From Bloodbath and Black Dahlia Murder to Bieber and back again, Mark Riddick is the premier talent in the world when it comes to bringing the darkest depictions of death and decay to life.

Dealing in the cold extremities of black and white, Riddick’s insanely detailed art crawls into your brain and haunts you for eternity. And we can’t get enough. The Hundreds has collaborated with Riddick four times now, and each of the pieces is more sinister than the last. Metal music is inherently intense, shocking the listener at every turn and assaulting the senses. Riddick adds a visual component that amplifies the atrocities.

The celebrated artist and author, whose revered resume goes back almost 30 years, is a wealth of knowledge on music, design, philosophy, and more. Ahead of our latest collaboration with iconic metal illustrator, I caught up with Mark Riddick to find out if any metal band names go *too* far and a range of other topics.

How has this year been for you?
Much like everyone else, the pandemic has certainly been challenging to navigate. My family and I have been safe and we’re learning to adjust to this new, hopefully temporary, way of existence. We’ve been relatively healthy thus far and I’m grateful for that.

Has your process changed?
It’s been a little difficult managing my time when it comes to illustration work. Since my kids have been home, due to the pandemic, and are now engaged in distance learning, it has required much more of my wife and I’s attention to ensure they’re on task and doing well. Between my kids’ education and other obligations, I’ve found myself picking away at drawings a few minutes at a time rather than sitting down for a two and a half-hour window inking away. I’ve definitely had to squeeze in my artwork when the moments become available.

Can you tell us about some of the projects you’ve been working on?
I’ve had a lot of typical requests during 2020 so far, illustrating shirts, album covers, and working on logos for extreme metal bands like Fueled By Fire, Skeletal Remains, Lik, Madrost, Zealot Cult, Carnation, Deathevokation, Warbringer, The Glorious Dead, Revel In Flesh, and many others. Standard illustration work aside, I’ve had some really awesome jobs that I can’t reveal yet because they haven’t been published but I’m excited to share them once they are. I’ve also managed to squeeze in some artwork for a few microbreweries, some book covers, some work for a few film productions, as well as collaborations with other streetwear brands this year.

When did you start to notice metal art crossing over into other worlds of art like streetwear and becoming a primary design aesthetic for a lot of artists and brands?
It’s difficult to pinpoint the catalyst of this phenomenon but I’m positive the Internet, and our convenient access to information, certainly had a role in the cross-pollination of subcultures. 

Does art about death translate even better during the end of the world?
The pandemic has definitely placed death in our minds. Although death and decay is a prominent thematic in my art, the reality of our current situation hits very close to home for many.  In my perception, death as an artistic symbol, much like the “memento mori (remember death),” serves as a reminder to be grateful for existence and to be respectful of others you share the planet with. I believe it’s important to acknowledge our own mortality; to question one’s existence opens the door to philosophy and what it means to be human—it permits us a reason for being no matter how futile our earthly struggles.

When did you meet Ben and Bobby and how did you guys start working together?
Bobby reached out to me via email about four or five years ago and proposed a collaboration to do a capsule collection. This was my introduction to The Hundreds, as well as streetwear culture in general. The first collaboration seemed to be well received and I’ve since worked with Bobby on a collaboration with the band, Venom Prison, and now this new collection drop. I recently read Bobby’s memoir, This is Not a T-Shirt, and I felt like I could relate to his learning experiences throughout his creative journey and vision. Like Bobby, I’m very passionate about my craft, and my roots are based in something that was new and upcoming at the time; I’m very grateful he reached out to me and that we’ve had the opportunity to blend his sense of style with my background, illustrating for metal bands, into something uniquely marketable.

Do any metal band names shock you anymore or are you completely desensitized?
I’m fairly desensitized to the names bands come up with although every once and a while I’ll happen upon one that’s shocking or in poor taste.

What do you love about working exclusively in black and white?
Working in black and white is a holdover from when I got my start illustrating in the early 90s; the only affordable means to reproduce demo covers, flyers, and fanzines, etc. was via a black and white photocopier. I’ve continued in this direction because one of the goals of my artistic approach is to capture the essence of the early 90s underground metal scene. Staying with black and white has allowed me to preserve the nostalgia of old school death metal as well as build a visual brand and language around it. 

Do you approach an illustration for a band any differently than a streetwear collaboration or a book cover, etc?
I usually treat all of my projects the same despite who the customer is or what the end product might be. Like most artists, I act as a filter; information comes in and then goes out in a way that’s translated through my own distinct creative vision. In terms of the outcome, some customers have a very clear idea of what they want and include meticulous instructions, others offer minimal guidance, and some allow me free reign. I typically work best from minimal guidance as it provides a starting point and then allows me enough room to add my own creative input.

What have you been listening to and watching the last few months? Or reading?
I haven’t done much reading this year, save for news articles. I believe the last few books I read included This is Not a T-Shirt, by Bobby Hundreds, and Outgrowing God by Richard Dawkins. I typically seek out nonfiction, particularly books about religion and philosophy. In regard to television, I recently binge-watched every season of The Big Bang Theory and I’m currently hooked on The Boys and the 2020 NFL season; the last film I watched was Mandy. I usually seek out comedy, independent films, documentaries, and competition shows related to design and creativity. In terms of music, some of the bands I’ve been listening to a lot lately include Worm, Skeletal Remains, Sovereign, Zealot Cult, Penthos, Undeath, Infected Religion, Aseptic, Fleshrot, Dodskvad, Spesimin, Question, and Mental Casket.