Interview with Neal Ashby: Thievery Corporation’s package designer!

In the graphic design world Neal Ashby is a vanguard. His innovative package designs for Thievery Corporation only scratch the surface of his accomplishments. Over the last 20 years he has worked with organizations like Recording Industry Association of America (RIAA) and companies like Virgin Entertainment, Warner Bros. Records, Dick Clark Productions, and MTV. His music packages have received international accolades, landing him in museums like The Rock and Roll Hall of Fame in Cleveland, Ohio, and the Experience Music Project in Seattle, Washington.  See more of his work at ashbydesign.com

CA: First of all I just want to tell you how amazed I am by the work on your website.

NA: Well, thank you!

When I went to graphic design school back in the late 90’s we would all drool over the fancy design companies that we hoped to be employed by one day. Yours is definitely the sort of company we all would have gone crazy over.

Well, I’d say 90% of what we do is dealing with rude or stupid clients and non sexy subject matter. For example, we just finished a website for a company that removes mold.

But then you get to design for bands like Thievery Corporation…

Designing CD art for the music industry is really, really rewarding. I mean, it doesn’t pay a whole lot of money, but what you do get out of it is that it’s a chance to really let go and create something you’re really proud of. I’d say it’s the closest you get to being an artist. I don’t think any of us really got into it for the commercial part of being a commercial artist.

When you design for a band like Thievery, what is your process?

We’ve made eight or nine CD packages for TC, and the truth is that I think in every single case the process was completely different. There’s never really one process you follow.

Thievery actually came to me themselves and since they own their own label they had more control over the design process. Sometimes when you’re designing for bands you never even meet or talk to the artists.

The success of the TC packs were due to: number one, they really appreciate good design; number two, we live in the same city so it was easy to get together.

Sometimes Eric (Hilton) would have a very specific idea that he’d come to me with. “Versions” was one where he came to me and said, “Have at it. Do whatever you want to do.”

Why did you choose the “Revolver” album to emulate for that CD package?

I’m a huge Beatles fan – not only because of the music, but I’m intrigued by the way they affected the entire culture. I’m intrigued by how a rock band actually became a catalyst for cultural change and style.

In some way, shape, or form they moved everything forward. Their album covers moved along with them. As their music became less literal, it was reflected in the album covers.

“Revolver” was their first album cover that looked like they had departed from everything else. All convention had been thrown out the window. As a singular stroke of graphic design it’s a masterpiece in that it’s so psychedelic and chaotic, and yet so restrained with the use of black and white. It’s maximalist and minimalist at the same time. I’ve always had it next to my computer, so when Eric said “Have at it,” that was my chance to make my version of it.

It’s a really beautiful design.

Thank you.

How long have you been working in the design industry?

I started my own company when I was 19 in1985. It was just me. Since then I’ve doubled in size. We are now 2 people.

I was a professor at the Corcoran College of Art + Design in Washington, DC. I had a student named Patrick Donohue. He was smart, thorough, creative, and he had impeccable technical skills. I knew I had to somehow make room for him in the company. That was five years ago.

You’ve seen the graphic design industry change so much since you began. How do you keep up with all the changes?

You just don’t. It swirls around you.

What’s funny is yesterday for the first time in a long long time I burned a CD and five years ago that was the main way you got stuff to people.

When I look at magazines and what the younger generation of designers are doing, I’m really impressed. You can really tell that they grew up with the computer as a first tool. Because of that they had access to so many visual variables that they could control.

I still think that the hardest part is to come up with a good concept. It needs to be cohesive, well thought out. That hopefully will always stay the same.

Do you think the computer is leading people to design more through the software than through actual design skills?

Let’s put it this way: I think before the computer there were just as many crappy designers as there are after the computer. The computer didn’t really change the percentage of crappy designers out there.

Do you do any visual art aside from design?

I paint. It’s embarrassing because I’m not very good at it, and I paint what you probably would never imagine me painting. I actually like to do landscapes. I like to paint very minimalist landscapes of the Eastern shore…serene waters, lots of land, big skies, dark moody stuff.

It’s strictly on the hobby level. That’s what makes it special – it’s not done to impress somebody or make a statement – just for the sheer enjoyment of creating something visual. It’s cool to do something like that where the only person you have to please is yourself.