When I initially discussed the project with Richard Patrick, his first request was that the record look as far from Trent Reznor’s Nine Inch Nails graphics as possible. I tried to create a simply designed, humble graphic, not unlike packaging for ballpoint pens, auto parts, pharmaceuticals, etc. — labeling that is merely intended to label and create a strong identity system.

I tailored the typography toward eastern bloc graphics from the ’40s and ’50s. I had Chris Bierne photograph the boy with the fingers in his eyes, which for me worked wonderfully for surprise and contrast with the typography. I chose dulled-down red, green, and black to emulate common pen inks and to create a very simple palette.