I first became aware of Junior Tomlin, the Salvador Dali of Rave, when I stumbled across the Depth Charge - Dead by Dawn 12” in my local record shop. I was transfixed by the sleeve art, a clear reference to Sam Raimi’s Evil Dead film, and purchased it immediately. I was so glad I did. As my vinyl collection increased, so did my collection of Junior Tomlin art on records by artists such as Renegade Soundwave and Messiah.
So it was a great day when I received a DM on my Instagram account from the man himself, saying he loved my work. During the ensuing dialogue I took the opportunity to request an interview as the basis for this article.
In his youth Junior Tomlin was gripped by the sci-fi covers on Isaac Asimov novels. These epic images depicting fantastic space scenes were the work of talented airbursh artists such as Chris Foss. It was their choice of tool, that inspired Junior to want to work with one himself. The opportunity to learn how would happen once he was studying Graphic Design at Goldsmiths.
Other early inspirations came in the form of comic books, with Junior first picking up a copy of Mighty Thor, due to his interest in Norse mythology. From here he was exposed to a plethora of other silver age Marvel titles and artists; Jack Kirby, Jim Steranko, Gene Colan, Steve Ditko and Rich Buckler. The comic book art of this time was known for its use of cinematic framing, stylised detailing and the influence of surrealism, all of which can be seen in Junior's work.
2000AD artists such as Carlos Esquarez and Simon Bisley were admired alongside European artists such as Moebius and Enki Bilal, which added to his ideas on composition and use of colour. I find Junior uses a dramatic tonal range with cold and warm palettes worked closely with one another. Creating a vivid dynamic range within his work, almost psychedelic in nature and reminiscent of surrealist art.
50s and 60s sci-fi cinema played a big role in Junior's narrative ideas, creating pictures that portray 'out there' concepts. This is most notable in his work on rave flyers, helping to signal the key aspects of what would become rave culture. Films like This Island Earth, The Day the Earth Stood Still and 2001, a Space Odyssey greatly influenced the subject matter of his work.
It's great to know that Junior shares my love of the 70s TV show Blake's 7. Known for its high sci-fi aspirations, made with an effects budget of almost nothing, it was the scriptwriting and performances that kept us viewing. Later episodes would also feature a prominent black cast member Dayna, a kick ass female space warrior, played by Josette Simon, which may have had a influence on Junior's AfroFuturism.
He admits his love of the scratch built space craft in the series. Hair dryers morphed into space fighters, dressed with an assortment of bits from Airfix model kits. It was this affection that would lead junior to working in special effects at Pinewood in the 1980s, delivering concept sketches and designs for films such as Clive Barker's Nightbreed. But this would not last long as his work on record sleeves and flyers would soon take off.
Junior explains the process of his classic airbrush art. Starting the work from sketches and reference images pulled from glossy Sunday supplements, he would first design the landscape, setting the environment and lighting. Then by applying between seven or eight masking layers, build up the composition, ensuring his tight stencilling work with a sharp scalpel blade and much patience.
Originally working with gouache, he moved into using acrylic paint for its durability, painting on hardpressed CS10 line board. Back in the 80s and 90s the art would be imported using a drum scanner, with the painted surface stripped away from the backing board so that it would be wrapped around the device. A torturous act to commit any art to, he has luckily been able to keep over 90% of his original art. Decrying the abuse artists had got in the comic industry where their art was kept by the companies, and often destroyed.
One of his personal highlights was painting the cover for the French edition of V for Vendetta comic, taking notes from the original artist David Lloyd.
In the 1990s Junior transitioned into the digital arts, teaching himself how to work with pixels instead of paint. He explains that although the techniques are different, he still follows a similar process. Working from sketches and keeping an end plan in mind. He says its always been about the journey to this goal and the discoveries made along the way. Nowadays he can scan his sketch in and work directly from that reference to build up the picture.
In over 35 years of painting and creating Junior has never had an agent, instead finding the bulk of his work himself. He has recently had a collection of work released by Velocity Press. It collects together his most iconic record sleeves and rave flyers in one place. It comprises of an outstanding body of work, which he hopes will inspire future generations. Since publication he has seen an increased interest in himself and his work, leading to further commissions. It's one hell of a business card.
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