45. METALLICA Part Five – ‘THE BIG 4/2’

NOTE:

… Apologies for such an abrupt end to this post, but I had to scurry off away from my computer for a few days on personal business …  However, while I was off galavanting, I got carried away with what was to be the second half of Part Five which will now be …

… ‘METALLICA – Part Six – ‘THE BIG 4/3’ to be posted on Friday 8th of April
and … still to come after that …

… Hanging out with the band in Berlin for S&M,
… the Viper Rooms in LA,
… mayhem as the METALLICA stage collapses in London,
… dinner with Lars at Nobu in London with two Very Special Guests,
… and much more …

But now – more on ‘THE BIG 4’ and creating it’s artwork …

I know I keep banging on about the importance (and joy) of hand-created artwork – and I do believe in it passionately – but, without current technology and the massive broadband widths we now have to send artwork around the globe in seconds, so many adventurous projects just wouldn’t get off the ground. For me it’s a question of finding the balance between the spontaneity and energy  creating real artwork with the speed, convenience and endless capabilities of computer graphics programmes

Of all the bands I have worked with – METALLICA have provided the most creative opportunities to balance the two most successfully. James Hetfield‘s iconic and stylised drawings and sketches (not to mention his enigmatic handwriting) have often become a basis – or major contributing factor – to the construction of much of Metallica’s artwork.

Apart from the ‘Black’ album tourbook and its ELEVEN updates as the tour grew and grew and grew …

… my first major project for the band was ‘LIVE SHIT‘ and from that ‘SCARY GUY‘ to the title lettering on ‘GARAGE Inc.‘ to the wonderfully inventive ‘NINJA STAR‘ and most recently for ‘THE BIG 4‘ – James’ input is clear and remarkably consistent. To be provided with such personal input from the band makes it infinitely easier to provide art and graphics which tune in directly with fans. James is not a graphic designer but his input is spontaneous, totally relevant and uncontrived – a perfect scenario for a designer. His sketches and scribblings are re-worked to fit in with a projects overall concept but it’s vital I retain the original authenticity.

I have always believed that the most successful symbols, logos and graphic devices are those that can be reproduced easily (some dedication is obviously involved!) on paper, jackets, t-shirts and whatever comes to hand by fans themselves. I have seen numerous fan-customised  METALLICA items all over the world, from the UK to Turkey and from the US to beaches in India and the Far East. Some have been astonishingly inventive.

It’s exactly the same for me. With a strong iconic image to start with the possibilities are fantastic …

Just to show you how ideas can be developed I’ve taken the four black and white images above and created four colour images …

OOPS! … have to dash off … much more on this soon

&ie