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An overview of the history of music packaging from the punk/postpunk era to the present
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TYPOGRAPHY
MUSIC PACKAGING
+
an album cover is the initial moment of the record. it’s a doorway into the music. peter blake
jamie reidBritish graphic designer born 1947
Attended Croydon Art School with Sex Pistols manager Malcolm McLaren
Influenced by student uprisings in Paris during May 1968, + the accompanying Situationist-themed posters/graffiti
10/1977
First + only album by the Sex Pistols
Used the ‘ransom note’ typography that Reid developed while art directing radical political magazine Suburban Press
never mindthe bollocks
barney bubblesAlias of British graphic designer Colin Fulcher, born in Middlesex, 1942
In-house designer for independent label Stiff Records
Very publicity-shy, + never signed his work
Suffered from depression, + committed suicide in 1983 at the age of 41
03/1978
Second Elvis Costello album
Sleeve intentionally designed to look misprint-ed, with letters cut off on left side + printer’s colour bar appearing on right
this year’smodel
02/1980
Fourth Elvis Costello album
Overkerned, con-densed typography
Ring wear not genuine, but printed on sleeve
get happy!
peter savilleBritish graphic designer born in Manchester, 1955
Became in-house designer for independent Manchester record label Factory Records after graduating from Manchester Polytechnic
Greatly influenced by Constructivism, Futurism, + Jan Tschichold’s New Typography
Notorious for missing deadlines
unknown pleasures
06/1979
First Joy Division album
Sleeve had neither band name nor title visible
Removed from the normal process of commerce
“It quite plainly didn’t care if you bought it or not”
09/1981
First Section 25 album
All type set in Bembo
Very high production costs due to marbled sleeve paper
“An object exercise in over-design”
always now
11/1981
First album from the former members of Joy Division in their new incarnation as New Order
Design appropriated from a poster by Futurist painter Fortunato Depero
movement
03/1983
Fourth New Order single
Production costs of complicated sleeve design greater than retail price
Became the best-selling 12-inch single of all time
blue monday
British graphic designer born in London, 1957
Attended London College of Printing
Art director for culture/fashion magazines The Face (1981–86) + Arena (1987–90)
Designed sleeves for industrial bands Throbbing Gristle, 23 Skidoo, + Cabaret Voltaire
Founded Research Studios in 1994
neville brody
11/1984
Sixth studio album by Sheffield industrial band Cabaret Voltaire
Artwork used custom typeface designed by Brody
micro-phonies
British graphic designer born in Newcastle- upon-Tyne, 1957
Founder of studios 23 Envelope + v23
Best known for work with British indepen-dent record label 4AD, home of US bands Throwing Muses + The Pixies
His highly conceptual work did not always appear to relate to the subject matter
vaughan oliver
08/1986
Self-titled first album from Throwing Muses
Screened typography using multiple typefaces + hand-drawn lettering
throwingmuses
04/1989
Second studio album from The Pixies
Access to album lyrics al-lowed Oliver to tie artwork more closely to content
Uses surrealist + abstract images
doolittle
British art/design/music collective founded in 1991
Founding partners include Karl Hyde + Rick Smith of electronic duo Underworld
Graphic designers include John Warwicker, Jason Kedgley, + Dylan Kendle
tomato
01/1994
Mixing music + design—Tomato/Underworld
Renavigating concept of authorship
dubnobasswithmyheadman
10/2007
Tenth Underworld album
Layered, fragmented black+white typography typical of John Warwicker
oblivion with bells
British designer born in Croydon (London), 1961
Founded Sheffield studio The Designers Republic (tDR) in 1986
Self-taught designer with a degree in philosophy
Best known for his work with Sheffield electronic music label Warp Records, home of artists such as Autechre, Aphex Twin, + Boards of Canada
ian anderson
03/1995
Album of remixes by industrial band Pop Will Eat Itself (PWEI)
Deconstructed + fragmented visual aesthetic
two fingersmy friends
09/2003
Third album from Leeds-based electronic duo LFO
No paper in packaging except adhesive strip with track listing
Custom typeface screened onto clear plastic CD case + clear outer sheath
sheath
03/2010
Tenth Autechre album
Sleeve almost entirely typographic, using a custom hand-drawn sans serif typefaceoversteps
British graphic designer
Started his career working for Manchester’s Factory Records + The Haçienda nightclub
Launched his own studio in 1995
Work characterized by minimalist aesthetic
Voted “the most important graphic designer working today” by Creative Review in 2004
mark farrow
06/1997
Special edition featured twelve 3-inch CDs in foil blister packaging similar to pharmaceuticals
Only 1,000 copies of this edition were ever made
we are floatingin space
ladies + gentlemen
British graphic designer , born 1971
Studied design at the Camberwell College of Art in London
Was in-house creative director for independent record label Peacefrog
Currently a partner with Tomato
Known for hand-drawn typography
dylan kendle
08/2004
First album from French musical collective Nouvelle Vague
Bossa nova-style reworkings of punk + post-punk classics
Hand-drawn type + illustration
nouvellevague
06/2006
Second album from Nouvelle Vague
Stencilled type + illustration
bande à part
American experimental electronic musician, photographer, + graphic designer , born 1971
Self-taught designer—graduated from NYU with a degree in photography
Founded record label 12k in 1997
Music emphasizes abstract atmospherics
taylor deupree
Tra
07/2006
Collaborative venture between Taylor Deupree + Richard Chartier
Minimalist design using photograph by Hiroshi Sugimoto
specification.fifteen
Tra
06/2009
Third album from Polish experimental musician Tomasz Bednarczyk
Sleeve is primarily photographic, with minimalist typography (FF DIN)
let’s makebetter mistakestomorrow
Tra
05/2011
Collaboration by sound artists Molly Berg, Olivia Block, Steve Roden, + Stephen Vitiello
Type set in FF DIN
Transparent CD
moss
Vienna-based collective, consisting of expatriate Swiss artists/designers Nik Thoenen + Maia Gusberti
Focuses on interdisciplinary projects that lie between art + design
Best known for their work with Austrian record label Mosz
re-p
Tra
05/2005
Solo electronic music from British experi-mental saxophonist Boris Hauf
Sleeve design uses pixelated typography + wireframe boxes for a retro-electronic feel
softleft onto
westland
Tra
05/2006
Fifth full-length release by US post rock musi-cian Pan·American (real name Mark Nelson)
Minimalist, condensed sans serif typography
for waitingfor chasing
Tra
11/2008
Project from Austrian experimental musicians Christian Fennesz, Martin Brandlmayr, + Werner Dafeldecker
Sleeve uses layered, translucent paper stock
till the old world’sblown up +
a new oneis created
Tra
11/2009
Experimental MIDI-enhanced organ music from Düsseldorf trio September Collective (Stefan Schneider, Barbara Morgenstern, + Paul Wirkus)
Custom typeface (based on Akkurat) using extreme forced hyphenation
alwaysmonsterbreathing
Anglo/Scandinavian studio, consisting of Kjell Ekhorn (Norwegian) + Jon Forss (English)
Founded in 2000 in London
Offices currently in Oslo + Minneapolis
Focus on editorial design + music packaging
Particularly known for hand-drawn + computer-altered variants of existing typefaces
non-format
Tra
07/2009
Remix of 1975 album by French disco artist Bernard Fevre’s new project, Black Devil Disco Club
Avant Garde, with hand-drawn Modern elements
strange new worldtheof bernard
fevre
Tra
01/2010
First album from Manchester-based alternative dance band Delphic
Heavily-cropped custom typeface
acolyte
Tra
04/2010
Fifth album from London-based experimental pop band The Chap
Uses typeface constructed from shapes
well done europe
i’ve never believed you can listen to music devoid of visual references. julian house
CHRISTOPHER10/2011
MOOREHEAD
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