Below is the Issuu document for my presentation:

Here I have found information online about the history of album art, and summarised the information. I have also highlighted points, and intend on writing a conclusion afterwards. 

The cover became an important part of the culture of music when it first became used. Under the influence of designers like Bob Cato who at various stages in his long music career was vice president of creative services at both Columbia Records and United Artists, album covers became renowned for being a marketing tool and an expression of artistic intent. Notable examples are The Beatles' Sgt. Pepper's Lonely Hearts Club Band which had cut-out inserts, lyrics, a gatefold sleeve even though it was a single album, The Rolling Stones' Exile on Main Street which had a gatefold and a series of 12 perforated postcards as inserts, and Pink Floyd's The Dark Side of the Moon which had a gatefold, lyrics, no title on the sleeve and poster and sticker inserts. The move to the small (less than 1/4 the size of a record) CD format lost that impact, though attempts have been made to create a more desirable packaging for the CD format, for example the re-issue of Sgt. Pepper, which had a cardboard box and booklet, or the use of oversized packaging.

The importance of cover design was such that some designers specialised or gained fame through their work, notably the design team Hipgnosis.  

The talents of many photographers and illustrators from both inside and outside of the music industry have been used to produce a vast array of memorable LP/CD covers. Photographer Mick Rock produced some of the most iconographic album covers of the 1970s, including Queen's Queen II (recreated for their classic music video Bohemian Rhapsody). From 1972 to 1975, photographer Norman Seeff was Creative Director at United Artists and in addition to his many cover photographs, he art directed dozens of album covers including Exile on Main Street, many of which received Grammy nominations. 

In addition to the examples mentioned previously, a number of world-renowned graphic artists and illustrators such as Ed Repka (Megadeth), Andy Warhol (The Velvet Underground, The Rolling Stones), Mati Klarwein (Santana, Miles Davis), H. R. Giger (Emerson, Lake & Palmer, Debbie Harry), Frank Frazetta (Molly Hatchet), Derek Riggs (Iron Maiden), Jamie Reid (The Sex Pistols), Howard Finster (R.E.M., Talking Heads), Al Hirschfeld (Aerosmith), Gottfried Helnwein (Marilyn Manson), Rex Ray (David Bowie), Robert Crumb (Big Brother & the Holding Company), John Van Hamersveld (The Rolling Stones), and Shepard Fairey (Johnny Cash) have all applied their talents to memorable music packages.

A number of artists and bands feature members who are, in their own right, accomplished illustrators, designers and photographers and whose talents are exhibited in the artwork they produced for their own recordings. Examples include Jimmy Page (Led Zeppelin IV), Marilyn Manson (Lest We Forget…), Freddie Mercury (Queen I), Mike Shinoda (various Linkin Park albums), and M.I.A. (credited variously on Elastica's The Menace, her records).

Personal Conclusion

Previously, it seems graphic design / illustration has a huge importance in the music industry. This is probably made obvious by the considerable amount of iconic artwork produced, none of which seems to be recent. Examples could include Pink Floyd's 'Dark Side of the Moon' & The Sex Pistol's 'God Save The Queen', which stirred as much controversy as their music. The only recent example I could consider as iconic would be The XX's logo. 

I think the obvious behind this is the change of format of music. A 12' Vinyl provided a perfect canvas for an artist or designers work, and would also be an excellent way a designer could promote themselves. Less information could be shown on a CD cover, and even less as MP3, which originally did not hold any artwork information. 

However, times are changing. Vinyl's are now having a comeback, with sales increasing in the passed few years. This is  due to music enthusiasts seeing the purchase as a 'thank you' to the band, something which cannot be achieved through illegal downloads. Itunes and Spotify, two of the world's most used music playing softwares, give emphasis on the use of album artwork (see below). 

Here is a screenshot of my iTunes library. As you can see, it is easy to view your album artwork, something which people like to have whilst songs are played. 

The future of album artwork is not clear. Although the comeback of vinyls seems to be slow and steady, it could collapse, comepletely depending on technology. One thing that is known is that music is becoming more and more popular, with accessibility to new music and genres being made much easier by the internet. There are more festivals than ever each year, meaning much more possible scope for graphic design used for hospitality for both the bands and the festivals themselves. 

Agencies that Specialise in Music


I wanted to see if I could find agencies that specifically work in the music industry. This seems to be quite uncommon for an agency to be so specific, which is one reason why I find it so interesting. 

Devolution Designs - www.devolutiondesigns.co.uk

Devolution Designs was started by myself in 2006 and has steadily grown over the years building a solid reputation for original design work and a professional, client focussed work ethic.

   

They have a large and varied client list representing some of the biggest names in music and media, from Goldie’s infamous Metalheadz record label and drum and bass’ mammoth Ram Records through to death metal bands.

Devolution Designs started as a one man operation but has steadily grown and is now able to offer a large variety of design services geared primarily for the music and media industries. Including, web design, web banners and on-line marketing, motion graphics, video animation, logo and branding design, full art direction, promotional advertising, flyers as well of course of providing some of the freshest CD album and record sleeve artwork in the business.

Client List

I have highlighted aome of the artists that I like, and people I would like to work with. 

Metalheadz / Pendulum / Lifted Music / Shogun Audio / Renegade Hardware / State Of Mind / Nero / Love Music Hate Racism / Fyuchaflex / Ram Records / Audio Zoo / + Thought / Clear Skies / Lifestyle / XOYO / Good Looking / Contemplate Recordings / Basslaced / Unchaste Clothing / Charge Recordings / Champion Sound / One True King Clothing / Hardcore Heaven / Candlelight Records / Playaz / Renegade Hardware / Skitz / Monsta / Sigma / Life Recordings / SUV / Axiom / Engine Earz Experiment / Cable / JHO Oakley Management / Infarared / MoFo / Lion Dub / Serial Killaz / Dragon Drop / D Style / Spearhead / Ganja Records / MTA Records / Sage / Virus Syndicate / DNAudio / Utopia Music / Subzone / Pete Rann / Nu Frontier / Nu Urban Music / Dirty Stack / Green Planet Football / Life Recordings / SUV / Metrik / Karma / Sakura / Defcom Recordings / Benny Page / G13 / DJ Solution / Mix Bar / Flare Creative Marketing / Strange Brew / Chase And Status / Aruba Red / Breakin Science / Elemental / Fall Out Records / THTC Clothing / Covert / Musik Hertz / Flatline / Frequency Recordings / KMag / Full Cycle / Infectious PR / Q Bik & Seeka / Full Effect / Tokyo Dub / Motion / Viper Recordings / Total Marketing / Hijack / Pledge Music / Science Frikshun SA / Mindstorm / Nyumba / King Kong Promotions / We Fear Silence / Mayhem Festival / Hidden London / Custom / Street Life / Trigga / Congo Natty / Run Tingz Recordings / Autopsy / Restless Natives / MC Assassin / Proximity Recordings / Sub City / Mindtech / Monsta / Trust In Music / Talkin Beatz / Quarantine Recordings / Frequency Recordings / Beat Masters / Killa Bytes / State Of Mind / Versed Music / Evolution Brighton / Circus Records / Doctor P / Flux Pavillion / Maximum Boost Artist Management / Mob Tactics / Grad Web / Mastermind Recordings / Dexcell / Butlins / Funtcase / Detonate / Syndaeisia / Future Loops / Sound Sonic / Versed / The Force / Shhhed / Future Loops / Cool Hand Group / Vampire Records / Syla & Vibes / One Nation / Kult DJ / Liftin Sprirt / Kromeink / We Fear Silence 

Examples of Work

Unfortunately, I found it hard to find more studios that specialise in just music. Furthermore, I am not keen on many of the designs produced by the above studio. I decided that a more efficient way of spending my time would be to look into specific projects produced by studios that are multi - disciplinary. 

Music Related Projects

Vinyl Cover With Analog Light Animation - Michael Hansen - Denmark 

An album cover for the modern classical composer Allan Gravgaard Madsen. My idea was to translate Allan’s sensorial music into a visual experience with elements of sensuality. The two pieces of music is separated on the records two sides. There is not an A- or B-side. Each piece has its own front page; Waves is a visualisation of the music performed by nine trompets. I made it as simple as possible with nine circles on a line. Crystal Tapestry is a pattern of crystals that has no front or back end, it refers to a crystal that merge into it self. Inside I made a visualisation that combines the two sides, a crystalized wave. On the record i created patterns that gives the design a visual sensuality. I made an analog animation with a 50 Hz strobe lamp and made it interact with the music.

I love the concept behind this vinyl, and I am surprised it hasn't been done before. The use of analog light information is a step away from digital animation, and has been around since the Victorian times, with the invention of the magic lantern. It's interesting how the use of something physical (the vinyl) can add a much needed excitement, which could not be achieved if the same song was listened to as an MP3. 


Poema - Studio Airport - Netherlands

Club Poema is Utrecht’s most popular techno club.

With this campaign we’ve used painted hand-masks in a series of portraits.

Check out their website -  www.studio-airport.nl

I really like this campaign. Normally, I would hate the idea of working with promotional posters for hospitality. However, this series of posters hold a strong and original theme throughout, and the process is much more interesting than your typical 'strictly digital' poster. It has inspired me to try and use photographer more in my work, in a unique and creative way. 


MixTape - Marco Nenzi - Italy 

A very interesting concept for an app. It's well known that music is missed in it's physical form, and this retro app attempts to solve this problem. You can use both Youtuve playlists and MP3's on your phone to act as mixtapes. I think this app is directly at an audience in their late 20's, for people who miss the fantastic machinery used in tapes. 

Eveson - Kevin Harald - Budapest

One way I think physical music could have a come back could be the way in which is is packaged. Kevin Harald has thought of a great way a CD can be presented, giving the design on the CD recognition it truly deserves. 

Swept Away - Ruslan Khasanov - Russia

The XX logo is iconic, and can now be instantly recognised. Their logo is instantly recognised by the simple 'X'. The inside has been left as a blank canvas, which can be filled with bright colours, giving the band much more scope for further designs. 

Self Promotion

One way I thought I could learn more about branding is to produce some branding myself. 

Below is the last project I produced in Level 4, which was essentially a self promotion project:

One thing I have learnt from branding is that it should be ubiquitous. The more consistent things that can be designed, the better. Letterheads, mail shots, and stationary are an obvious choice, however I have produced none of those above. I wanted to give the obvious choices a go at designing, as it was something I felt I did not gain enough experience doing in first year. 

I also feel the above image is flat and not very true to reality, so I wanted to consider the way in which I could visualise the branding I produce. 

Below is the result:

I used a few Photoshop tutorials to work out how to visualise my designs realistically. 
Overall I am proud of the outcome, and feel that learning to produce effective mockups will really aid the way I can both design and present ideas taken forward. 

The Stowawayz (not completed)

The Stowawayz are a contemporary acoustic duo, consisting of Roxanne Blackham and Phoebe Bretton. Roxanne is a classmate at LCA, so I worked with her to produce business cards for her to hand out. 

Possible front and back designs:

Louise Leadbeater Commercial Property

Louise Leadbeater is a surveyor with commercial and city experience, but is now working free lance, to give a more personal approach to surveying property. I am working with Sue King, a free lance graphic designer (and neighbour) to start up the business as a brand. 

I have been working on this for a few weeks now, and have had several meetings in order to develop ideas. Sue and I have decided to work independently, until an idea is chosen. 

Below: 
The two documents below show work that I have sent to Louise Leadbeater, and discussed over meetings. The first PDF shows the development of one concept - using  the two L's in Louise's initials to act as corners. This idea came from the idea that Louise works with lots of square space, in terms of measurements and Excel spreadsheets. 

I thought it would be interesting to research into existing style guides from large companies. Below I have found PDF's online produced by different agencies for different corporate clients:

E4 Brand Guidelines 
These guidelines provide plenty of information when using the E4 logo in printed ads. It's interesting to find out that a minimum size the logo can be used has been provided. 

It was also interesting to find out that 'American Typewriter' is the only typeface used, a quite generic option, a default on Apple computers. I would have expected E4 to produce their own unique typeface. 

Film 4 Brand Guidelines 
A very concise breakdown of the 'Film 4' logo. The minimum size the logo can be used is slightly larger with the Film 4 logo than the E4 logo (Film 4 - 8mm, E4 - 6mm). It is clear that that the Film 4 brand appeals to a different audience, as the logo is much more structured, with much more restriction to it. 

Film 4 Brand Guidelines (2) 
I'm glad I also found this guideline, as there is much more detail than the above. Unlike E4, Film 4 has it's own unique typeface. I think this is a great idea, as it fits really well with the logotype. 

Channel 4 Brand Guidelines
Out of the last 3 brands, Channel 4's must be the most iconic. They use a typeface called 'C4 Headline Regular', which you instantaniously associate with Channel 4. I also like how they use the same logo they always have, which hasn't been adapted at all. Channel 4 and it's brand have a historic value, which should not be taken away. Apart from the logo, it seems the Channel 4 brand has the most leniency from the '4' group. 

Facebook Brand Guidelines 
I was excited to find the brand guidelines for one of the most known brands in the world, a website used by millions (possibly even billions soon). Facebook use an iconic blue to create a clear identity, which separates them from other social media sites. It also seems that the brand guidelines are extremely specific, in order to maintain such a strong identity. 

Easy Group (Easy Jet) Brand Guidelines 
This Easy Group guideline booklet provides a huge amount of information not only about the brand now, but also the history of the company, which has been running since 1994. There is even a note from Stelios, the founder of EasyJet. Similarly to E4, the EasyGroup use known and effective typefaces to create an identity (Futura & Cooper Black). Similarly to Facebook, colour holds a great importance in the Easy Group Brand. The orange used gives a quite cheap aesthetic, which communicates the airline well, and also separates their business from other companies such as Virgin and BA. 

Apple Brand Guidelines 
The most considered brand I have looked at. Information is provided to do with obvious aesthetic choices, such as the logo usage. However, even more has been considered, such as store interior and exteriors, as well as 'email signatures' - ways in which Authorised Apple Sellers should sign off emails! 

Walmart Brand Guidelines 
The Walmart approach contrasts hugely with that of Apple.  The difference between the two brands (apart from selling different products) is audience. Walmart is the equivalent to Asda, and is all about money saving. Apple stand for producing high end and luxury products. 

It is also clear from the brand guidelines that Walmart take much less consideration with their shop layout, probably because it would be much more expensive. Despite this, Walmart DO still consider a variety of options when it comes to their brand. The brand guidelines state different uniforms for different areas of Walmart, such as the pharmaceutical section (page 33). 

LLoyds Brand Guidelines 
The most corporate identity I have looked at. I could never see myself enjoying working with banks and branding, as the work seems so boring. I suppose the LLoyds brand gives off connotations of being trustworthy and formal. If the connotations were similarly to say, Easy Jet, people would not trust investing with the bank. Very little information has been given in the guidelines, simply due to the brand not being as important as something in retail. 

Adobe Brand Guidelines

Beano Brand Guidelines

The first thing for me to do was to organise a time and date to visit the studio. I was in New York from the 5th to the 9th, so I suggested to visit the 9th of September, the last day of the holiday. This is so I could discuss observations I had made about New York with him, and would also generally help with conversation. 

Finding the studio: 

I was lucky enough to be staying just 4 blocks away from the studio, how convenient!

The studio was located 11 floors up, in Studio 1106 (apologies for the photo of the wrong door below). Interestingly, all the studios on that floor were for creatives. 

Photos of the Actual Studio

The studio was absolutely tiny, with only Douglas and one other working there. It was roughly 15 metres x 15 metres. 

Prepared Questions & Answers

In order to maintain conversation, and to find out more about living and working in New York, I prepared some questions to ask Douglas. Below is the questions and answers (I took notes, so I could maintain conversation)

The image of the studio – imageofthestudio.com – October 1^st

Studios work the same – ‘are you going to pentagrams party’ – small world

BEGINNING

Would you mind if I used this information in a presentation when I get back to university?

DOUGLAS: 'No, feel free!'

Can you tell me a bit about your company? How long have you been going, how many people work here?

DOUGLAS: Douglas and Neil – Occasionly an intern. I feel like we have too much work for 2 people. 

 I established the company in 1992 –  Previously working in Italy, moved back to NYC in 1991. 

Can you tell me a bit about your background as a designer, and how you got to the position you’re in now?

DOUGLAS: Went to a  design school,  graduated 84. Worked for AGP – corperate identity boring work.

Logo design was slow, before computers.

-       Studios used to have more pople working in them, chosing type was way longer.

-      Used to be very laborious.

-       Much more craftsmenship was involved. 

I noticed many of your clients are restaurants/cafes, do you favour working with clients from a particular sector?

Try to focus on restaurants, business plan. People will always eat. 

I've found from my stay in New York that restaurants seem to consider branding a lot more, do you agree from visiting the UK?

‘ you only see the good shit’ - Loves Pret a Manger and EAT. Also loves lots of the places in Shoreditch - Independant restaurants. 

 You British are devouted followers of print.

Do you work with clients in just New York, the US, or international? (Maybe there are more clients than listed on the website)

Love to work internationally, a few outside of new york. Not his choice. LA and Chicago are both restaurant town, Louisville, philly.

Everyone wants to seem local even though theyre national. A large brand work with a small place to lose corperate look. Big advertising too expensive for local people. 25% of ads in cabs should be local ads, but they cant afford it. Starbucks looked for  small company to give it a more 'local look'. 

Do you see differences in design in any other countries?

Basic core – the same. 

More conceptual when dutch. There is a british style, insane amount of gill sans. Cheeky  british sense of humour, weirdly witty. Lots of drop shadow. French style – lots of pink. More ornamented. More script in france. Italy is in a world of its own.

American has more old school typography. Amerians are very nostalgic. Nastaliga for time shittier than now.

Britian has a cleaner aesthetic.

Modernism is the easier way to learn.

Louise fili – packaging design.

Jessica hisch worked for louise fili.

Modernism is easier on computers. Everyone is making things on computers, so you need to break through

NEW YORK AS A CITY

Are you from New York? If not, how do you find it as an outsider?

Grew up outside new york – 45 mins. Live here for 5 minutes and you’re a newyorker. Unlike Liverpool! Quite accepting. Different in the boroughs no grid system. The same in Brooklyn as argyle road.

What are the positives and negatives of livin  and working in New York?

Postives – you can live on any amount of money. You can do whatever you want if you have balls and conviction. Its not cold and unforgeiving. Manhattan is becoming like centre of London. 11 block walk to work 20 years ago.

14 million people. It’s a little expensive to break in living here. Depends on what you want. Harlem is very expensive. The village is very expensive. Youre not living off regents park. Brooklyn similar to hackney.

Do agencies share work in New York much, or do they keep to themselves?

A little bit, if you want. Coolabs with architectures as they work with restaurants. Interior designers too.

Hire the interior designers first, branding sets the stage. Architecture apparently takes longer than branding.

Depends on the project.

FINISHING UP

Can you tell me more about recent projects you have completed/ working on?

Conny and teds.  Fun. Architecture force. A year lon­­ger than thought. Huge amount of packaging and app stuff. Irish software.

Uniform – putting together ideas and called in samples. Mark Echo – Custom outfits designed. Expensive to produce, so normally hisnt designed. An apron, something simple.

Is there any advice you can give me as a future graduate?

Up on whats happening. Bad when work doesn’t ‘fit’ to something, but also not good to copy. Current trends, look current. Students live in a bubble, don’t experience things in the flesh. Go to lectures, museums. Need a view, style, too much of that means they cant work in a group.

Expect students to know what you don’t know. You should know principles. Know your grammar! You cant have a true style at 19.

Who has a copywriter now? Designers should know grammar. ‘I changed this because its better’