“I attended a Rush show and met this thing called merchandising! My work was everywhere – on jackets, T-shirts, tattoos, Neil’s drum heads…” Hugh Syme was shocked when his 2112 art exploded. But it’s not the piece that most resonates with him

Hugh Syme created the artwork for Rush’s third album, Caress Of Steel, in 1975. He’s continued working with his fellow Canadians ever since, also producing covers for late drummer Neil Peart’s books, and his other credits include Dream Theater, Iron Maiden, Supertramp and Uriah Heep. In 2012 the Juno award winner told Prog about his approach to work, and his surprise over the success of his 2112 illustrations for Rush.

How important is your connection with the band for whom you’re producing artwork?

Taking creative direction from most musicians can quickly turn into a delicate exercise in diplomacy. Not so with Rush. These guys know early on where they are going with both the music and the theme.

Is the music ever the starting point for the art?

Rarely. It’s the title or theme I prefer to respond to. Signals or Permanent Waves are prime examples of how we would indulge in visual reactions to the title.

What originally inspired the Starman logo?

Its genesis was derived from the 2112 story. The man is the hero. That he is nude is a nod to a classic tradition in art and sculpture. The red star is the evil emblem of the Federation, which was Neil’s symbol for the controlling, intolerant governing federation in 2112.

You must be amazed by how it’s endured?

It wasn’t until I attended their live Massey Hall shows in Toronto that I met this thing called merchandising! The Starman was everywhere, passing me on jackets and T-shirts, tattoos, Neil’s drum heads.

Which of your album covers resonates with you most?

Probably Power Windows, for both artistic and personal reasons. The 11 weeks of painting coincided with the death of my father. I came to discover that work, my work, was my solace.

Your body of work includes well over 100 book covers. Is that a different discipline?

Book covers are not unlike album covers. They need to convey the essence of the author’s work. Then there’s ‘shelf-appeal’ and visibility. Neil’s have been the most gratifying, given my friendship and artistic alliance with the author, and my respect for his writing skills.

Do you paint to relax?

I still plan to isolate that ever-elusive hiatus to do nothing but paint for myself, and hopefully produce enough work for an exhibit. I do love to paint when I can, usually environmental portrait commissions of family, friends, close associates. I love the smell of turps in the morning!