A Chat With F That: Frank Maddocks
Read Time: 8 Minutes
Since purchasing a copy of Deftones’ ‘Adrenaline’ in 1995, Frank Maddocks has forged an enduring creative relationship with the band that has redefined the imagery surrounding their sound
Over 25 years of trusted collaboration and art direction, Maddocks has continually pushed boundaries, with his latest project, an album cover for ‘private music’, standing as a testament to his distinctive and evocative vision.
As an agency, we’ve had the privilege of bringing several of Maddocks’ album artworks to life through animation, including those for Deftones and Linkin Park. In this debut A Chat With F That feature, we’re diving deeper into his creative process and exploring the inspirations behind these iconic works.
How did you start developing the art concepts for ‘private music’?
The album cover exploration and design process for private music started without having heard music or receiving distinct direction or ideas for focus from the band. I began creating a collection of potential approaches and visuals to present to the band. Earlier in the year I received a batch of visual references from the band in regards to potential merchandise designs that contained a few images of snakes among other imagery. The image of a snake resonated with me on a subconscious level.
Are there any feelings, words or concepts that underpin the creative vision of this album cover?
First and foremost, I wanted to create something true to Deftones’ left-of-center aesthetic we have developed. I knew that I wanted to make something bold, vibrant, memorable, unexpected, contemporary, iconic, unique and visually distinct from anything in the marketplace, strong and confident. Artistically, I wanted to make something that was free of layered digital techniques or trendy filters and gimmicks. I wanted a strong singular image.
What was it like moving from being a fan to actually shaping Deftones’ visual identity?
When I began work for White Pony in 2000 (my first album working with the band) I was both elated and nervous to have been awarded the task. Not only did I want to create amazing work for a band I cared about, but this was also my first major album design project and a highly anticipated release from the band. Being a fan gave me the desire to strive for excellence and becoming closer to the band throughout the years continues to fuel my passion to make great art with them. To me, it’s surreal at times that I get to create imagery with such an impactful artist and I don’t take any of this for granted.
Where do you usually turn for inspiration when starting a new project?
If an artist doesn’t have a specific direction or goals when beginning a project, I turn to aesthetic directions that are interesting to me at the time, different from what I have created in the past or artistic directions that I have been wanting to explore. Also styles I’m interested in, or haven’t executed.
Do you begin with the music, or does the artwork sometimes lead the way?
Sometimes I’m able to have a studio visit with the artist or receive a link to hear music. It’s always inspiring to hear the music before diving into a project as it helps to set the tone and vibe. Many times I’m not hearing music until I’m in the process of developing art. Throughout the years there has been remarkable unexpected synergy between the music and visuals.
You’ve also worked with Linkin Park, how does your approach shift between bands with such distinct sounds?
If there is an idea of focus from the artist on direction, that starts the process in a unique way. If I’m being called on to deliver concepts, it all starts with creating art that is true to the individual artist. The approach to album art has to be unique and distinct. Although I bring many of my personal style references and aesthetic goals to the process, I strive to keep the visuals between artists different.
What’s the secret to your longevity working with the band across so many albums?
Through thoughtful consideration, hard work, dedication and the desire to create intriguing visuals for Deftones and Linkin Park, I have developed trust, understanding and insight into their sonic and visual worlds.
Throughout the years we have developed a great working relationship and they know that I want the best for them and will always push the creative boundaries of our work together. I continue to dedicate intense focus to the creative for my artists. You can’t rest. You can’t become complacent or settle. As an artist, I’m always looking to exceed my previous work. I am grateful for the trust they have in me and the appreciation for our work together.