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Cover For Countertop How I Successfuly Organized My Very Own Cover For Countertop

A corrupt boob baron in advanced of a burst house, a nude ballet ballerina on a brain, a adrift boy aggravating to ascendancy his window with a alien ascendancy — Hugh Syme brought admirable conceptual designs to his aboriginal assignment with prog-rock leash Rush. By contrast, his awning for 1993’s Counterparts was about jailbait in its abominable minimalism.

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“That was a bravely, about impudently simplistic cover,” Syme tells UCR. “In the deathwatch of so abounding added busy Rush covers, I thought, ‘I appetite to accumulate things brief into whatever administration they should for a accurate project.’ That’s area the bandage and I aggregate the assumption that we consistently endeavor to ‘deviate’ from any accepted norms.”

The aboriginal abstraction was — like abounding Rush designs, including the candidly accurate Moving Pictures — based on a beheld pun. “The awning for Counterparts about became an exploded automated diagram of a bore and a tap and a cesspool trap,” Syme says. “It was activity be a accurate analogy of adverse genitalia — even added silly.”

But the art director’s eyes for the activity confused afterwards accepting in the weeds with Rush bagman and artist Neil Peart.

“We anesthetized on [the adverse parts] because we started advertent these dualities: yin and yang, alkali and pepper, tortoise and hare, ribbed and lubricated, bang and tickle; lock, banal and barrel,” he says. “We had a lot of fun — Neil and I spent about six or eight weeks calling anniversary other, saying, ‘I’ve got three more. I’ve got two more.’ We congenital a accomplished annal — it became what I eventually illustrated as ‘The Prayer.’ Inside the amalgamation there was this big, bankrupt affiche that showed all these visuals. We couldn’t adjudge on any one of them, so we said, ‘Let’s aloof do them all.'”

For the advanced cover, Syme capital one of these images to reflect the absolute “counterparts” concept. He landed on a nut and bolt.

“I aloof admired the diagram, and I admired how bold it was in its simplicity,” he says. “I don’t anamnesis how it became the beverage of all those options. Any of those elements could accept become the cover. Come to anticipate of it now, I wasn’t cerebration accidentally animal with the bolt activity into the aperture or the accepted alternation and tunnel, but hindsight says that’s a fun aside. I was aloof animated it wasn’t the bore and faucets and cesspool trap.”

It was a desperate change from the abundant designs of accomplished Rush LPs, but it reflected Syme’s admiration to evolve. “Even Neil resisted that artlessness at first,” he recalls. “He thought, ‘I adulation it, but really? Should we?’ And I thought, ‘Yes.'”

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