essay cd cover

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In 1938, Alex Steinweiss of Columbia Records invented the concept of album covers and cover art, replacing the plain covers used before. Over time, cover art became an important part of the music industry, both as cultural icons and as marketing tools. Since then, cover art has evolved with the advancement of technology. The format has changed as well. We no longer use 12” LPs. Today, cover art is designed mainly for CD covers and digital downloads. In this article we will feature some inspiring examples of typography in album covers from the 1960’s until today. Alex Steinweiss Album Covers Alex Steinweiss is credited with inventing the concept of album covers and cover art. This innovation replaced the plain covers used before. Steinweiss album covers include eye-catching graphics, vivid colors and amazing typography. His style of artwork is original and still regarded as icon of genre. Strange Interlude: Lew Davies & His Orchestra Strange Interlude album by Lew Davies and His Orchestra was released in the year 1961. The album cover designed by S. Neil Fujita has great typography with the overlap of colors in background and title in bold black letters. Enoch Light: Discotheque and Big Bold And Brassy Album covers of Enoch Light's Big Bold And Brassy and Discotheque has elegant typography fitting to the title of the album and musical genre. Both of them are inspirational examples of mid-century album covers and style of art prevalent in that era. Big Bold And Brassy album was released in 1960 and its cover was designed by S. Neil Fujita whereas Discotheque was released in 1964 and the cover art was designed by George Giusti. Lee Morgan: The Rumproller The Rumproller is a jazz album released in 1965 by Lee Morgan. The distorted text resembling the shoe and the limited color palette in the design of the album cover is certainly eye catching. It was designed by Reid.
Extracts from this document. CD Cover Analysis The CD cover that I have chosen to analyse is called Beastie Boys Intergalactic. The genre for this CD is old school Hip hop. On the CD cover I can see the title of the CD. The title of the CD is not on the front of the CD cover it is on the spine. I do not think that having the CD name on the spine of the case is a good idea because if someone wanted to buy the CD it might be difficult for them to recognise what CD it is. The picture on the CD cover is of three men all members of the Beastie Boys; the man in the middle is crouched down on the floor with his hands in the air but they are quite spaced apart, his facial expression is a surprised look, he is wearing a building helmet, dark tinted goggles, a white body suit, rubber gloves, a light reflective band going over his right shoulder across his body to the left side of his waist and then across to the right side of his waist and Wellington boots.read more. This image gives me the feel that the beastie boys are like the saviours of the ghettoes. The image that I have just described to you makes me think of the Beastie Boys as quite heavenly and God like, this is because of the fact that they are all in white, because they are coming out of an alien spaceship, and because they are coming out of a spaceship and into what looks like the ghettoes. It also makes me feel like the Beastie Boys music is not the same as ordinary old school hip hop because of the fact that they are landing in slums. The slums remind me of ordinary old school hip hop and the beastie boys landing in it make me feel like they are bringing something new to old school hip hop. The message that I think they are trying to say is that they are going to try and spread there new version of old school hip hop music and that they are not really bothered if anyone does not like it.read more. all make.
I originally wrote this essay for my History of Modern Art exam at NABA. I decided to adapt it for my blog and publish it. Here goes nothing.Abstract Matthew Cooper - Franz Ferdinand - This Fire (2004) Throughout the years many art directors, graphic designers and illustrators have given a new meaning to imagery, design languages and styles associated with artistic movements of the past. This practice is commonly used to reference the ideological and political backgrounds of the original artists, sometimes in an ironic or irreverent way. Even though the inspired artwork may not be considered 'art' since its purpose may be commercial, I believe it still retains artistic value, especially in the case of album cover art: the artwork becomes part of the listening experience as the primary visual connection to the music itself.Through the practice of recontextualization a number of artists have succeeded in crafting memorable album artwork that we can all appreciate as homage to artists that originally conceived the artwork, style, language or layout.In this post I will present a series of album cover designs which have been influenced by or incorporate pieces of art.IntroductionIn 1939, when working at Columbia Records as Art Director, a young graphic designer named Alex Steinweiss produced the first modern album cover. His intent was to create a visual that complemented the music on the vinyl – before his innovation records were mostly sold in generic sleeves. The music industry reacted positively to Steinweiss' idea; all major record labels started to sell vinyl in sleeves featuring classic or original artwork. This resulted in the creation of a new field of graphic design and illustration: album cover art.Today we consider album artwork to be an important part of the listening experience – many of our favorite records wouldnít be the same without their memorable.
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Robert Wilson's storyboards for the CIVIL warS act I-IV [ + ] POP-UP LARGE by David Byrne It’s not as odd a thing as one might think. In the theater they are the “joints” that hold together the larger scenes—even Shakespeare used them. All those short comic scenes with buffoons or side characters who would sometimes comment on the larger action functioned as knee plays. Those typically small scenes would usually happen in front of the drop curtain and wouldn’t require large sets or crowds, so they allowed the main actors to change costumes or the crew to make scenic changes. Other forms of theater use similar devices. They are often called entr’actes. In 1983, I was approached by theater director Robert Wilson to collaborate with him on his production the CIVIL warS. I’d seen some of his work around town in the years prior to this—Einstein on the Beach (1976) and A Letter for Queen Victoria: An Opera (1974), for example—and I was knocked out by what he was doing. I think he knew me by reputation as a pop musician, though I doubt he listened to pop music, and I suspect he knew that I’d collaborated with Twyla Tharp on an evening-length dance piece called The Catherine Wheel (1981). Photo by Annie Leibovitz Bob and I met, and he explained the CIVIL warS as only he can. He has a mesmerizing voice and presence, and though he dresses conservatively for a downtown avant-gardian his Waspy attire somehow allows him to get away with proposing the most outrageous productions—and this was no exception. Bob had his pitch down on the CIVIL warS project, and, as is his wont, he explained the project mainly through a series of drawings and diagrams that he continually produced as he talked. Bob has some great aphorisms. One goes something like, “I can’t explain what my work is about, but I can describe how I make it.” Which is true—he begins with structure, not narrative. Sometimes.