American artist Travis Smith is best known for his cover artwork which has graced releases by Katatonia, Opeth, Devin Townsend, Death, All That Remains, Avenged Sevenfold and many others. His work also appears on merchandise, comic books, and posters. 2024 marks his first appearance in the RAM Gallery.

Q. When did you first become interested in music?

“A little after KISS 'Alive II' came out. I was also developing a fondness for movie soundtracks at the same time. 'Alive II' and the original Star Wars soundtrack were my first records, in large part because of the covers. Although I loved some of the ones I was discovering from my parents’collection (The Doors, Fleetwood Mac, Jim Croce and such), they seemed to be missing that little something special that I found so appealing. Of course, it eventually led to things like Ozzy, Iron Madien (again, due to the cover art) AC/DC, Def Leppard, and Ratt. But then I discovered Metallica’s 'Whiplash' EP and it was all downhill from there.”

Q. How did you get started in art, and who or what were your influences?

“Professionally, I began with doing flyers for local bands, eventually leading to a CD cover gig or two. Through that I began making contacts with labels and bands and began sending copies of my portfolio out, which led to more album work and soon I was doing it almost full time, along with some comic book work. To name my influences or favourite artists would include Dave McKean, and then Larry Carrol, Mike Clift, Derek Riggs, Away, and Steven Gammel, I tend to favour art that speaks to me in some way and has a sense of wonder about it, as their work does exceptionally.

Q. When did you first begin to notice album covers? Did you consider the importance of artwork back then? Any favourite covers from your early days?

“Again, maybe when I was discovering my first Kiss records. The covers were far more intriguing to me at the time than the ususal, something that was someone’s portrait or a harmless painting you might find on a doctor’s wall. But I was always very interested in an album’s cover, whatever it might have been. If I heard about an album I was already just as curious about what it would look like as much as what it would sound like. Iron Maiden’s 'Piece of Mind' was one of the first that I remember being next level and really making an impression upon me - having the impact that a good cover still does. It was intriguing and even seemed a little forbidden, like some movie posters did at the time, and really sucked me in. I wanted to know more about the album. A lot of records were like that, and a good cover still does the same thing for me. But I come across less and less that actually speak to me like that anymore, or have that sense of wonder about them. If a cover was bad it was a little disappointing and it took a little away from my excitement, but on the flipside, a cover I really loved would add a lot to the experience for me. That’s also something I still keep in mind when I’m working out one of my covers.”

Q. What do you think makes a successful album cover?

“For me, a successful cover is one that represents the album well, conveys the right mood, maybe tells you a little story about what you may expect to find inside sonically, that makes a new listener curious enough about the record to pick it up for a closer look, or the returning fan to anticipate what awaits them. Interesting enough to stand on its own yet made better when taken within the context of the record. It can be complex ('Somewhere in Time'), but I don’t think it has to be, necessarily ('Demanufacture'). Two of my favorite covers are Disincarnate’s 'Dreams of the Carrion Kind' and Metallica’s Black Album, and they look exactly like those albums sound and I love covers like that. 'Purple Rain' and 'The Wall' are perfect covers for those records the same way 'Them', 'Seventh Son of a Seventh Son' or 'Reign in Blood' are for theirs.” 

Q. What was the first album art you created?

“The very first one I did professionally was Psychotic Waltz 'Bleeding', in 1995.”

Q. The digital age has seen a dumbing down of album artwork and packaging, although the ongoing vinyl revival may have helped redress the balance – thoughts?

“I know what you mean, with there being a priority on how it looks at a glance in a small square, and I guess that has its place and is understandable from a business point of view. But I think it has in a way helped foster a lack of appreciation for the artwork. Even with LP covers there is still the emphasis on making sure its something that will look good on a shirt. Understandable as well, and art can be adapted to that, but I don't think it should be at the expense of a good cover or a good cover idea should be compromised for it.”

Q. What media do you use? Digital, physical, or a combination of both?

“It’s a combination of all of the above, but everything is put together digitally. It starts with photography (physical slides or digital). I still love the look of film, and I also have a really old digital camera that I will use as well. And those elements are combined with painted textures or additional elements which are usually watercolour on paper and scanned or digital painting.”

Q. Do you tend to collaborate with bands or be given a brief?

“Both. I do like to know what a band may have in mind, of course, or what sort of direction it should take, so I will ask for those things if they have them. Too many details are not always necessary unless they are already very specific about what they are looking for. Sometimes they will have only a general idea and not really specific, so I like to trade ideas and find a middle ground to make sure we stay on the same page, so to speak. I like to listen to a band’s music when I work, prefereably the new material. It really helps to set me in the right direction or finding the right mood for the project, and there is always good inspiration in that alone.

“Sometimes I can hear just a title or a line from a lyric and more ideas will come than I can keep up with. Sometimes I can have a full description of the theme and I will just draw a blank for a while. Other times, the concept might be something a little typical and already done before and I have to figure out how to put a fresh spin on it or maybe think of a few alternate ideas. If the band has very specific ideas about what they want, I like to know them. It will eliminate wasting time on the wrong direction, and ensure I’m on the right path and ultimately do what they want. And more often that not, if we’re stuck, after trading a few thoughts with the band back and forth, something will click and suddenly ideas are coming one after another. Each experience is unique that way, and it really varies from band to band and project to project.”

Q. Do you have a favourite album cover of yours?

“Difficult to choose just one. Speaking strictly for the album front covers, I have a handful of my own favorites, usually due to more than just aesthetics. Death 'The Sound of Perseverance', Opeth 'Ghost Reveries', 'Blackwater Park' or 'In Cauda Venenum', Katatonia 'Dead End Kings', Bloodbath 'Over Bloodstock', Psychotic Waltz 'The God-Shaped Void', CKY 'Carver City', Warrel Dane’s 'Shadow Work', Devin Townsend 'Order of Magnitude', Overkill 'The Electric Age', Exhorder 'Defectum Omnium', I could go on.

Q. Which band would you most like to create a cover for that you haven't worked with?

“My first inclination is to say Voivod, if it weren’t for the fact that no one but Away should be doing that. Otherwise, I actually can’t think of one at the moment. That’s not to say that the answer couldn’t change at any given time, as I’m often discovering, or re-discovering (and sometimes finding inspiration in) new bands or records, but I’ve already had the good fortune of  working with most, if not all of my favorite bands in one way or another - although I did almost do a cover for Slayer at one point in the Hanneman era, and wanted to do an album with The Gathering, but that never happened. I think Megadeth may have been the last one on my professional bucket list and I did a few things for them and Dave over the last few years. It would still be great to do a proper cover for them or Metallica, but really, I’m happy to keep working with many of of the greats that I already do on a steady basis.

Q. What can we expect to see from you in the gallery this year?

“A few of the Opeth covers will be featured. The Bloodstock folks suggested a number of images to feature and I included a few of my own personal favorites beyond that, but I think more than the limit, so we’ll see what we end up finalising for the display in the end.”

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