If you’ve ever read Hunter Thompson (Fear and Loathing in Las Vegas, Hell’s Angels) you’re probably aware of the cover art that captures Thompson’s fevered prose perfectly. I’ll let Ralph Steadman himself in the following article explain the synthesis:
“When I arrived at something I wanted to draw. I’d stop reading and draw it right then. It’s like arriving at a cafe or a truck stop: You don’t go any further. No pencils, otherwise you lose the virgin moment. I was using a pen, although sometimes I’d whack the art with a brush, when I wanted a big flash of ink, because it explodes on the paper. The drawings were what we call A-1 size over here — that’s American letter-size paper, times eight.
The idea of the cover was a motorbike flying over the journalists in a bar. There was also a landscape, a bit of sky. But the rider was completely attached to his motorbike, almost swallowed up by his gearbox. The second cover, for Part Two of “Fear and Loathing,” the magazine chose the picture of the 250-pound Texan necking with his wife in the back row. After those two issues, Rolling Stone had a blueprint of where to go next: It wasn’t only rock & roll, but something different, something social and political.
It was wonderful to do printing that was so primitive — and to finally have a job where the remit was to be weird.”