Dear Mike hi. Thank you very much for sharing your time with us and speaking to our readers.

Thank you, Giannis, for the opportunity!

I would like first to ask you, what was the prime force that made you design album covers or to draw band logos? Was an example you had, a need that was created by a stimulus or what?

My twin brother, Mark, became inspired to draw (pen and ink) when he was in high school. He started drawing illustrations for various underground ‘zines. In college we both started working with graphic design on computers and that led to creating art and design (in addition to illustration) for various underground bands and labels. We both still do a lot of design work for the underground but we are also doing work for major bands and labels now as well. Altogether we've probably completed more than 150 album designs and over 150 t-shirt and merchandising designs for the metal scene and other independent genres. Our portfolios can be seen online at: www.riddickbros.com and www.riddickart.com

What do you think that is your more distinctive characteristic? What do you think that is what people like in your art?

I believe the defining characteristic of my design work is both atmosphere and consistency. I like to carry the theme of an album all throughout the artwork and presentation. I am also very detail-oriented so I like to ensure the layout is clean, has room to breathe and carries an impact. On the other hand, my brother's illustrative work carries its own style and atmosphere. His work is easily recognizable now among fans and bands who pursue his talent.

Do you believe that cover design or music related design creativity is actually an art?

I think album cover design can be thrown into the larger concept of what "art" is, though I find it to be a "genre" of art. Some artists may specialize in certain areas and I think album design is an example of an area of specialty. Album covers need to capture the essence of a band's music and they also need to consider capturing the attention of the consumer, so there are two audiences one must be aware of when preparing cover designs. It's an engaging and enjoyable challenge to work with a band and help realize their vision.

What do you think about the role of technology in design? Do you think that makes things simpler than simple (to paraphrase Albert Einstein) and allow everybody to be a designer?

Computers have definitely transformed the art industry. They are another tool to add to the artist's palette, and software programs like Photoshop have revolutionized what artists can do in the digital medium. I think it does allow more people the opportunity to become artists and designers, though ultimately it will require some education, skill, vision and talent to become a successful artist with these tools.

Is there a cover that you would like to have created? Similarly what is the worst cover you have ever seen and you would not like to have your signature under it?

This is a hard question! I don't have a specific favorite album cover, though I see a lot of good covers being created by various artists and designers I admire. Of course, there is a share of poorly designed covers too, but those typically come out of the underground where bands and labels don't have the budgets to afford professional work.

It's obvious that you are a metal fan, so it should be easy for you to understand people's requirements. Is that so?

Yes, that helps quite a lot. However, it also makes it challenging when I work on projects for other genres. Sometimes I end up making the work too "dark".

What do you like to listen? Do you have to listen before you design and more important do you have to like the music in order to be more creative?

I usually prefer to listen to a band's music while I work on their cover art. The benefit of this is that I end up with advanced copies of albums before they're released. It's a real pleasure to have these.

Who are your favorite artists? Do you think that, like in music, you are inspired by them?

I am definitely inspired by my favorite artists. Some artists I really like include: My twin brother (naturally!), Aaron Crawford, Chris Moyen, Kris Verwimp, Ed Repka, Dan Seagrave, Kristian Walen, Jeff Gaither, Stephen Kasner, Madeline von Foerster and others. I also really appreciate design studios like Invisible Creature, Wonderful Union, Stoltze, Action Hero Design, etc. Furthermore, I also appreciate the photographic work of S.alt and Elisa Laso Valdez.

How easy is to detach from the gravity of their influences?

It's not very easy to detach from their influences because they all use universal artistic techniques in their work which is important to a good design. Since I wish to create good work as well, I have to follow these same rules and so our work may all carry similar ideas and styles. However, they still serve to inspire me and help me to realize what those universal principles are and why they work so well.

You have a degree in Philosophy and Religion. Does this help you to approach some concepts and ideas that are usually covered in metal music?

My background in religion has helped on a few occasions while preparing artwork for bands. For example, the band DAATH are quite learned in the shadowside of the Kabbala, an esoteric Jewish mystical system expounded upon by Kenneth Grant. Due to my familiarity with this spiritual system, I was able to help understand the vision for their album and complete something that met the vision for their release. Also, the process of analysis, as taught in philosophy, has helped me to dissect a band's needs and to realize them clearly when I work to finish a project that meets or exceeds their expectation.

However you are not only focusing on designing, but you run with your brother two record companies. I would like thus to ask you about MetalHit, how did it happened and what are the aims of this label?

Metalhit.com was born out of an idea my wife presented to me when I was discussing my label business with her. At the time, I was only operating one label, The Fossil Dungeon, specializing in gothic music. I decided to make the label all-digital and at the same time I had the idea to create Metalhit, which is now the first all-digital extreme heavy metal label. I have always wanted to start a metal label because I have been a fan of metal much longer than of gothic music. The priority of Metalhit is to publish bands exclusively in the digital market and to promote these bands the way a traditional label would promote its artists. We have also licensed some bands for the digital market and we represent more than 25 other underground labels in the digital market as well…getting their works sold through all of the major digital retailers like iTunes, Amazon Mp3, eMusic, Rhapsody, Napster, etc. Metalhit.com also has an Mp3 store with over 3,000 songs available for purchase and download. We plan to become a central source for extreme metal Mp3s online as well as gain more attention as the popularity of digital music continues to grow.

Fossil Dungeon, your second label, is focused on neo-classical, dark, ambient music. How this combines with the rest of your activities?

I have had an interest in these forms of music since the early nineties. I started the label as a way to publish my own band, The Soil Bleeds Black. We started by publishing a few other bands and then released our own. Managing both labels, doing art, having a full-time job and playing in numerous bands definitely keeps me busy!

Before ending, what do you think that is essential for a band to have in order to be recruited in one of your labels?

Talent, creativity and quality recording.

Dear Mike, thank you very much for your kindness to answer our questions. We wish you all the best with all your activities.  

Thank you Giannis! I appreciate your support and interest. Best wishes to you and to all of your readers!

www.metalhit.com
www.fossildungeon.com