My Favorite Album Covers

I'm starting the process of working with a graphic designer on the album art of Calling All Dawns, and so I figured this might be a good opportunity to organize my thoughts on just a few of my favorite album covers, especially as they might apply to my own album art design. You'll notice that, for the most part, they come from just a few bands and labels; that's because on the whole, there are certain elements that I am repeatedly drawn to, and certain things that I shy away from (for example, there are very few album covers that actually *show* the musicians, that I find interesting). And on the whole, many of the more unique bands maintain a consistency of brand image from album to album--so again and again, if I really like a band because of their pioneering qualities as artists, chances are I'll consistently like the decisions they make with regard to cover art.

Take Radiohead, for example:

Hail To The Thief is probably my all-time favorite album cover (despite being a rip-off of Paula Scher's work). First off, I like the hand-made feeling of it; the texture, the imperfect lines... It's abstract and compelling, and befits the haunting and moody qualities of their music beautifully. And likewise, it looks like 'real art'--if you didn't know anything about the product, you would be hard pressed to guess that it was an album cover. Similarly, OK Computer and Amnesiac remind me of Robert Rauschenberg and Mark Rothko respectively.

All my life I've been drawn to ECM Records' New Music Series.

Again, they're very abstract covers; black and white photography, very understated images (yet rich and full of depth and detail). Occasionally they border on the sentimental and new-age, but on the whole they stand alone as works of art, and aren't terribly explicit about the music contained within (both traits that appeal to me).

This Modest Mouse cover is something I just stumbled across while researching this blog post, but I quite like it as well:

In addition to the understated color palette, I also like the unidentifiable image in the center (presumably it's Antarctica? Looks more like a rorschach blot to me). I also like the symmetry of the presentation; matter of fact, I tend to lean towards simple graphical images that are presented front and center (pretty much all my t-shirts sport graphics that follow that simple template).

Of all the Rolling Stones album covers out there, most of them are pretty hideous in my mind, but the one that I like is from their live album Flashpoint:

It's so simple. So powerful. The text setting (Helvetica?), the use of a regular-typeface followed by a bold one, the iconic imagery....it totally works for me.

I really enjoy powerful, bold, iconic imagery--but the problem is, this is somewhat at odds with what I said before, about liking abstract, nuanced, understated works of art. But I'm allowed to have more than one preference, correct? I think for Calling All Dawns, though, something more akin to the former (abstract works of art) is probably more what I'm going for.

Zero 7 has a couple winners. I like The Garden quite a bit; it appeals to the part of me that likes collages, like Rauschenberg's works. I also like the texture of the torn edges of the page; on the whole, I like graphics that carry implied textures and processes: for example, the feeling of cloth and paper, or the sensory act of tearing, stamping, searing, burning, sketching, and drawing. If you look at my Tin Works scoring portfolio and look at the brand that was created for me, the logo is slightly grainy and faded; like it had been applied with a rubber stamp. This was something I was quite insistent about; I wanted something with a strong sense of texture, and a feeling of hand application.

As for the When It Falls art, that appeals to a totally different (and totally inapplicable) pleasure center of my brain; the part of me that likes retro colors and images. Again, totally inapplicable to Calling All Dawns, but still something I enjoy quite a bit.

By far my favorite band growing up was Pink Floyd, and a number of their album covers are Hall Of Fame-worthy:

Again, these were bold, simple images. Not quite the textured works of art that I liked with Radiohead, but still simple, powerful and abstract. The Wall in particular was a teenage favorite; I was ridiculously obsessed with that album, especially the way it (and Dark Side Of The Moon, for that matter) was a musically unified concept album, that started and ended as an infinite loop. I was blown away by this concept, and lo and behold, fifteen years later when I go to release my own debut album, what do I go and do? Make a concept album that starts and ends as an infinite loop. Go figure.

Two of my favorite electronica albums are Verve Remixed 1 and 2:

Seriously cool album covers, but mostly because of the works of art that were created for them, that pretty much encapsulate the essence of the albums: that is, taking old jazz records and remixing them. Absolutely love the concept, but I'm hard pressed to find any similar approach for Calling All Dawns (nor do I plan on making my graphic designer create a sculptural work of art like that).

Finally, my all-time favorite band has two clear winners:

Let It Be is perhaps the only album cover that I like that features the band members. Why? Well, for one it's not one picture of the entire band together, but rather four GREAT portraits of the Fab Four, arranged in a simple, geometric layout. It comes at the end of their career, so it's rather fitting that the four are not shown together in a single frame; but at the same time, it brings a flood of nostalgia, of remembrance of the good times that we all had listening to their music on our old record players. This album cover probably violates the majority of artistic principals I have for the medium; but it just works so well and hits home in the context of the whole Beatles experience, and what it means to me.

And as for The White Album, it's simply beautiful. (The fading on the text is nice, too, though I'm not sure if that was a part of the original.) Simple, clean, and forceful.

Art Center's Graduate Showcase

We went to the Art Center College of Design's year-end graduate showcase last Friday night: me, my actress friend Jessica Quinn Donaghy, and my graphic designer girlfriend, who was an alum of the school (and former valedictorian, I might add). We spent three hours browsing through the portfolios of Art Center's graduate students--various disciplines on show included graphic design, motion graphics, transportation design, product design, environmental design, and many others.

I was most impressed by the environmental design work. This may be because my own particular design fetish has to do with furniture and interior design, but really, some of the work on hand was pretty phenomenal. One grad had an underwater theme to her work: lamps made up to look like jellyfish were suspended from the ceiling and attached to the wall.

The transportation design students were clearly very skilled, but after awhile I got tired of seeing The Car Of The Future everywhere I went. Perhaps if I understood the nuances of what made good trans-design, I would have a better appreciation for what I was looking at. Instead, it all looked like a bunch of car junkies wet dreams.

The product design room had some interesting work. This one in particular caught my eye, for obvious reasons:

It's an electric slide bass. There's a handle on the top of the neck with a clamp that presses against the strings. The bassist slides his or her hands back and forth to modulate the pitch. An interesting concept, except that it's completely counter-intuitive for any bassist to put his hand on the *top* of the neck. All bassists move around the neck with their left hand on the bottom--sort of akin to the motion of pumping a shotgun. Add to that the fact that if you have your hand above the neck, and slide the clamp all the way to the high register, you put your wrist in an extremely awkward, potentially painful position.

What ever happened to form follows function?

Delicato: The 'Calling All Dawns' Font?

I think I may have found my font for Calling All Dawns. Introducing Delicato, designed by Stephan Hattenbach for the Fountain type foundry (based in Sweden). I think it's quite good; it looks classic, without being overly used, and without the baggage of a font like Trajan.

Here's the creator of the font describing his product:

"After spending my early years experimenting mostly with display faces, my focus now is to make functional text fonts, incorporating both traditional and modern aspects.

Delicato is, in many aspects, built in a traditional way. Still, some modern details have been implemented which classic designs sometimes lack. The prime goal was to make a strong text font for books and longer texts in general. This fact does not exclude the possibilites for use elsewhere.

Throughout history existing designs have often been the source of inspiration for newer ones. Delicato is no exception and looking closely, similarities can be found in the lowercase of Jeremy Tankard’s Enigma and the stems of Petr van Blokland’s Proforma. My goal is to respect these sources and turn my own creation into something new with a unique and personal touch.

Most text faces carry a basic set of weights like regular, italic, bold and small caps. I wanted to expand that a little bit further and added a medium, alternates and a set of ornaments to make the family complete and versatile."

I know I have some artistic readers out there....what do you all think? Thumbs up? Thumbs down?

Three Typefaces

I'm dating a graphic designer these days, and since I'm a big-time design aficionado, the topic of typefaces (otherwise known as fonts) comes up frequently. In most cases, I'm a fan of sans-serif fonts--that is, fonts without the little 'feet'--like the one utilized in this blog, verdana. On the whole, they're cleaner, more modern, and easier to read. In certain cases, though, when I want to tap into various traditions or subconscious associations, I'll utilize serif fonts. Here's what I mean:

Trajan is 'the movie font'...and it has been heavily overused in motion picture advertising, especially with epic blockbuster summer tent-pole fare (which I have to admit, I hate). But if a typeface carries any sort of subconscious association that I want to tap into, then it might not be a bad idea to utilize that font. So in the case of Calling All Dawns, if I want to convey that the scope of the album is epic and cinematic in some way (which it is), I may consider using Trajan as the principal font.

On the other side of the coin, however, is my favorite font Helvetica--a modern classic sans-serif that is purposefully devoid of distraction and meaning, preferring to let the words express themselves without coloration of typographic associations. You've seen Helvetica everywhere; it's the default font for Apple Computers, used in countless corporate logos, and pretty much pops up in all manner of signposts and advertisements. So you can see just how pervasive it really is, here's another clip, from the documentary "Helvetica," created for the 50th-anniversary of the font:

And finally, just for fun, I'm posting this YouTube video of a tribute to Akzidenz-Grotesk, an early predecessor to Helvetica. Some people just really, really love their fonts.