the Artist Behind the Brush
It’s tough to put your finger on the paint style of Tyler Elliott of TE Customs. It ranges from the classics of the past to weird custom characters and everything in between. Over the years, many of the bikes throughout the pages of our publication have been painted or built by TE Customs, including the well-recognized Chromophobia shovelhead that graced issue No. 007’s cover. Since this is our last issue in the subscription format, it was only right that we visited his shop in Finleyville, Pennsylvania, to do a feature on the artist himself.
You’ve been involved with art since you were young. How did that eventually lead to doing paint and fabrication work?
Tyler Elliott: At a young age, I was always drawing cars, trucks, and motorcycles. My parents got me subscriptions to Hot Rod magazines, and I would draw the vehicles I saw throughout the pages, trying to copy them as close as I could. Then I discovered the Ed Roth/Rat Fink stuff. It was a big influence on my artwork and still is today. Seeing the custom cars in those magazines made me want to build my own hot rods and bikes, and that led to me learning how to fabricate my own parts.
Tyler Elliott: At a young age, I was always drawing cars, trucks, and motorcycles. My parents got me subscriptions to Hot Rod magazines, and I would draw the vehicles I saw throughout the pages, trying to copy them as close as I could. Then I discovered the Ed Roth/Rat Fink stuff. It was a big influence on my artwork and still is today. Seeing the custom cars in those magazines made me want to build my own hot rods and bikes, and that led to me learning how to fabricate my own parts.
When did you develop an interest in motorcycles?
TE: I had been mainly into cars up to that point—customizing and restoring them for a few years. I was mostly restoring first-gen Camaros full-time for a few years, and then I wanted to build a motorcycle mostly just to see if I could do it. A lot of my friends at the time had street bikes, but I had zero interest in them. I did, however, really dig the old Harley choppers. I had seen photos of my dad’s bikes from back in the day, as well as old chopper magazines, and I was like, this is what I want to build! That’s when I got my 1973 ironhead. I didn’t have plans to keep it at the time, just figured I’d build it to sell. That never happened. I’m still riding that bike to this day, along with a few other bikes I have built. Now I do bike paint and fabrication full-time.
TE: I had been mainly into cars up to that point—customizing and restoring them for a few years. I was mostly restoring first-gen Camaros full-time for a few years, and then I wanted to build a motorcycle mostly just to see if I could do it. A lot of my friends at the time had street bikes, but I had zero interest in them. I did, however, really dig the old Harley choppers. I had seen photos of my dad’s bikes from back in the day, as well as old chopper magazines, and I was like, this is what I want to build! That’s when I got my 1973 ironhead. I didn’t have plans to keep it at the time, just figured I’d build it to sell. That never happened. I’m still riding that bike to this day, along with a few other bikes I have built. Now I do bike paint and fabrication full-time.
There’s quite a range of paintwork that you do. How would you best describe it?
TE: It’s hard to narrow it down to just one style. I do pinstriping, lettering, flakes, candies, pearls, leafing, and airbrushing. I like the ‘60s and ‘70s style panels and flames. I also like the ‘80s and ‘90s bright neons, weird color combinations, dry brush lettering, and graphics. I’m always trying to outdo myself on each paint job. Trying different techniques or coming up with my own way of creating effects and graphics. I like making paint look a mile deep like you can almost dive into it and swim around. I like my artwork buried in clear, sanded, and polished so it looks like a piece of porcelain. On the flip side, if I’m doing a “survivor” with a weathered or patina look, I take extra care to make sure all of the dirt, wear, damage, and fading are in the correct locations.
TE: It’s hard to narrow it down to just one style. I do pinstriping, lettering, flakes, candies, pearls, leafing, and airbrushing. I like the ‘60s and ‘70s style panels and flames. I also like the ‘80s and ‘90s bright neons, weird color combinations, dry brush lettering, and graphics. I’m always trying to outdo myself on each paint job. Trying different techniques or coming up with my own way of creating effects and graphics. I like making paint look a mile deep like you can almost dive into it and swim around. I like my artwork buried in clear, sanded, and polished so it looks like a piece of porcelain. On the flip side, if I’m doing a “survivor” with a weathered or patina look, I take extra care to make sure all of the dirt, wear, damage, and fading are in the correct locations.
Do you have a favorite style to work on?
TE: I’d say vintage bikes and cars—building and painting them in the style they used to be done back in the early days of choppers and hot rods. I like to put my own twist on them with some unique paint and hand-fabricated pieces.
TE: I’d say vintage bikes and cars—building and painting them in the style they used to be done back in the early days of choppers and hot rods. I like to put my own twist on them with some unique paint and hand-fabricated pieces.
In addition to paint, what other type of work do you do here at TE Customs?
TE: I try to limit myself to painting, fabrication, and more specialized stuff. I do general framework, hardtails, handlebars, pipes, or any fab or sheet metal work.
TE: I try to limit myself to painting, fabrication, and more specialized stuff. I do general framework, hardtails, handlebars, pipes, or any fab or sheet metal work.
When did the motorcycle work start to take off?
TE: It wasn’t until the first Glory Daze in 2019 that I even knew there was a chopper scene around here. Guys started reaching out to me after seeing my bikes in magazines, and it started to get to where I thought I could start focusing on the bike stuff more.
TE: It wasn’t until the first Glory Daze in 2019 that I even knew there was a chopper scene around here. Guys started reaching out to me after seeing my bikes in magazines, and it started to get to where I thought I could start focusing on the bike stuff more.
What’s the biggest hindrance in the paint world right now?
TE: Paint is so expensive now, and materials just go up all of the time. I want to use the best products out there, but it’s getting to the point where there’s only going to be a certain group that can afford this stuff.
TE: Paint is so expensive now, and materials just go up all of the time. I want to use the best products out there, but it’s getting to the point where there’s only going to be a certain group that can afford this stuff.
Any advice you’d give someone who might want to get into this?
TE: I’d say that if you’re going to start your own business, then take a business class. That end of it can be hard to grasp, but it’s necessary. When I first started, I figured it’d be easy, but there’s so much more to it. Take a class and study under someone to learn the business end of it.
I also recommend lots of practice. It sounds generic to say, but you have to do it. Start simple, and avoid doing crazy graphics right away. It’s better to understand how paint works. Even if you’re doing one solid color, a million things can go wrong at any time, and it always does. A quote I heard was something like, “Anyone can make a perfect paint job once, but a good painter knows how to fix paint when it goes wrong.” There’s always something that happens and a professional knows how to correct that stuff mid-job.
TE: I’d say that if you’re going to start your own business, then take a business class. That end of it can be hard to grasp, but it’s necessary. When I first started, I figured it’d be easy, but there’s so much more to it. Take a class and study under someone to learn the business end of it.
I also recommend lots of practice. It sounds generic to say, but you have to do it. Start simple, and avoid doing crazy graphics right away. It’s better to understand how paint works. Even if you’re doing one solid color, a million things can go wrong at any time, and it always does. A quote I heard was something like, “Anyone can make a perfect paint job once, but a good painter knows how to fix paint when it goes wrong.” There’s always something that happens and a professional knows how to correct that stuff mid-job.
FINLEYVILLE, PA
