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Depth Of Field - Raw Forums Interactive Q&A: Tim Bradstreet

Tim Bradstreet

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Tom Racine and I are starting a new thing with the Depth Of Field podcast called, the Raw Forums Interactive Q&A.

Fans can post questions for our subjects and in turn, Tom and I throw those questions at our special guests.


We'll be picking only the best questions and we like them to be serious and intelligent BUT we are no strangers to outrageousness so if you have a crazy question then lob it out. Looking forward to hearing from you.


The first guest is . . . Me.

Mainly because I'm available ;) but also because Hell, this is my forum so I assume you are here because you have some interest in getting to know me better, or you are a fan of the work. So I'm kicking the whole thing off.


We plan on bringing other guests in periodically via phone interview and you never can tell who will stop by. This should be fun.


So here's your chance to chime in.

We'll be reading off the screen names of the members who's questions we select so you will get official credit on the show ;)


Bring it on -


- Tim


PS - Nomad, here's a perfect chance to ask that question you PM'ed me about -




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(This may be a stupid question. So, if so, just chuck it.)



Does all of your artwork always have a human form in them. I mean as opposed to a work with scenery or a "still life" so to speak. Animals, vegetables or minerals as opposed to humanoid types.


I realize in most of the work you do, a human type character would be called for in the piece. Just wondered if you sometimes depict other things.

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I have always loved the painting you collaborated on with Fred Fields for Dragon Magazine. Sorry, I can't remember the title but I think you probably know the one I'm talking about.

Do you like to jam with other artists?

What was your favorite collaboration?

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I keep trying to come up with a valid question...but all I can think of is asking why you think it is that I am so much cooler than all the other RAW members? :)


Oh, and...what are some books you want to work on but never had the opportunity?


AND...what comic character would you like to see revived? I'd like to see someone do something with Deathlok more akin to the original myself...but with your knowledge of comics dwarfing mine (I'm so main stream), you probably have some VERY cool stuff lurking in the recesses of that skull of yours.



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I keep trying to come up with a valid question...but all I can think of is asking why you think it is that I am so much cooler than all the other RAW members? :)


Maybe coz you simply ARE that much cooler, Fred.


I digress! I really DO have a question.


You know I'm new to the world of comic books, neh? But I've noticed a convention in the art which makes me curious. I'd like to know why it is that the artist who draws the cover is NOT the artist who draws the panels themselves?


I don't think it's enough to say that the cover artist is one who knows which type of image would sell the most comic books, because surely the advertising or merchandising departments could tell any artist what to draw? So it must be something more than just that. But it's eluding me.


It would also be fun to know the history of this convention. For example, was it always this way? If not, when did it change and why?


AND, it would be interesting to know how YOU, Tim, came to be known for your covers, and whether you ever made your living drawing panels?


Thanks, Tim!




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Guest AdminGuyX
Sorry, I can't remember the title


If it's the one I'm seeing in my noggin, it's in Maximum Black and called "Nailed to the Gun".


I have some questions for the show!


Tim, what sparked your interest in, and inspired your choice to use photos as a basis for your work?


How often does the urge strike you to work without photos?


Have you found it easier to find models in Cali versus Ill.?


When are you directing a film already?




How's the writing collaberation with Todd Farmer shaping up?


How did Shock Festival find it's way to RAW, and how did it change once it did? Did it? Has to be a great story there.


Lastly, any future RAW projects you care to discuss?


Also, welcome back Racine!!! We missed you.





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Well since Tom never answered these questions, I feel compelled now to ask you and get answers...LOL

I get to pretend I am the female James Lipton and we are on The Actor's Studio. I wanted to ask you the questions he always asks at the end of the show (you don't have to answer them all if you don't want to). The questionnaire concept was originated by French television personality Bernard Pivot, after the Proust Questionnaire.


Thank you.


1. What is your favorite word?


2. What is your least favorite word?


3. What turns you on creatively, spiritually or emotionally?


4. What turns you off?


5. What is your favorite curse word?


6. What sound or noise do you love?


7. What sound or noise do you hate?


8. What profession other than your own would you like to attempt?


9. What profession would you not like to do?


10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

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I just got "V for Vendetta" from Amazon. Just thumbing through it, I'm hugely disappointed. I hadn't realised how superior was the art work in the hardcover compilations of the MAX Punisher. Maybe the original comic books were superior as well, but I've not seen those. Anyway, I'm spoiled, I guess. If anyone prefers the art in "V for Vendetta" I'd seriously like to understand why. To me, the faces in Punisher are so much more expressive and the colors so much more dramatic. Those MAX compilations are gorgeous!


Anyway, I DO have questions!


These jobs are credited in the MAX Punisher books. What exactly do these people do? Penciler, Inker, Colors, Letters. Penciler and Letters are pretty self-explanatory, assuming that the penciler draws the original image. But does he decide what to draw based on the story? Or does the author tell him what to draw? Or is it a collaboration between the two? What about the Inker and Colors? Which of these people work together, which separately, or is the entire thing a collaboration among them all?


In the "V for Vendetta" book, only these jobs are listed: Interior coloring, lettering. Why don't they list an Inker or Penciler?


How much direction (or interference, depending on ones point of view) do these artists and the writers get from the studio? (Do you call the comic book companies "studios" or something else?)




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Love the podcast, and was excited to see the two new episodes.


This stuff may have been covered already, but after listening to all of the episodes, I think it'd be interesting to hear your take.


1) Who are some of your favorite artists, both in and out of comics?


2) Directors you'd like to work with on a dream movie job. Dead or alive :)


3) Thought process behind some of your more popular covers.


i feel like so many of the personal stuff has been covered, and your best podcasts have been the one's where you and tom get on a subject and just go off.

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  • 2 weeks later...

I'm courious about the "Bradstreet skull" that you used on the Punisher. Mostly how that design came about, if there were others and why did you go back to the traditional skull. Over the years artists have altered the skull, some good, others not so good, but your stands out with some of the more memorable ones. Just wondering how it came about and what fan reaction has been. It was nice to see it pop up again on #50.


As a film score "buff", who would you say is the most under-appretiated composer? Also, what score would you say is the most looked over?

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