# Pinball Heroes: John Youssi

**Source:** The Pinball Blog  
**Type:** article  
**Published:** 2009-05-10  
**Beat:** Pinball

**URL:** http://www.thepinballblog.com/2009/05/pinball-heroes-john-youssi.html

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## Analysis

Interview with John Youssi, legendary pinball artist, discussing his career transition from traditional to digital art, his most proud works (Twilight Zone, Addams Family), and his perspective on the evolution of pinball artwork from creative freedom to licensed IP constraints. Youssi reflects on the loss of hands-on artistry while acknowledging digital tools' advantages, and expresses optimism about the enduring value of traditional pinball art in a changing industry.

### Key Claims

- [HIGH] Addams Family was the most successful pinball machine of all time and is unlikely to ever be outsold — _John Youssi in response to question about Addams Family's success_
- [HIGH] Modern licensed games provide style guides and require use of provided images, reducing artist creative control compared to earlier unlicensed games — _John Youssi discussing negative aspects of computerized drawing and licensing_
- [HIGH] Gary Stern and Marc Schoenberg supervise every back glass print run at Stern with unsurpassed quality control — _John Youssi discussing positive aspects of digital printing process_
- [HIGH] Pat Lawlor's enthusiasm about Addams Family was contagious across the entire team — _John Youssi recounting Pat Lawlor's call about Addams Family project_
- [HIGH] Young pinball designers visit Youssi's studio specifically to see and touch original traditional pinball art because it's no longer being produced — _John Youssi discussing visits from design teams to his vault_

### Notable Quotes

> "I was trained in the traditional methods & techniques & love the smell of paint & wearing paint splattered clothing so the change to digital didn't come easy to me & I still miss the hands on approach."
> — **John Youssi**
> _Reveals personal nostalgia for traditional art methods and the sensory experience of physical creation_

> "Any artist who tells you he doesn't like Command-Z is a liar."
> — **John Youssi**
> _Humorous but emphatic endorsement of digital undo functionality despite preference for traditional methods_

> "I feel like a walkin' talkin' dinosaur!"
> — **John Youssi**
> _Self-aware commentary on being among the last traditional pinball artists as the industry evolved_

> "That kind of art isn't being produced anymore & young artists want to feel & touch it as they've never seen anything like it."
> — **John Youssi**
> _Demonstrates gap between modern digital design and traditional pinball art as cultural artifact_

> "The theme crossed over generations & was fun, cute, yet devious all at the same time."
> — **John Youssi**
> _Analysis of why Addams Family theme resonated so broadly and contributed to record-breaking success_

> "Very hard work but a great 'Ride' with some unforgettable, one of a kind, dedicated teammates who have become good friends over the years."
> — **John Youssi**
> _Summarizes career impact and emphasizes community/relationship aspect of pinball industry_

### Entities

| Name | Type | Context |
|------|------|---------|
| John Youssi | person | Legendary pinball artist, created artwork for major titles including Twilight Zone, Addams Family, Medieval Madness, Jokers |
| Pat Lawlor | person | Pinball designer who called Youssi about Addams Family project; known for enthusiasm and innovative game design |
| Roy Parker | person | Pinball artist whose work Youssi greatly admires; known for distinctive backglass artwork style |
| Gary Stern | person | Stern Pinball leadership who supervises backglass print quality control; oversees art output at company |
| Marc Schoenberg | person | Stern Pinball staff who supervises backglass print runs alongside Gary Stern |
| Dave Christensen | person | Pinball artist; Youssi admires his work on Captain Fantastic |
| Kevin O'Connor | person | Pinball artist; Youssi admires his Star Wars artwork |
| Greg Freres | person | Pinball artist; Youssi admires his Star Trek artwork |
| Doug Watson | person | Williams pinball playfield artist; known for effective use of gray shades in playfield design |
| Gary Flower | person | Chicago Expo organizer who coordinates with Youssi annually |
| Addams Family | game | Most successful pinball machine of all time; designed by Pat Lawlor with artwork by John Youssi; broke sales records |
| Twilight Zone | game | Pinball game with artwork by John Youssi; one of his personal favorites |
| Medieval Madness | game | Pinball game with backglass and cabinet artwork by John Youssi; notable work he's proud of |
| Funhouse | game | Pinball game featuring Rudy character designed after Youssi's son Charlie; example of artist creative freedom |
| The Jokers | game | Pinball game with backglass artwork by John Youssi that he's proud of |
| Stern Pinball | company | Major pinball manufacturer; employed Youssi for artwork; known for quality control under Gary Stern and Marc Schoenberg |
| Williams | company | Classic pinball manufacturer; employed Doug Watson and Pat Lawlor; context for historical pinball art discussion |
| The Pinball Blog | organization | Publication conducting Pinball Heroes interview series; interviewer is Nick |
| Captain Fantastic | game | Pinball game with artwork by Dave Christensen; Youssi admires the work |
| Star Wars | game | Pinball game with artwork by Kevin O'Connor; Youssi admires the work |

### Topics

- **Primary:** Digital vs. traditional pinball art methodology, Impact of IP licensing on artist creative control, John Youssi's career and notable works, Addams Family's record-breaking success
- **Secondary:** Preservation of traditional pinball art as cultural artifact, Pinball industry community and relationships, Digital printing quality control at Stern
- **Mentioned:** Historical pinball artist recognition

### Sentiment

**Positive** (0.78) — Youssi expresses nostalgia and some melancholy about industry changes (loss of traditional art, reduced creative control with licensing), but remains positive about his career contributions, the community, and current digital tools. Respectful and admiring tone toward other artists. Generally celebratory of pinball legacy.

### Signals

- **[business_signal]** Industry shift toward licensed IP games driven by profitability considerations rather than artistic merit; artist expresses resignation that this reflects market demand (confidence: high) — Youssi: 'Demand & profitability fuel the industry's choice of games. If a few 'Funhouse' type games were hits, you'd see more of them.'
- **[community_signal]** Young pinball designers actively seek out veteran traditional artists to view and learn from original pinball artwork, treating it as cultural/educational artifact, suggesting intergenerational knowledge transfer and respect for industry history (confidence: high) — Youssi: 'I've invited teams of designers to my home/studio for meetings & tour if they're interested. It always ends up the same way... Down in my 'vault' going through my old pinball art. That kind of art isn't being produced anymore & young artists want to feel & touch it.'
- **[design_philosophy]** Traditional pinball artists had complete creative control over character creation, settings, and visual identity; modern licensed games impose style guides and mandatory use of provided imagery, fundamentally changing artist role from creator to implementer (confidence: high) — Youssi: 'In the case of licensed games we are provided a style guide & often we must use the images as is. Back in the day, an artist set the look for a game & was responsible for creating characters, settings etc.'
- **[product_concern]** Digital workflow produces superior printing quality and consistency compared to traditional painting-to-print process, which required multiple generations of reproduction with potential quality loss (confidence: high) — Youssi: 'The printing methods & quality control at Stern are unsurpassed & very accurate. Gary Stern & Marc Schoenberg supervise every back glass print run & the end product is beautiful!'
- **[technology_signal]** Transition from traditional hand-painted backglass art to digital creation and printing represents fundamental change in pinball art production methodology and final physical product characteristics (confidence: high) — Youssi discusses loss of physical original artwork: 'You don't end up with a final piece of physical art that you can frame or just plain old touch or perhaps sell someday.'

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## Transcript

When I started Pinball Heroes, I didn't really know how far I'd get, how many people I'd find, or how many people would be willing. Sure, there's been a couple of weekends when I haven't had an interview ready, or I'm waiting for replies, but on the whole the generosity of the people within pinball never ceases to amaze me. No exception to that is today's interview with one of the best known artists in the industry.
John Youssi.
The Pinball Blog: So you're John Youssi, famous pinball artist and husband of a lady who makes rather fine cookies (I never reveal my sources). When you told your wife you were going to design pinball machine artwork did you get one of 'those looks'?
John Youssi: Difficult to remember that far back but no... I was a free-lance illustrator & every job was important to us. Jenny was always behind me 100% & had seen lots of unusual projects come & go so although Pinball was exciting to us, I never got ’one of those looks’.
TPB: Do you think pinball art has benefited over the years with moves to computerised drawing and strict ties to licenses or has this taken away some of the personality of machines from earlier 'conventional' drawing methods?
JY: Good question!
On the ‘negative’ side:
A) I was trained in the traditional methods & techniques & love the smell of paint & wearing paint splattered clothing so the change to digital didn’t come easy to me & I still miss the hands on approach.
B) We do much less drawing these days & have less control over the subject matter. In the case of licensed games we are provided a style guide & often we must use the images as is. Back in the day, an artist set the look for a game & was responsible for creating characters, settings etc. As you say ‘personality’. Much of that is over but don’t get me wrong, I don’t dislike licensed games. Demand & profitability fuel the industry’s choice of games. If a few ‘Funhouse’ type games were hits, you’d see more of them.
C) You don’t end up with a final piece of physical art that you can frame or just plain old touch or perhaps sell someday. I miss that.
D) No ‘Command-Z’ (see ‘On the positive side’).
On the positive side...
A) ‘Command-Z’ or in layman’s terms, a ‘do-over’. In Photoshop, we can go back over 30 steps so if you screw something up, it’s no problem to correct it. It’s a liberating feeling & frees one up to experiment more & take chances he wouldn’t ordinarily try on a traditional painting. I LOVE Command-Z!!! As much as I love traditional art, I always felt a little stressed that I might spill or smear paint on something. You weren’t 100% safe till the art was scanned or photographed. Then you could finally relax. Any artist who tells you he doesn’t like Command-Z is a liar.
B) The artist is more in control over the quality of the printing. The file I send to the client is very close to what ends up being printed. A traditional painting must be scanned, adjusted, separated, plates made & finally printed. That’s a lot of generations to get right. The printing methods & quality control at Stern are unsurpassed & very accurate. Gary Stern & Marc Schoenberg supervise every back glass print run & the end product is beautiful!
C) There are lots of digital tricks & techniques that can enhance the process.
TPB: From who did you take the likeness for Rudy in Funhouse?
JY: Ah... Rudy. I just happened to have a 3 foot tall 5 year old son (Charlie) who was an acting Jeremy Ham & chose him from the start for Rudy’s general look & gestures. Charlie was too young for the face so I researched manikin dummies & just drew till I came up with the ‘look’ I wanted. I have a few framed photos from the session here in my studio of Charlie, in his Rudy get-up standing on a picnic table thrusting his cane into the air.
TPB: Any plans to come over to the UK anytime soon as I'd love to get you to sign my backglasses (erm, I mean get to meet you)? And are you attending any pinball events this year?
JY: Although I love the UK, I don’t have any plans for a visit in the near future though Gary (Flower) works me over every fall @ Expo here in Chicago. Other than Expo, no plans yet. One of these days I’ll travel to Texas for their big event.
TPB: Which pinball machine are you most proud of as an artist?
JY: I have a few & it’s changed over the years. Twilight Zone is probably my favorite with Addams Family #2 but I’m also proud of the Medieval Madness back glass & cabinet. Also love the Jokers back glass.
TPB: And what of machine art from somebody else, which machine has artwork that you think is outstanding?
JY: Going back in time... Almost anything by Roy Parker. If I could afford it & had the room, I’d buy his old games & just hang them on the wall as art. I believe that’s how they’ll end up years from now.
Dave Christensen’s Capt. Fantastic.
Kevin O’Connor’s Star Wars work.
Greg Freres’s Star Trek.
Python’s 3-d like playfields were an inspiration.
I also admired Doug Watson’s playfields back at Williams. He’d use 6 shades of gray & do it effectively.
TPB: Do you keep your original drawings from each machine and any plans to put them on ebay?
JY: I do have lots of art as I never throw anything away but have no plans to sell anytime soon. Like I said earlier, we’re not doing paintings anymore & you can’t frame & hang a cd on the wall.
I have spent lots of time archiving my game art & have only scratched the surface.
TPB: The Addams Family was the most successful pinball machine of all time and is unlikely to ever be outsold. Did you and the design team realise you had started on something special or was it simply the right time for a pinball revival?
JY: I remember the day Pat Lawlor called me to let me know we’d be doing Addams Family. I loved the show & was excited from the start. Pat was always fired up about his next game & his enthusiasm was contagious. It flowed into the entire team so my concern was always to do the best I could & not let our team down. I approached every game that way. Pat had some great tricks up his sleeve for Addam’s Family so I knew it would be a cool game & I figured it would be popular if we all did our jobs well. The theme crossed over generations & was fun, cute, yet devious all at the same time. Plus... they let us ‘do our thing’. Having said all that, it was a very pleasant surprise when it broke the record.
TPB: What's it like to be among the last of your kind and is there a future beyond the short-term for a pinball artist?
JY: Hey, wait a minute, I ain’t dead yet! I feel like a walkin’ talkin’ dinosaur! I’ve invited teams of designers to my home/studio for meetings & tour if they’re interested. It always ends up the same way... Down in my ‘vault’ going through my old pinball art. That kind of art isn’t being produced anymore & young artists want to feel & touch it as they’ve never seen anything like it. Makes me feel good about my part in the whole thing but I wouldn’t say it’s over. Never say never!
TPB: Finally, please sum up your involvement in pinball in one word or sentence.
JY: Very hard work but a great ‘Ride’ with some unforgettable, one of a kind, dedicated teammates who have become good friends over the years.
I can’t say it all in one sentence, as there’s the ‘family’ part. Everyone who has worked in pinball at least here in Chicago is a part of a big family & it’s a joy to run into them almost wherever you travel.
Many thanks to John Youssi for his incredible art over the years and also for taking the time to become one of our Pinball Heroes. More Pinball Heroes coming soon.
Cheers
Nick
The Pinball Blog
Pictures courtesy: John Youssi, Internet Pinball Database

_(Acquisition: web_scrape, Enrichment: v3)_

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