16. DEF LEPPARD – Part Three

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Blog responses were brilliant and very interesting. So many of you enjoyed seeing the original print-ready artwork – so there’ll be more of that later – and also requests from fans for an exhibition of that stuff has made me take the idea more seriously. What a discerning bunch DEF LEPPARD fans are. I also realised, out of all the comments and e-mails I’ve received over the last couple of weeks, more than half of them were from female fans. DEF LEPPARD have a huge fan base of women – Rock was no longer a boy’s-only territory. Sure, there were female followers of other bands in the 80′s and earlier but DEF LEPPARD’s appeal was broader and intelligent enough to include many more.

So … where were we? Oh yes – no album sleeve. ‘Animal Instinct’ had become ‘Hysteria.’ It only took a few days to convince Adrian to climb down from the parapet on the studio roof (the studio is on the top floor of a five-storey building) and to tell him we were all getting pissed off with our endless trips to the supermarket to buy him more Kleenex. He was fine in the end. The band did pay him for all his work so that was some compensation.

A few weeks before I’d met the band in Amsterdam I’d taken a photograph of a friend of mine and, as I clicked the shutter, he was distracted by a noise and turned his head very quickly to the right. The resulting portrait was one of those brilliant ‘accidents’ that often take you by surprise. If I sit down to invent an image, whatever I do is limited by – well – me. Experimenting with different techniques has always been inspirational and many of my ideas are the result of something unexpected appearing – not knowing what the outcome of an experiment will be. Engage in the ‘unknown’ and you’ll be constantly surprised.

(In-between this Def Leppard blog and the next, I’ll tell you about something that happened to me in India that totally blew me away – when I saw a natural phenomena my imagination couldn’t have invented in a million years.)

The headshot of Robert contained a double-image. Because he’d moved his head very quickly the camera, on a low shutter-speed, had recorded a full-on image of his face – but also his profile. I noticed that his left eye had moved to become his right eye in profile. There was something very disturbing about the overall feel of the photograph. It doesn’t sound like a huge step in designing the final sleeve, but it was. I had a direction to explore which I was very confident about. I still had no idea where the illustration would lead but I was very excited about the possibilities.

I also wanted something as a background which placed the head in a strange environment. I knew, by the time I got what I wanted, the head would show a primitive fear so I decided on total contrast – something futuristic. What I decided to do led me innocently into the bizarre (and hilarious) world of ‘computer graphics’.

We started here …

We have to remember it was the mid-80’s and using computers to create images was primitive to say the least. Each time-consuming (and expensive) process was so basic it was about as exciting as eating a warm lettuce sandwich. However, the end result was the thing and I was determined to learn something about the emerging digital world for the ‘Hysteria’ sleeve. I spent days drawing the design for the ‘circuit’, stretching my draughtsman’s skills to the limit with pens, ink and a drawing board. There was a company in London which professed to be on the ‘cutting edge’ of a new creative phenomena and I went to see them to explain what I wanted – to convert my drawing into something more futuristic. ‘No problem‘, they said.  I had an image in my head of the computer operator – a rather geeky character obsessed with perfection. Wrong. I returned with my artwork and met my ‘mentor’ who had just returned from an extended pub lunch (VERY extended by the look of him). He stumbled into the room, introduced himself and I followed him as he lurched off drunkenly towards the room that contained the state-of-the-art computer. The set-up was professional but resembled something put together by a lunatic inventor attempting to build a time-machine. There was a camera the size of wardrobe, TV monitors were scattered all over the room and a congestion of unrecognisable electronic instruments were connected together by miles of different coloured cables and wires. My drawing was photographed and somehow magically appeared on one of the monitors. The amazingly innovative procedure followed – we painstakingly coloured in the white areas of the circuit like children with a handful of electronic coloured pencils – ‘No that one should be blue, change that one to green, get rid of the red completely,  more yellow ...’ Eventually after several hours we had the image I wanted. The wardrobe was wheeled in front of the screen and the image was photographed. There was no way then to transfer the final image to another computer – what I was given when I left was an 8x10ins transparency of the screen we had created the image on. The pixelated texture within the circuit wasn’t designed – it was the result of photographing the TV monitor – but it was exactly what I’d hoped for.

At the same time, I worked on the the main image. When I began to sketch it out, using the eye as a focal point, the illustration began to take on a life of it’s own. I swear what appeared surprised and shocked me but wherever it came from I knew it was undeniably powerful and perfect for the sleeve. Although I still had to find a way to combine the illustration with the dazzling computer graphics (!) I showed the band the first draughts of the head and a resounding ‘THAT’S IT!’ was music to my ears. The level had been set and the required intensity of the rest of the design fell into place comparatively easily. There are so many disparate elements in the final sleeve – the head, the circuit, the demented title lettering, the band logo and the triangle – it shouldn’t really work, but it remains one of my favourites and most memorable I worked on. I completed the illustration, in coloured pencils, within two weeks and the final result was definitely not ‘laboured’. It’s worth mentioning here that historically,’Hysteria’ was the first album sleeve  to contain computer graphics.

STEPHEN MAYNARD CLARK (1960 – 1991)

It’s difficult to say much more about Def Leppard without writing about Steve Clark. The second major tragedy to befall the band was the death of their amazing lead guitarist. During the recording of ‘Hysteria’ Steve often showed up to rehearsals or recording sessions drunk. Alcoholism became a serious problem. In 1991, on a six-month leave of absence from the band, Steve was found dead at his home in London. An autopsy revealed the cause of death to be accidental – a lethal mixture of anti-depressants, painkillers and alcohol. Steve lived in London, only a few streets away from where I live in Chelsea, and we often met in a small old-fashioned but wonderful pub called ‘The Cross Keys’ – so I knew him better than the other guys in the band. I really liked him and we became close in a haphazard, occasional kind of way. Steve had a generosity of spirit and a vulnerability which was very attractive, but something deeply troubling was never far from the surface. Whenever I travelled to meet the band Steve always took the time and made the effort to look after me – the perfect gentleman, always aware of nervous or uncomfortable situations. Whenever I met him in ‘The Cross Keys’ I always felt the need to look after him. It’s hard to explain why I felt that way and, despite his reputation for heavy drinking, he was rarely out of control when I saw him. I guess I just felt the need to protect him from a world he often found terrifyingly complicated and difficult to deal with. Away from adoring fans and where he did what he loved most – play guitar – he was usually quiet, sensitive and introspective, He obviously found it difficult to reconcile the two extremes. Don’t get me wrong, he was rarely miserable or depressed – we often had evening of non-stop laughter – but there was always a nervous undercurrent of someone who could easily be thrown off-balance. What I felt with him was a responsibility to help maintain the balance. There are people in all our lives we feel privileged to meet and Steve was right up there with the best of them in mine.

Here’s a video from 1988 which shows his distinctive style and incredible talent – just brilliant.

On a lighter note, for those of you who enjoyed the ‘sketches’ and original art, and loved the new edition, I’ve created another new one using various ‘working drawings’ created on the journey to the final sleeve. Check it out at my website for more detail.

Next we move onto the joy of the single releases from ‘Hysteria’. Can’t wait.

and finally for Part Three …

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11 Responses to “16. DEF LEPPARD – Part Three”

  1. DefDazz Says:

    Andie – great stuff. Very interesting to hear about how this brilliant album cover design came about.

  2. Lorelei Says:

    Hi Andie, Thank you for your beautiful reflections of your time spent with Steve. I can obviously relate to your sharing of feeling the need to look after him- as I did for over six years. We were blessed to have known him and to have loved him. Your artwork is fantastic! Also interesting is your descriptions of how it was all done back then especially as digital artwork has come so far so fast.
    I don’t know if you read my book RUnway RunAway – I know Classic Rock did excerpts- but of course they pulled the most dramatic stuff from my story and so maybe you got the wrong impression. Steve was loved by so many people – If Only- he’d known……and loved himself a little more. Blessings to you and Happy Holidays,
    Lorelei Shellist- http://runwayrunaway.com

  3. Andie Airfix Says:

    Dear Lorelei, I’d kind of been building up to writing about Steve – putting it off I suppose – but when I finally felt ready, it came easily and from the heart. I will read the book I promise. Happy holidays indeed. Love &ie

  4. Deffan4life Says:

    So very moving, the video at the end. God, has it really been 18 years since Steve’s passing? Hard to believe. It really is true , that a gifted person can spend their whole life giving to others, yet not realizing how much they are loved in return for it. Thanks for sharing your stories & may Def Leppard live on to rock our worlds for another 30 years!!:) Thanks again. God Bless You & the band & Merry, Merry Christmas & a blessed New Year full of love & laughter!!!

  5. Steve Says:

    Hi Andie ! Thanks for these wonderful memories, as it brings back many memories of my own. I am a graphic designer myself, I studied from 1986 to 1989 and at that time, there were no computers at all, as you know it.

    At the end, we knew computers would replace everything we’ve learned during those 3 years. I can’t even imagine trying to replicate with the tools from those days what we can do now with Photoshop and Illustrator… The mind boggles !!!

    Hats off to you Andie !!

  6. deaf_leopard Says:

    Reading your blog has been really nice the last couple of weeks.
    The band that have given me so much joy and the covers that, for some reason i cant figure out, have allways been my favourite covers of all the hundreds of albums i have bought.

    Thanks for the nice story about steve, i never saw leppard or meet steve when he was alive. But he has made a lastinbg impression of thousands of people around the globe with the music he helped create.

    Thanks again :)

  7. Patricia Ann Calobong Says:

    Thank you again for all of the videos and sharing your stories. Gods of War video next to Animal are my very favorite. I plan on visiting England for the first time to get the real experience of the band. Happy Holidays to all from a fan in Westminster, Maryland next to Pennsylvania originally from Washington, D.C.

  8. Brenda Guild Says:

    Thank you so much for sharing your blog on the artwork (incredible!) and the heartfelt story on Steve Clark. I’m sure I talk on behalf of millions of Steve Clark and DL fans when I say – we can’t ever get enough of keeping Steve’s memory alive. I still after 30 years of following Def Leppard enjoy watching “THE RIFFMASTER” perform in the videos on stage especially this one “GODS OF WAR” from IN THE ROUND – one of my many favorites. As difficult as the stories of Steve are to write, the fans appreciate that they are written as we get a glimpse of not just those sad moments but these great moments of friendship, laughter, and fondness for a person we all adore. We thank you and Lorelei for sharing your stories! Can’t wait for the next blog!

  9. AndyLGR Says:

    Andie, these last 3 blogs have given us an interesting insight into 2 of the most iconic album sleeves ever. Sleeves that are as recognisable a part of the Leps career as their music.

    Its great to see the rough sketches and to hear the stories behind the ideas as they unfolded. Hopefully you will have more to share.

    Also that was a really good piece on Steve Clark. You spoke with respect and dignity for the great man, which unfortunately a lot of people dont do enough of when they write or speak of him. Thanks.

  10. skywalker Says:

    hi Andie,

    i’ve been listening to Def Leppard music for the past 15 years but never had the chance to meet the band. i sometimes feel it’s kind of strange in that, i’m 18 years junior of Steve, and it’s 18 years after the pass away of Steve, which was just recently, that i realized it’s Steve the riffmaster behind the so many great guitar work for Def Leppard… What a coincidence… And that become the reason for me to build a blog that is partially as a tribute to Steve.

    It’s really a bless for me to come across ur blog which features the precious moment of u and Steve, in this time — just 1 month from Steve’s memorial day. Thank you for the sharing, as it’s rare to come across someone so close to Steve, besides the loved ones of Steve.

    Looking forward to ur next blogs talking about ur life as a great buddy with Steve..

    - Cheers and peace -

    =)

  11. Michael Says:

    Hi Andie,

    It is so cool that you’ve blogged about the the artwork from the album/singles – I’ve always loved it and it’s fantastic for fans to know the story behind it. Thank you!

    I was wondering if you were involved in the writeup/design of the liner notes:

    With the individual photos of the band members in the liner notes, why was that picture of Steve chosen with his hand over his face? I had the cassette version and it was hard to make him out.

    Also, were you involved with including the nicknames for the band members like “Baron Beaverbrook”, “Bus Head”, “The Diplomat” etc? Did “A.H.D.” after Steve’s name mean anything?

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