Big Tony O'Farrell (that's me, speaking in the third person for some reason) has been creating "artwork" since he was Small Tony. Some time in the latter half of the 20th century, he bagan believing all those people who kept telling him that he was good at it. Since then he has been on a quixotic quest to convince the rest of the world of this fact. In recent years, Big Tony has even successfully convinced numerous individuals and organizations to financially compensate him for scrawling his horrific images. It has since become his ultimate goal to encourage this type of activity as much as possible.

Besides helping musical artists to pursue their delusions of grandeur, Big Tony has also entertained such delusions his damn self. Most famously with the ill-fated "Punk Rock" combo, Mazinga and more recently with other musical projects: The Corpsemaker!, etc.

O'Farrell has also been known to waste a tremendous amount of time creating bizarre comics which are sometimes enertaining and often baffling.

FAQ
Q:What is Rubber Wolf?
A:Rubber Wolf? is a one-man graphic design/ illustration firm specializing in music-related projects (CD/record covers, flyers, etc.) but open to all possibilities.

Q:No, I mean what is a Rubber Wolf?
A:Rubber is yellowish, amorphous, elastic material obtained from the milky sap or latex of various tropical plants, especially the rubber tree, and vulcanized, pigmented, finished, and modified into products such as electric insulation, elastic bands and belts, tires, and containers. A Wolf is either of two carnivorous mammals of the family Canidae, especially the gray wolf of northern regions, that typically live and hunt in hierarchical packs and prey on livestock and game animals. Presumably, a rubber wolf would be a wolf made of rubber. Or it could be an obsolete cereal brand. Only the Freelance Police could get to the bottom of such a mystery.

Q:How much do you charge for_______?
A:Rates vary depending on the difficulty of the project. My rates are very reasonable and more likely than not, we'll be able to work out something that works within your budget. Keep in mind, however, that I am not running a charity here. Being in a band myself, I understand the financial limitations one is faced with, but please realize that I work damned hard at this stuff and if you feel my time and effort is not worth a little dough, please take your business elsewhere. In order save myself and you, the potential client, some time I've decided to lay down some basic guidelines regarding my rates. These guidelines are negotiable but within reason.
1. The starting rate is $50 for quick and easy jobs such as black and white flyers, button and sticker designs, etc.
2. CD/record cover layout/design (with no illustration) and smaller illustration jobs such as color posters, t-shirt designs, etc. start at $75.
3. Large, time-consuming jobs such as record cover designs with illustration start at a firm $100.
These are base prices. Given a basic idea of what the job entails, I will assess an estimate based on the amount of time and effort the job will entail but it is highly unlikely that I will charge much more and definitely no less than these base prices.

Q:We are a struggling band and we can't afford your rates. Will you do our record cover for free?
A:Sorry to be harsh but this is a far too frequently asked question. The answer is "NO".That is unless your band is so popular that the resulting exposure I would recieve from doing art for you would be worth my hard work and time. However, if you were that successful you probably wouldn't be trying to mooch offa me. If your band members can't come up with like $20 each, maybe you should think about getting real jobs.

Q:What kind of materials do you use?
A:I am one of those dinosaurs who creates artwork with strange, archaic tools called "pens" and "brushes". Whatever is around really. Sometimes I use expensive sable hair brushes and other times a Sharpie or some other cheap pen. I do use computers for much of the coloring and layout. I've had quite a bit of experience with Photoshop and similar software.

Q:What are you some kind of wiseguy?
A:Who, me?

Q:Your art kinda reminds me of_______. What are your influences?
A:As you may have surmised by looking at my "artwork", I am not influenced by the great masters of highbrow art. Art schools around the world are filled with young bohemians striving to be the next Michelangelo or (god forbid) Warhol. I am quite obviously not one of them. I find much more inspiration from old paperback covers, horror movie posters, and that lowliest of all lowbrow art forms, (gasp!) comic books. I'm not talking about these high-falutin' comic book "artistes" like Art Spiegelman and the like. Don't get me wrong. Those guys are fine but I don't read comics for their literary value, I read them to get a thrill or a little chuckle or a giggle or what have you. My artistic heroes have always been hairy knuckled men who drew comics with entertainment value. Guys who didn't feel the need to endlessly pontificate about the place of comics in the grand pantheon of art history and their impact on society.
Here's an unnecessarily long, meandering list of artists whose work I admire: Jack Kirby, Wil Eisner, Al Feldstein, Johnny Craig, Reed Crandall, Jack Davis, Bernard Krigstein, Alex Toth, Joe Orlando, LB Cole, Chic Stone, Bill Everett, Joe Sinnott, Tom Palmer, Basil Gogos, Harvey Kurtzman, Wally Wood, Al Williamson, Nestor Redondo, Alfredo Alcala, Esteban Maroto, Jose Ortiz, Graham Ingels, Frank Frazetta, Virgil Finlay, Alex Nino, Gene Colan, John Buscema, John Romita Sr., Neal Adams, Jim Steranko, Joe Kubert, Gil Kane, Steve Rude, John Byrne, Mike Mignola, Dave Stevens, Michael Golden, Bruce Timm, Bernie Wrightson, Paul Smith, Bill Sienkiewicz, P. Craig Russell, Barry Windsor-Smith, Richard Sala, Go Nagai