I scratch away the background, I leave a black outline around the subject matter and scratch the background away. I leave some ink strokes which gives the piece a woodcut look. Once finished I scan so I have a digital file to work with later. In this case when the magazine called and wanted to run it, I was able to add color and provide a sized digital file for best clarity.

    I also used the file to create a two color silkscreen print centered on an 11x17 and sized to fit under a standard 11x14 mat. It's silver metallic under black ink on a tan-colored chip board. I printed and signed 50 of them and they are available on my website here:



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