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PREMIERE EDITION When I set out to create Gnarly Magazine I knew exactly what I wanted to do: promote talented artists, designers, sculptors, pinstripers, sign painters, builders, musicians, and all kinds of crazy flying eyeballers from around the Kustom Kulture world. Finding gnarly artists was the easy part of the job. The hard part was figuring out what voice I wanted to give to the magazine. I struggled with that voice early on in the process because there was just so much other work that needed to be done, like reaching out to artists; pestering them for high rez images of their work and bios; looking for affordable printers; nailing down a cohesive look and feel for the pages and doing all of the page layouts. As artists were emailing me their photos, bios, and information –and through back and forth communication with them– it became clear to me that their voices should shine through this premier issue. The first issue of Gnarly Magazine was going to be limited in pages, so I thought the best thing I could do is just shut my yap and let the artists tell their stories. As the magazine grows in pages (and advertisers!) there will be more room for Q&As and artist backgrounds; more room for creative/funny articles, editorials, comics, tricks and tips, and any other interesting thing I can think up that I feel people may enjoy reading. So, thanks for picking up this premier issue of Gnarly Magazine. It was a blast talking with each artist; seeing their amazing artwork fill up these pages, and discovering hidden writing talent from across the globe. Gnarly Magazine is a quarterly publication, with issues printed in the Winter, Spring, Summer, and Fall. As the advertiser base grows, and the contributors start coming on board, I hope to publish bi-monthly. It's a lot more work, but promoting talented artists like the ones in this issue make all of those extra hours worth it! Finally, a big thank you to all the artists who helped me get this premier issue of Gnarly Magazine off the ground. All of your artwork is inspiring and it helped me turn this idea into an actual magazine. Big hugs, guys! Thanks for reading, Johnny VonGriz

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Publisher / Editor / Creative Director Johnny VonGriz Contributing Writer Emelia Lakso Contributing Photographer P. Tuominen www.nurkkaus.net Website: GnarlyMagOnline.com Email: GnarlyMagOnline@gmail.com Digital copies of Gnarly Magazine are available via Magzter. The FREE Magzter app is available on Apple iOS, Android (Google Play), the web, Amazon App Store and Kindle Fire.

©2017 Gnarly Magazine All rights reserved. No part of this publication may be reproduced by any method whatsoever without the written permission of the publisher. The magazine accepts no responsibility for unsolicited recordings, manuscripts, artwork, or photographs and will not return such materials unless requested and accompanied by a self-addressed stamped envelope. You are free to tell all your friends on social media how cool Gnarly Magazine is, though. Speling and grammer, mistakes intenshunal.

INSIDE THIS ISSUE 4 Kevin Saunders 8 7 DIRTY WORDS 10 BOMONSTER 4 18 Zach Matthews 10 21 B-Movie and Chill 22 Raggare: Finland Kustom Kulture 24 Pinstriping by Hoff 30 Eero Kumanto 33 Marco Gomez 33 34 34 Jim Turner 3


g n i k u P m o r F k c o R k n u P o t by Kevin Saunders I was born in Ft. Riley, KS and grew up an Army brat in the 80s. Started doodling ever since I could hold a pencil, I'm told. Wouldn't go anywhere unless I had a notepad and a pen. I would also sit and watch loads of horror movies with my brother growing up. They stuck in my cranium ever since. Music as well. We'd sit with the radio blasting and just freaking draw for hours. Then I got into punk rock, classic cars, hot rods, rat rods, and vintage America. I try to include everything I'm into in my art: Puking, punk rock, hot rods, skating, chicks, food, and all that. As far as influences go, Ed “Big Daddy� Roth is a huge one. Hope you noticed! Robert Williams as well. A few comic book artists from my childhood. Arthur Adams and Mike Zeck. MAD Magazine. Every artist from the old EC Comics. Eric Pigors of Toxictoons as well. I actually got the chance to meet him at a convention we were doing in Dallas back in 2008. Fucking awesome dude! Such a nice guy. But I still continue to be influenced to this day. There're millions of artists out there. All with a unique and crazy style. I'm glad to be a part of it all.

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WHERE TO FIND KEVIN... Instagram: @deadk76 Etsy: www.etsy.com/shop/Deadk76 For commission work, email: zombie.you@hotmail.com

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554 WORDS WITH 7 DIRTY WORDS

What are you guys working on right now? We're finishing up mastering a new album titled "Along for the Ride." We did most of the instrument tracking at the end of last year and some vocal tracking earlier this year. Our engineer/ producer Derek Philips is taking the time to make sure we're happy with the end product. Hopefully, it pays off! We should be releasing it sometime later this year. Aside from that, we've been writing some new material. We almost have enough for another album! How would you describe your sound? Sex, drugs, rock and roll? All three, please! Although lately it's been some of one, more of another and virtually none of the third. Not in any order mind you. Who typically writes the songs? What’s that process like? Either El Ray or Brian will come up with some riffs, record them and email them to the entire band. Cloud storage accounts are a great way to share ideas. Then Rodney can come up with some thoughts for drum fills and such, then when we meet for rehearsal, work on the arrangements and hash it all out to be some form of an actual song. Lyrics usually come later after a melody is figured out. We write about a variety of topics both true and fictional. Such as the time that Brian was sucker punched by some dickhead that he never got to see what they looked like, or a song about wacky religious cults that people kill themselves over, or a song about how a girl in an abusive relationship gets revenge. All fun stuff. We even got a song about Lemmy Kilmister's (r.i.p.) favorite drink.

Photo: Scott Evanskey

What do you do outside of the band that inspires your music and writing? Work our day jobs. Keeps the dream alive of someday being able to tour consistently, break even and NOT have to work a day job.

7 DIRTY WORDS Huntington Beach, California Three piece Rock N Roll outfit, here to make your ears bleed, and get the joint jumpin' and rockin'!!! Hard Boiled & Dirty is how they do it!

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Any US/overseas tour dates coming up to help promote the new album? We would love to tour outside the US or even around the US but for now, play as much as possible around the Southwest to promote the new album. We are currently looking for investors who have a lot of money to support our touring but doesn't mind no return on their investment! Who are you guys listening to right now and what bands should people be checking out? Aside from the classics that everyone should know like Motorhead and Sabbath we collectively listen to bands like Clutch, The Freeks, Fu Manchu, Red Fang, Nashville Pussy, Zeke, Turbonegro, Supersuckers. Then there are some So Cal bands that we play with that need some checking out as well such as Albatross Overdrive, Cornfed Project, Mink Daggers, Silverface Champs, Bossfight, Gasoline Kills...among others. Since you dudes are old as shit, what advice would you give to the young guns just starting out? Always practice and play as much as possible! Develop a good stage show, tighten up on a set list, be open to all types of music and art, be on time and stay late. Support other bands and don't forget the scene is smaller than you think. Respect the sound guy/girl–they control everything! Network with other bands and promoters, steer clear of anyone in this business for selfish reasons, and don't pay to play! Gnarly Magazine / Summer 2017


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GNARLY MAGAZINE T-SHIRTS Screenprinted on GILDAN 100% cotton t-shirts. Screenprinted in the U.S.A. at Gnarly Magazine studios! Professional quality.

gnarlymagazine.bigcartel.com Gnarly Magazine / Summer 2017

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SCRATCHIN' WITH

BOMONSTER BOMONSTER is a Southern California scratchboard artist inspired by the hot rod/ motorcycle/off-road/beach culture of independence, freedom and good times. His unique designs are scratched with a knife on a black-inked board to reveal the slightly twisted image just beneath the surface. “I grew up in the So-Cal suburbs watching my dad build race cars at night and drag race on weekends. My friends and I all were into skateboards, BMX bikes, and dirt bikes. I met Ed “Big Daddy” Roth as a kid through my dad’s business and remember how his hot rod monster art really captured the emotional spirit of those days like nothing else. We still live in a creative and fun time and I try and tap into that same spirit of originality with my own art” says BOMONSTER.

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What are the tools you use for your scratchboard art, and can you give people a quick idea of what scratchboard art is? Scratchboard is the art of drawing with a knife. The board is about the thickness of Masonite. There is white undercoating with black ink applied to the surface. I use a #16 X-Acto blade to scrape the black off, revealing the white underneath. If you make a mistake on a scratchboard can you paint over the mistake with black ink in order to do a re-scratch? Yes, I can fix small errors that way — or scratch big flames to cover the mistake but usually it means starting over. That’s why I treat every piece like a tattoo. I spend a lot of time designing the piece and then transfer just the outline shape to the board for scratching and fill in the details as I go. I used to fear having to do a piece over again but while reading an Ed Hopper book I realized old masters would pre-paint a piece before completing the masterpieces we see today in the books and museums. And their prepaintings were spectacular so it hit me if that’s the way the old timers did it then I should too. Now I plan to do every piece twice. If I nail it on the first one, it’s a bonus. Not counting the reference research and sketching time, how long does it take -on average- to finalize a scratch project? One very long night for a 12x16 size board. And then I give it the overnight test see it with fresh eyes and add another hour or so. Larger 18x24 pieces can take two very long nights.

Photo: Travis Haight

Can you talk about your art background? Formally trained or selftaught? I was the guy in high school who drew cartoons for the school paper. I got into advertising and used my drawing skills to illustrate rough ad ideas and TV concepts. Once the ideas were approved we hired real artists to illustrate them — which didn’t really allow me to develop my art chops to a high degree. But directors and photographers liked shooting my stuff because of the ideas, composition, and design of my ideas. Six years ago I went back to a medium I remember liking

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in high school art class: scratchboard. I scratched some hot rods and bikes and showed them on hot rod forums. Other artists got excited for me and pushed me into making some prints and shirts to sell. Their enthusiasm psyched me up to be a better artist, so I poured myself into making more. How did your early years watching your dad build race cars and seeing all of those racers influence you as an artist? My dad’s race car and dirt bike racing buddies were all super nice guys and really great to kids who showed an interest. There were all different personality types and skill levels but I recognized early on that they all had one thing in common: they loved the fun of it. All the things I loved — the sights, sounds, smells and feel of speed — they loved too. So my art isn’t about a “thing” like a specific car or bike, but more about a “feeling” being around cars and bikes. You’ve done commercial artwork for clients such as Porsche, Apple, Acura, Yamaha, and Nissan. What was that like? Did you work on anything that we would be recognizably BOMONSTER? Every one of those clients were different in some way but they all wanted great work and had the budget to do things right. Great work at that level is a team effort and I love working with so many talented people. Making art is mostly a solitary effort and while I sometimes miss the interaction I also like creating art that pleases me without other people weighing in on what they would do differently. 99% of my work for those clients ends up in the form of polished contemporary film or modern, slick graphic design whereas my personal art has a grittier, more organic “old school” feel.

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In looking at your artwork, I see two other artists: MC Escher and VCJ (Vernon Courtland Johnson, of Powell Peralta skateboard graphics fame). Have they influenced your work at all, or do you guys just drink from the same super awesome water fountain? Obviously my “Self Reflection” piece is a direct lift from M.C. Escher, but I like his ability to bend minds and use surrealism to create a feeling. Court’s work for Powell Peralta defined 80s skate culture and his iconic imagery still influences lowbrow art culture nearly 30 years later. I also like Jim Phillip’s skate deck and rock poster art from those years and artists like Rick Griffin, Ed Newton, Robert Crumb, Mad magazine’s Don Martin and Basil Wolverton before them. Everyone we’ve mentioned had the ability to simplify the image and create such a cool vibe that suggests a bigger story. Rather than copy what those guys did I’m trying to be inspired by their style and put it in today’s context. What are sales like on your site compared to going on the road and selling? You’ve gone on, what, ten shows in the month we’ve been talking about this magazine feature. Do you love traveling, or is that just

the best way to get your artwork seen by the like-minded masses? Both require a huge amount of effort. Just having a website is not enough. You have to get people to see it and that means you need to be involved in social media. My website sales are best when I’m engaged on Facebook, Instagram, and my own blogging. Art is not the easiest thing to sell because it’s not a rational decision — it’s an emotional one. I see things I like online all the time and then get distracted and forget to buy. And that’s the great thing about live shows — the music, the cars, the creativity, the people — all create an environment where the art fits. I look for shows that I personally enjoy as a fan — not just as a vendor. I’ve done art gallery openings, music events, car and bike shows, drag racing events and a couple of big AMA MX races. The art purchase becomes more of an emotional reaction to the day versus a logical decision of what it will look like next to something else on a certain wall. Last month my wife and I drove to Austin, Las Vegas and So-Cal for shows three weekends in a row. They happened to be very good shows with an international following, but yes I love the travel in between. It helps that my wife is a great traveling companion and drives while I

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sleep. The shows are a great way to get my work in front of people, but yes I do love the travel part too. I love observing the everyday life of others and have a much more positive view of people when I travel. I have come to realize that today’s news media, education, TV and online entertainment presents a very edited, slanted and politicized view of society. Traveling is a great reset button for the mind. What do you find more rewarding: Commissioned art pieces for happy clients or the random scratchings from your own imagination that you sell on your site? Both are rewarding but people’s reaction is always the real reward. When a client has high standards and confidence in their own field of expertise they tend to respect the abilities of others and will treat a project as if it’s a given that what you create for them will be great. Creating great work for great clients is its own reward. Likewise, when I create a personal piece and then offer prints for sale I’m always interested to see who likes it. I’ve really come to really like my customers — not because they gave me money but because they can articulate better than I can why they like something I did.

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Speaking of commissions, do you have to turn some down due to time constraints or are you pretty quick with that X-Acto? My professional background has given me the ability to think of cool ideas pretty quickly. The actual scratching is not as time-consuming as you might think — it’s the back and forth between the client, getting approvals, finding reference, creating digital files and revising that takes the time. I’m not at the stage yet where I have too much work. As any self-employed artist knows, we sometimes work day and night, day and night, and day and night to get the work done. I know as artists we all have to make a living off of our art, but can you tell me about a piece –regardless of the money– that has been the most rewarding for you, and how so? I have a piece called “Guitar Night” which started as a CD cover that I did for singer/songwriter Matt Armor. Matt introduced himself at a show telling me that he had previously bought a print from me and wanted me to design a cover for his upcoming CD. He sent me some MP3s of a stripped down demo tracks and I loved his music and the

stories he told and was inspired. I did both the front and back covers based on his input and the words to his songs. The record release party was at a club in Santa Barbara, California where he played the songs live with his band. The club had around 20 video screens throughout the rooms and Matt had asked me to put as many of my art pieces on a DVD as I wanted and that ran on all 20 screens while he played. It brought my art to life in a cool multimedia way and was a huge confidence booster for pushing my art to new levels. So when you get a commission piece, do you like a lot of direction from the client, or do you prefer to just get a few key ideas from them and then do your thing? I’ve had lots of good clients but the ones who bring out the best in me are the ones who love what I do and are 100% convinced I’m going to do a great job and are ready to buy whatever I do without changes. The pressure is almost too much. I work so hard to live up to

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their high expectation they don’t even know. I’m not a fan of clients who say “do whatever you want.” Because that usually means “do what you want and then I’ll give you my opinion and want to change it.” I want to hear what their objective is — who they want to target. When I know what they are passionate about — what they like and what they’ve already thought about — it opens me up to all kinds of ways to express ideas they will probably like. How are your Scratch This book sales going? Do you find it hard to sell a book of your art when there’s so much of your artwork posted and shared online? Do you plan on any additional books or DVDs in the future? That’s an interesting observation about art shared online reducing the demand for a book. I hadn’t thought about that before. My son is 26 and his whole world is on one device — business and personal. His iPhone seemingly unclutters his life and all his entertainment, reference, information,

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and inspiration are in one place. On one level why would he want a book of art when he can see it online? On the other hand, I like vinyl records and art books so maybe books fill the need for those who need a tactile art experience. When I created my book I wanted to write about inspirations, experiences, technique, etc. for each piece rather than just create a book of pictures with no words. It was partly a way for me to journal and to remember what I have done during the last six years before I forget. It’s been available on my website and I offer it at the shows I vend at. Sales at first were good and mostly to people who were already familiar with my art. But now that you mention it, sales have slowed one year later while at the same time bookstores are closing so maybe there’s something to people not needing books anymore. Even still, I will do another book for the same reasons I did the first one — mostly to document my experience and track my own progress. There will always be those who want a more complete story in one place than random bits on the Internet. There was an artist I wanted to feature in the magazine, but they were totally unwilling to send high resolution art files to me for print publication because of being burned

too many times by people using those high resolution art files for making counterfeit posters and apparel. Have you had any issues like that with your work and how have you handled it? She brings up a good point. And I have thought the same thing when asked for high res images. Early on I voiced that same concern to artist Max Grundy and he said that if we didn’t put ourselves out there no one would ever discover our work. Our job as artists is to get our work out there as fast as we can to as many people as possible so everyone knows whose work it is. Then if someone counterfeits it others will bring it to our attention knowing who the original artist really is. The Internet is both good and bad for all artists. It devalues art and music to a public commodity and makes people think it’s all free because it’s online. But it’s also good for exposure and it’s the way most people interact with the world and each other, like it or not. The key is to make it work for us but point people to a way to buy. You can’t be just the artist if you want to pay the bills with your art. You have to be the marketer and retailer too and be brave enough to accept the risks. Johan Werner from Factory68.com in Germany stole nearly every image from

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my website and made badly pixelated small stickers for sale at the huge Essen Motor Show in Germany. It was brought to my attention by two kustom culture fans there and I sent emails to both him and the Essen motor show promoters. When I didn’t hear back I wrote a funny blog about his name “Factory 68” and that he named it that because he steals from 68 different artists. My blog post (http://bomonster.com/ blog/page/14/) got cut and pasted by a couple of huge blogs worldwide and I heard Johan was told by Essen that he could only sell that year but was not invited back. If you Googled his name a week later every entry had my words slamming him since Google pulls from multiple sources. He must have wondered who is BOMONSTER and what kind of power does he wield? What would you tell the younger BOMONSTER about making a career out of Kustom Kulture art? In some ways, I wish that I had started earlier so I would be farther along in my own development as an artist so I could give my younger self some advice. But waiting as long as I have to get started has allowed me to tap into my own life experiences and has given me the experience to know what’s already been done to death and to recognize originality when I stumble upon it. What I will tell other younger selves though is to not be afraid to put yourself out there with your work. Create, scan, print, make a website, post on Facebook but don’t stop there. By going public you will connect with others who get what you do and connect. From there, opportunities will present themselves. You will also feel slight guilt over the compliments to your work knowing you see all the flaws. That alone will make you work harder to deserve the compliments and make you a better artist. What I also like about starting later in my career is that it is all new to me — I’m a long, long ways from being the crusty old jaded artist who’s seen it all, done it all.

CHECK OUT BOmONSTER OnLinE... BOMONSTER.com 16

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zach matthews

ART ADDICT Hi, my name is Zach, and I am an art addict. Whether it's doing intricate hand painted pinstripe designs on motorcycles, airbrushing crazy graphics on custom cars, or just carving a wicked skull out of some exotic wood. Creating is my love; my passion; my obsession. Despite the struggles, and downfalls, I am overwhelmingly thankful to be able to do what I love, and truly feel blessed. I am also eternally grateful to my friends and loved ones that have believed in me over the years. And to the closest ones who have stood by my side through all the madness: Thank you. I'm going to say this bluntly... Being a full-time artist and business owner is NOT easy! It is endless hours and countless years of honing your craft. It is keeping up with your books and taxes when you really just want to

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go sling some paint. It is growing a thick skin and self-confidence, so you can take criticism and use it to raise your skills and not let it break you down. You have to use your failures as rocket fuel!!! Prove them wrong. Better yet, prove yourself wrong. Because we all know that little voice in our head that screams “you can't” is a lot louder than the cool confident

voice whispering “you've got this.” You just have to remember to breathe and keep moving one small step at a time. My best advice for those of you wanting to chase the art dragon full time is don’t be afraid to fail. Remember, it's a learning process. So just go for it, and if something isn't working, make adjustments, and go again. Research and reading are very important, but you will learn your most valuable lessons by doing and figuring things out as you go. Life is far too short to spend your time doing something that makes you miserable. Don't let life pass you by because of fear and uncertainty. Take a chance on yourself. Chase that dream or idea that makes you smile every time you think about it. My name is Zach Matthews, and I am currently chasing my dreams in Raleigh, NC.

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Zach Matthews Owner and operator of ZMCC AutoArtsinc in downtown Raleigh, NC www.autoartsinc.com Facebook: Facebook.com/zmccinc Instagram: @zachmatthewsart You can find some of Zach's handcrafted art, pendants, and prints on Etsy. Also available soon are official "Robot Sandwich" antique, silver enamel pins, which will be Zach's very first pin release! Etsy: Etsy.com/shop/CrunchyFingers

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B-MOVIE and CHILL

ROBOT MONSTER - 1953 - 6 minutes www.imdb.com/title/tt0046248 IMDb synopsis: Ro-Man, an alien that looks remarkably like a gorilla in a diving helmet, has destroyed all but six people on the planet Earth. He spends the entire film trying to finish off these survivors, but complications arise when he falls for the young woman in the group. Robot Monster is certainly a legendary ‘bad movie’ that is undoubtedly a mustsee for any sci-fi film fan. Starring one of the, if not THE, worst movie “monster” to ever shame the silver screen: ‘RoMan’. George Barrows, a well-known ‘gorilla’ actor, wears a gorilla suit and a diving helmet with two TV antennae on top. This is the terror known as Ro-Man. (George also wore a woman’s stocking over his head in order to obscure his face when seen through the diving helmet’s visor.) The first sight of Ro-Man coming out of his cave is breathtaking in its ludicrousness. After Robot Monster opened to the public, the film was met by with much

“I cannot. Yet I must. How do you calculate that? At what point on the graph do ‘must’ and ‘cannot’ meet? Yet I must. But I cannot.” – Ro-Man Gnarly Magazine / Summer 2017

derision and scorn that director Phil Tucker found it impossible to find other work in Hollywood. He believed that he had been blackballed by the film’s producers and spiraled deeper and deeper into depression, resulting in a suicide attempt. Phil survived and resurfaced in Hollywood to direct a couple other films, including Broadway Jungle (1955), and The Cape Canaveral Monsters (1960). Phil inevitably faded into obscurity, passing away in 1985 at the age of 58. This film is truly and completely low-budget. Phil admitted to using approximately $16,000 in making Robot Monster…a microscopic sum. Every facet of this movie screams ‘cheap’: from the gorilla-suit ‘monster’ to the cardboard view-screens, to the sparkler used to simulate a spaceship (you can even see the arm of the man waving the sparkler in front of the camera… incredible!). The editing is abominable and the story is absurd. Robot Monster is a true ‘bad movie’! Review by Dennis Grisbeck Check out the full (BIG) review at

The Monster Shack http://www.monstershack.net/sp/index. php/robot-monster-1953/

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R.3aggare

Dear Kustom Kulture, allow me to introduce your dear cousin... By Emelia Lakso

With the fifth year of Helsinki’s own Kustom Kulture show recently flying by, it’s an apt time to draw some attention to the way that America’s Kustom Kulture has bled into the rest of the world, and how the rest of the world has twisted and infused that gift with its own flavour. Case study: Finland. If you thought Raggare has way too many consonants to be a Finnish word, you’re right. Raggare is originally Swedish, and the word comes from “Ragga”, or, to pick up girls. In our European eyes, that’s what you greased up hot rod Americans do, and we wanted a piece of the action. In most ways, there's a lot of similarities. Raggare is an interpretation of what Kustom Kulture is all about: a culturemash of the 50s, 60s, and 70s styles, music, cars, bikes, having a good time, and seizing your right to show off your own definition of “cool”. In Sweden, for the sake of being as counter-cultured as you can, the interpretation has largely included influence from American Southern culture. Should you ever attend the annual Meet in Västerås, called the Power Big Meet (one of the biggest meet-ups for American muscle cars in the entire world), you’re bound to find numerous customizations, accessories, and apparel items saturated by the Confederate flag. To Swedes, the Confederate flag is simply a symbol of rebellion. Due to early roots of being a violent subgroup of society and causing numerous notable clashes with other subgroups, mainly a fiery feud between punks and raggare, raggare

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are still branded negatively by Swedish society. Raggare are usually thought of as idiots, drunkards, and are depicted in media as being a menace to society. There was even a TV show that featured this exact behaviour called Ronny & Ragge. Finland has done a number to distance itself from the Swedish interpretation of Kustom Kulture and has stayed much truer to the original culture than the Swedish depiction. Despite still being classified largely as raggare culture, Finns are dedicated to the Kustom Kulture aspects that create its namesake: customizing. This is mostly true for cars and personal style, but if the Kustom Kulture show is any example of what Finns believe of customization, there are no limitations. One of many of Finland’s Kustom Kulture-approved artists that attend the big Helsinki show is Anssi Juvonen of Ape’s Metal Shop (apesmetalshop.fi). Anssi gives Ape’s the look and feel of a down-to-earth, competent, and extremely skillful shop. At this year’s Helsinki Kustom Kulture event, Anssi invited people to stop by and hang out, have a chat, or share a coffee – they even donated a piece for a charity auction. While the bulk of Ape’s Metal Shop seems to focus on industrial

Photo: P. Tuominen / www.nurkkaus.net

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s.net

While these traits are ever present on any town’s streets and can be evidenced at every bus stop, when looking on to a group of what seemed to me to be Kustom Kulture fans, a guess mostly attributed to the presence of slicked hair and denim jackets (and I guess the fact that it was at an AC/DC tribute concert had something to do with it), it’s as if the stereotype is completely misplaced. When with their people, these Finns are a completely different breed of Finns. Loud, social, and… smiling? Who knew?

Photo: P. Tuominen / www.nurkkaus.net

subcontracting, their website and customer reviews show that they also do a ton of individual custom work – especially for cars. Their portfolio covers everything from the flat faced machine part to intricate engraving work. Ape’s is a great example of the cool, collected, pave your own path nature of the Kustom Kulture crowd. Another Helsinki show artist worth mentioning that stood out to me, though there are many and it’s not easy to choose who to spotlight, is Akseli Simonen of kustomworkstattoo. com. Even Akseli’s Instagram image sports a bright orange hot rod with low rider suspension – between that and his business name, the guy’s clearly committed. Akseli is a gifted tattoo artist who’s designs incorporate delicate line work and detailed shading to create statement pieces. Looking through his portfolio, his work is simultaneously striking with dark images such as the grim reaper and various skulls but retains a deep level of beauty that makes you want to endlessly see more.

Finland, Sweden, and the rest of Europe alike take great influence from American Kustom Kulture culture, though they do have their own unique brand of it called raggare. The differences between the actuality of European Kustom Kulture and its negative stereotype are huge. Raggare people are known to be idiotic, drunkards, chaotic, unpleasant people. But coming and seeing what the culture actually has to offer, those adjectives would never cross your mind. The similarities between Americans and Finns in this regard are strong, so strong that it’s evident that Americans would certainly find a home here with their Finnish Kustom Kulture cousins. The Helsinki Kustom Kulture show typically occurs in February on an annual basis. Their website is available in Finnish and in English at www.kustomkultureshow.com.

Anssi and Akseli are stark examples of the contrast between the stereotype of raggare and its reality as it is in Finland. Talent, dedication, and kindness radiate through Finland’s Kustom Kulture scene. Don’t let the greased hair, tattoos, and completely misguided stereotypes fool you for a second, there’s nothing to fear here. Finland’s own brand of raggare/Kustom Kulture comes with the same traits that make Finns, themselves, unique. Finland’s people are known worldwide for their esteemed quietness, introversion, and fondness for personal space and alcohol. Photo: P. Tuominen / www.nurkkaus.net

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g n i p i r t s n i P f f o H AND KUSTOM Y B T R A E R U T L U K

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Gnarly Magazine / Summer 2017


"Hey! My name is Michael Grosso, but I'm known in the Kustom world as "Hoff." I’m 31 years old. I like long walks on the beach, salt on the rim of my margaritas, and warm summer nights... Wait, what? Haha. Well, anyway...I've been painting for a little over 6 years now. I consider myself as a Kustom Kulture Artist/ Pinstriper and I do a little Sign Painting when the mood strikes. I got into pinstriping first. I was working in a kustom car/truck shop building bagged (air suspension) and hydraulic suspensions and doing custom metal work when a buddy came by one day with his pop's striping kit. For some reason or another, he left it at the shop. It sat there for weeks. I figured, let me see what this pinstriping stuff was all about. And to make a long story short, I'm still seeing what this pinstriping stuff is all about. I focused on pinstriping for a few years and then slowly go into kustom kulture art. I just started noticing what other guys were doing and took that and changed it into my own style. Some of the guys I look up to are Roth and Dutch. I'm also a fan of Shawn Dickinson, Damian Fulton, Jim Phillips, and all the Japanese dudes. There must be something in the rice over there. Hey, if you're thinking about getting into this art, go for it! But ya gotta commit to it. If you do, it will pay off. You'll be amazed at the journey."

Gnarly Magazine / Summer 2017

Are you using all brushes and 1-Shot or do you mix it up with spray paint or airbrushing? I only use 1 Shot paints for my art. I'm using all Mack brushes to pinstripe. And for the kustom kulture art, I use a mix of Mack, Kafka, and crappy artist loft brushes. I use spray paint / automotive paint for backgrounds.

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I noticed a couple of your photos have some mounted and painted sculptures. Did you do the sculpting yourself? Can you share a few words on that process? I dabble in sculpting. I use super sculpt and various sculpting hand tools. I sculpt my characters and pinstriped the plaques to mount them on. Is your art your full-time gig or do you have to slave for the man, too? I gave up on being a slave for the man a few years ago. I just posted everything I created on social media. Then I got the

Etsy store up and running. People really started to eat up my artwork so I quit and focused on doing my art Are you doing more pinstriping than kustom art? I'm doing 50/50. I pinstripe cars, trucks and basically anything and the kustom kulture art/sculpting is done in my spare time, usually at night. I work from home so when everyone is sleeping I just hit the garage, turn on some music and paint!

"Some of the guys I look up to are Roth and Dutch. I'm also a fan of Shawn Dickinson, Damian Fulton, Jim Phillips, and all the Japanese dudes. There must be something in the rice over there." 26

Gnarly Magazine / Summer 2017


Where to find Hoff... Instagram - @the1hoff Facebook - Pinstriping By Hoff Email - pinstripingbyhoff@hotmail.com Etsy - Pinstriping By Hoff Gnarly Magazine / Summer 2017

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Kustom Kulture Super Store? I don't know, maybe... Etsy.com is a fantastic website if you're looking for handcrafted items of all kinds, and is also a great community of artists helping artists. And, since there are so many friends in the kustom kulture community selling on Etsy, I thought it would be cool to list some of them here. Plenty of original painters, sculptors, pomade and beard oil brands, as well as stickers and jewelry. There's no shortage of creativity in the Kustom Kulture world. So show some support!

BigToeArt

DumbJunk

I was looking for a good shopping experience for my customers that felt like a community. I like that Etsy has a DIY/handmade/art focus rather than a "merch" orientation. I sell original art, prints, and hand-painted BigToe tiki mugs.

Lowbrow patches, pins and other collectible items, along with pinstriped and original hand painted junk.

www.etsy.com/shop/bigtoeart

www.etsy.com/shop/dumbjunk

It's not just junk, it's Dumb Junk!

Deluxe Creations

www.etsy.com/shop/deluxecreationssam

Our shop contains vintage inspired lucite jewelry and kustom creations, including handmade acrylic shift knobs.

Mr. Dang

www.etsy.com/shop/mrdang

Tattoo, tiki, lowbrow, popsurreal: mostly prints & original paintings

Guy Salazar Art www.etsy.com/shop/GuySalazarart

Handcrafted custom American made art with a functionality and purpose catering to the working class.

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Digital copies of Gnarly Magazine are available via Magzter.com The FREE Magzter app is available on: Apple iOS, Android, the web, Amazon App Store and Kindle Fire.

Gnarly Magazine / Summer 2017


www.etsy.com/shop/gugerart

Swedish lowbrow artist, sculpting and casting kustom hotrod/ratrod shiftknobs, shaving brushes, etc. the old school way. Custom orders are welcome!

Gnarly Magazine / Summer 2017

The Ded Heds www.etsy.com/au/shop/ TheDedHeds

MrDedHed is an independent artist from South Australia specializing in lowbrow, kustom kulture and skatethemed works! The Etsy store has a large range of stickers available.

Devious Adornment www.etsy.com/shop/ deviousadornment

Original adornments inspired by the strange and unusual; jewelry, accessories, and home decor

BUY SOME SHIT!

GugerArt

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Eero Kumanto Scale Model Artist

I'm Eero Kumanto, scale model enthusiast and lowbrow artist from Finland. I have been drawing for as long as I can remember; most often it was a car. Either a real one or out of my imagination. Scale modeling has also been “the thing� for me since I was a kid. My background as an industrial designer can easily be seen in my work. No matter what the subject or the tool is, my style is always there. A lot of my work has been featured in various magazines and books. My work is focused on scale models, lowbrow art, and graphic design. I'm at my happiest when I can combine these three elements in the same project. You can spot a lot of scratch building and outside of the box thinking in my work. I'm mainly concentrated on cars, but now and then I step out of my comfort zone, too. I mostly create stuff for my own purposes, but I also do commission work.

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Gnarly Magazine / Summer 2017


Are the scale models built from scratch or do you buy scale models from a hobby shop and do all the customizing, detail work, and painting from there? Well, both! I'm building models in a “traditional” way by buying a kit from a model shop but also creating models out of nothing. When I'm starting my project from a commercial kit, I'm still usually doing some heavy modifications and a ton of detailing work. So, basically, I'm never building a model by following those kit instructions. For example, those patina style VW Beetle and VW Type 2 Pickup are built from commercial kits with some modifications and heavy detailing. That little red moped I'm holding in my hand is totally scratch built! Just because there isn't available a kit in the market and I wanted to create that. By the way, it is a replica of a very legendary Finnish moped. In this kind of project,

Gnarly Magazine / Summer 2017

I'm always figuring out those different ways to build parts. Can you tell us about the types of tools you use to build and detail your scale models? In scale modeling scene there is a lot of good tools available! Of course, I'm also using other tools as well. I'd say my most important tools are SHARP tweezers, different kind of knives, very small drills and good quality adhesives and paints. Of course, there is a bunch of other tools also! I'm not building my tools by myself but I prefer good quality tools. It took, for example, quite a long time before I found really good tweezers and pliers from Japan. The quality is the key word. If your knife isn't sharp or your tweezers/pliers don't work exactly it's impossible to achieve a good level in scale modeling. Same goes with paints and other “chemicals.” Luckily in our hobby,

there is a lot of companies which are providing good stuff. It's also good to keep your eyes open. I'm, for example, using those ugly sharp tools which dentists are using! Beside these quality tools, I'm also using some very basic stuff you can find from a normal food store: Toothpicks, needles, scissors etc... How long does it typically take you to build one of your scale model automobiles? This varies a lot. I would say that the minimum is something like 20 hours. In this kind of model there is absolutely no detailed engine or shiny paint job. This kind of “20-hours-project” is still sometimes nice to do since you can get model ready in a quite short timeline. If there is detailed engine and a shiny paint job, the spent hours can be anything from 50-100 hours. At my web page there is one Mercedes-Benz which took like 300 hours to build.

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providing detail parts for VW models. So it was quite natural field for me. My brand has, of course, other parts also but I'm always trying to create something that other companies are not providing. For example bomber style seats for hot rods! With these products I'm making the whole design process by myself but the actual production is made in the Czech Republic. You can see my whole product range at my web shop: highlighmodelstudio.com. I'm hoping to expand my range of products all the time but those design processes are quite time-consuming. And of course if I'm creating a model from point zero the amount of hours is usually big. I'm not counting my hours exactly but that red little moped took like 100-150 hours if I have to throw a figure. When looking at these amounts you have to remember that these projects can take years. You recently visited the States to participate in the NNL East Scale Model Show. What was that experience like? A trip to a scale model show in the USA has been my dream since I started to build these models. Just like I have had a dream to visit Yokohama Hot Rod & Custom show in Japan with my kustom kulture art. Well, I did this trip to Japan in 2014 and since then I've visited there every year! So now it was the time to fill my other dream and who knows if I'm getting back to the USA also in the future. Hopefully soon! They say it's the largest car scale model show in the

whole world! It's easy to believe. I have been in scale model shows for example in France, Belgium, and Hungary and none of these have had that amount of cars on the tables. The experience was, of course, a blast. A huge amount of beautiful models and a lot of people. I also had my own booth for my Highlight Model Studio products and I'm happy to say that people were very interested in my stuff and I actually did very well! The day was hectic! Tell us about your scale models with Highlight Model Studio. I have a background as an industrial designer so it's just a natural thing for me to design things and I also have the skills with software and understanding of different methods to manufacture parts. Highlight Model Studio is a brand for detail parts for car scale models and those parts are manufactured from brass by photo etching. There are many other brands in the market which are providing photo etched stuff as well. But I found out that there is maybe none

Eero Kumanto online...

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What are you currently working on and what are you promoting? I'm having about 15 unfinished projects in my stash but, of course, I'm TRYING to put my focus on one model at a time.

Sometimes it's just impossible because I'd like to build them all at the same time! In that way, nothing would be finished ever. At the moment I'm building a VW Caddy (Rabbit) Pickup. I hope to finish that during this year. Most of my projects (like my ready-made models also) are VW related. I'm also expanding my “Signature Series� model art offering slowly. At beginning of this year, I have put some serious effort on my Highlight Model Studio products and brand and I'm trying to promote that a lot. I'm happy that scale modelers have found my stuff and I'm getting orders from around the world already. Still, I'm just taking the first steps cause it's freaking slow to get your brand known widely!

www.instagram.com/eerokumanto/ www.riemudesign.com/

Gnarly Magazine / Summer 2017


My name is Marco “Mógs” Gomez. I've been drawing ever since I can remember. Growing up my dad built cars and we were at shows nearly every week and I was always really drawn to the Rat Finks, Flying Eyes and pinstriping I'd see on cars. I never actually tried it though until I was 21. I 'striped on a piece of glass and shortly after that I was getting married and so I had a family and put the brushes and all art up for another 10 years. In 2013, I picked them back up and have not looked back since. I've 'striped many things, from cars to bikes to saws, whatever I could. Lately, it's been a lot of Yeti cups... I love painting anything Rat Fink, Kustom Kulture, zombie and traditional tattoo styles, all with 1 Shot. I also love sign painting and I am learning more about that. I'm influenced by so many artists from sign painters to pinstripers to tattooers. Mr. Oz, Mr. Rhythm, Lokey Calderon, Frank Sanchez, Hot Rod Jen, One Armed Bandit, Gory Greg, Tanner Leaser, El Roy, Todd Hanson, Rooster, DA Designs, Ben Dragdaddy, Brit Madding, Mark Thompson, Lumpy's Garage, Gary Martin, Smart Alex Signs, Max Grundy, Alex & Aubrey Trufant, Mike Iacono, Chad Clark to name a few. For pinstriping I really love using Mack King 13 brushes and for painting Finks and monsters etc. I use Tidwell and Virus brushes. For sign painting, I use mainly Mack 189L's. You can follow me on Instagram: @mogs716 Facebook: Marco Gomez and Mógs Kustom Lines & Designs Illusions Photography

Gnarly Magazine / Summer 2017

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Jim Turner

Years ago Jim was injured on the job where he worked as a pre-press operator in the printing industry. All day long for almost 25 years, Jim would be sitting at a computer doing electronic pre-press. He ended up having carpal tunnel syndrome surgery on both wrists and had to have two “tennis elbow” surgeries on his right elbow due to the repetitive motion of his work. Out of work and fighting corporate bureaucracy and workman’s comp for his surgeries, it took three and a half years to finally settle the matter. When Jim was finally able to go back to work, they informed him over the phone that he was no longer needed. Discarded. There must be something special in taking something that’s been neglected and discarded and giving it new life. Maybe a reflection of his own life —scraping by and feeling down-and-out from being thrown away by

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“I’m Jim Turner, and I build functional art that re-imagines furniture and lighting. I create things for people who see beauty in neglected objects, especially when they’re given new and lasting purpose. People who believe that’s possible for themselves, too.”

his employer—Jim was inspired by his wife to “make furniture!” And that’s what he’s been doing. Jim repurposed and refocused his talents and has given himself new life after being discarded like an unwanted toy or rusted-out tailgate. At Lockjaw Garage, Jim now repurposes unwanted objects into furniture, lighting, and works of art that people can enjoy every day; helping customers do the same for their own fading memories. Jim takes something old; something that people think is useless; something they’re going to throw away and destroy; something from a forgotten time that needed to be brought to light to rekindle the memory, and he turns it into something useful, reusable, and beautiful. Something that can be used and appreciated for generations to come.

Gnarly Magazine / Summer 2017


Lockjaw Garage 329 W. Bonita Avenue San Dimas, CA. 91773 // (626) 318-1000 www.lockjawgarage.com // Facebook.com/lockjawgarage

Gnarly Magazine / Summer 2017

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Gnarly Magazine / Summer 2017

Gnarly Magazine #1 - Summer 2017  

Premiere issue of Gnarly Magazine. Gnarly is a Kustom Kulture magazine, featuring pinstripers, lowbrow artists, sign painters, tattooers, sc...

Gnarly Magazine #1 - Summer 2017  

Premiere issue of Gnarly Magazine. Gnarly is a Kustom Kulture magazine, featuring pinstripers, lowbrow artists, sign painters, tattooers, sc...

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