Elric – Page 2 – { feuilleton }

The Chronicle of the Cursed Sleeve

A copy of the cover art that I attempted to colour-correct some years ago to compensate for the poor print reproduction.

This month I’m in Record Collector magazine talking in a sidebar feature about my work on the Hawkwind album The Chronicle of the Black Sword. The issue is Hawkwind-heavy, with a Nik Turner interview, a history of Flicknife Records (the label that released COTBS), and a retrospective feature on the Black Sword album which was released in December 1985. My words were slightly cut to fit the allotted space but I can run the full text here in which I describe my ambivalent feelings towards this particular cover.

The Black Sword album for me has always been a combination of pleasure and disappointment. I was very pleased initially to hear that Hawkwind were writing a concept based on the Elric books, a series I’d enjoyed for many years. Cover discussions were a little more detailed than usual since this design was sketched out beforehand then approved by the Dave Brock and co. Prior to this I’d been creating something vague after equally vague requests; communication back then was all done via post and call box as I didn’t own a phone.

This was the first album where I was able to create an integrated front and back cover design. A friend had recently found me a copy of George Bain’s Celtic Art: Its Methods of Construction (1951), a study of the creation of Celtic knotwork, and I was keen to use this somehow. Rather than do a cover that looked like a fantasy paperback the idea was to use the knotwork style to create something that was suitably Hawkish whilst also fitting the Elric theme. The front cover has some nods back to earlier Hawkart in the winged sphere—which goes back to Barney Bubbles and his obsession with Ancient Egypt—and the eye-in-a-triangle, a symbol which first appeared on the cover of the Hawklog booklet in the In Search of Space album, and which I scattered throughout many of my Hawkwind designs.

All the lettering on the album was hand-drawn (not very well in places) using letterforms based on Bain’s examples from the books of Kells and Lindisfarne. I drew the track listing onto the artwork for the back cover, a decision that later proved to be a bad one when the band decided to change the running order of the songs, hence the large purple square that spoils the design. My lack of any direct contact with the record company made problems like this inevitable; I was trying to do graphic design at a distance without having any communication at all with the printers responsible for the sleeve. Before digital design, the creation of an album cover could be a complicated business involving photo-mechanical transfers, knockout areas, overlays, typesetters and more; if you weren’t in direct contact with the printer (or somebody who was) then you simply had to hope for the best.

This process of design-at-a-distance led to the disaster with the cover printing, the front of which has an unwarranted blue cast that dulled the impact of the sleeve and, for me, ruined the whole thing. You can see how the cover should have looked by comparing the background colours of front and back; the front was also printed in its true colours on the back page of the 1985 tour programme. It was this, and the messy appearance of the lettering on the back, that pushed me further towards ending my involvement with Hawkwind and doing something of my own over which I’d have complete control.

The retrospective feature in the magazine includes a picture of the back cover of the tour programme (above) so those familiar with the album can see the difference in reproduction. The difference isn’t so noticeable on the copies posted here after I tried altering the tones of the cover. Over the years I’ve grown used to the blueness but the back cover remains blighted by its purple boxes.

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HPL in France

Les Autres Dieux et autres nouvelles (2002).

In 2002, French publisher J’ai Lu used my perennially popular view of R’lyeh on the cover of a small collection of HP Lovecraft’s fiction. This replaced a Michael Whelan painting on an earlier edition which looks fine but which happens to be a detail from one of his old Elric covers.

Par-delà le mur du sommeil (2002). Cover art by Eikasia.

Looking through the Lovecraft pages at Noosfere this week turned up some recent French covers I’d not seen before. One of the striking things about cover art for French genre titles is the amount of artists who also work in comics. This isn’t so surprising given the scale of the French comics world but in the UK the tendency is for people to work in one area alone. Artists such as myself who move freely from comics to cover art to graphic design are a very small minority.

Night ocean et autres nouvelles (2005). Cover art by Richard Guérineau.

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Moorcock: Faith, Hope and Anxiety

Photo of the author by Linda Moorcock.

I mentioned a few days ago that I had another new piece of work to reveal, and this is it, a poster/promotional piece for Russell Wall’s forthcoming documentary about Michael Moorcock. The main challenge with one was to create something that would give a sense of Moorcock’s extensive career and the genre-spanning content of his many books.

I took the 1970s as the starting point, since this was the period when his reputation as a writer was established worldwide. The decade began with Britain’s bookshelves being colonised by Moorcock’s SF and fantasy novels published by Mayflower with vivid covers; it saw a cult feature film—The Final Programme—made from his first Jerry Cornelius novel, and it ended with the fourth Jerry Cornelius novel, The Condition of Muzak, winning a serious literary award, the Guardian Fiction Prize.

So the general appearance of the design, the headline typography, and the colour scheme are a nod to the Mayflower covers and especially to Bob Haberfield’s artwork which often used a similar style of Tibetan flames and clouds. The rest of the type is set in Rockwell, a preferred typeface of the Hipgnosis design team for much of the 1970s. Early on I had the idea of filling the design with stylised graphics like those used by some of the Hipgnosis illustrators, chiefly George Hardie, but that idea receded once the composition began to arrange itself. The fountain pen is the main hangover from this, a hard-edged graphic tilted at an angle like many of Hardie’s illustrations. The pen is a little inappropriate given that Moorcock is famous for knocking out novels at speed on a typewriter but it made a good visual rhyme with the guitar, a Rickenbacker like the one the author played in his Deep Fix band.

Elsewhere there are many specific references competing for attention: the Elric head is Jim Cawthorn’s illustration from the first edition of Stormbringer (1965); the Jerry Cornelius figure (straddling a repurposed Mayflower logo) is one of Mal Dean’s best, as seen on the cover of issue 191 of New Worlds magazine; the sorcerous blades are my own designs from 1985 as seen on the sleeve of Hawkwind’s Chronicle of the Black Sword album; the Beardsley figures from Salomé were a vague gesture to the 1890s but the Pierrot figure happens to be one Moorcock used for a while as a bookplate, something I didn’t know until I’d placed it in the design; the cat at Pierrot’s feet is another Beardsley from one of the Bon-Mots books; the London skyline is a contemporary one, London past and present having been a continual feature of Moorcock’s writing throughout his career. Lastly, all these details are contained by a graphic based on Abram Games’ BBC TV ident from the 1950s. When Russell and I began talking about this project the words “television biography” were being used so this would have connected to that idea, and to the decade when Moorcock’s career began.

I don’t know when the documentary will be released but any news will be posted here in due course. There’s also talk of making copies of the poster available for purchase but nothing concrete has been decided yet.

Previously on { feuilleton }
• Eduardo Paolozzi at New Worlds
• Elric 1: Le trône de rubis
• Into the Media Web by Michael Moorcock
• The Best of Michael Moorcock
• Revenant volumes: Bob Haberfield, New Worlds and others

Lovecraft: Démons et Merveilles

UK publisher Titan Books announced earlier this year that they’d be reprinting the first volume of Glénat’s excellent comic-strip adaptation of Michael Moorcock’s Elric novels in an English edition, a book that should be out in September. This was a surprise to me when I’ve complained for years that Titan seldom showed any interest at all in Continental comics, despite France and Belgium being over-burdened by world-class creators. I’ve been surprised again this week by the news that Titan will also be reprinting the English edition of Philippe Druillet’s The Six Journeys of Lone Sloane in March next year. Druillet’s books have been unavailable in English editions for decades so this is good news indeed, even if the attention is scandalously late.

As I noted in the post about Glénat’s Elric, Druillet illustrated Moorcock’s albino anti-hero in 1973. The artist is better known for his Lovecraftian depictions, however, even when—as in the adventures of Lone Sloane—the story could easily sustain itself without all those sinister temples, fish people, Cyclopean architecture and the menace of nameless gods. The Lovecraft influence, which can be found in some of his earliest illustrations, comes to the fore in Lovecraft: Démons et Merveilles, an HP Lovecraft story collection published in an expensive limited edition by Éditions Opta/André Sauret in 1976. Druillet provided ten colour illustrations plus a design for the boards. Some of these illustrations have since been used on paperback editions of Lovecraft in France, although many of them crop the artwork. Tentacles have become a perennial cliché in Lovecraftian art (I should know, I’ve drawn enough of them) so it’s worth noting how few there are in Druillet’s drawings.

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Tornadoes

A gust, a storme, a spoute, a loume gaile, an eddy wind, a flake of wind, a Turnado.

Captain John Smith from An Accidence, or the Pathway to Experience Necessary for all Young Seamen (1626).

In an age of storm chasers and increasingly spectacular photos, Lucille Handberg’s celebrated picture may seem undramatic, but for the moment this is still the most celebrated tornado photo to date. I knew the picture from an early age thanks to its appearance in a children’s encyclopedia. When Deep Purple’s Stormbringer album appeared in 1974 (below) that imperilled barn, and the shape of the twister, was immediately recognisable.

Lucille Handberg took her famous photo on 8th July, 1927 as the tornado passed by Jasper, Minnesota. It’s a surprise to see from the account in The Milwaukee Sentinel that there’s at least one other picture. I tried searching for a larger image of the second photo but photo libraries still control its reproduction. The copy above is from an account of the tornado here.

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