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This book traces right back to the 1940s and even before (including some great single sleeves from the 1930s). It covers over seven decades of music packaging and features stories and the work of many key designers, photographers, and artists who made it all happen.
Like a well-made playlist, the album covers in this volume combine to create a portrait of cool and culture desired by art, music, and record lovers alike. Art Sleeves is a time capsule of visual art and music culture as shown through the most important record covers designed by visual artists and graphic designers in the past forty years. This tightly curated collection of covers chosen includes works with significant cultural impact as well as collaborations that themselves created cultural fascination. The eclectic roster of visual artist-musician collaborations presented spans art and musical genres as well as generations, including Ryan McGinley for Sigur Rós, Kara Walker for Arto Lindsay, Peter Saville for Joy Division, Barbara Kruger for Growing Up Skipper, Jeff Koons for Lady Gaga, Tauba Auerbach for Glasser, and Stanley Donwood for Radiohead, to name a few. From postmodernist paintings and minimalism to collage and photography, as well as New Wave, emo, pop, and punk, the albums chosen present a bright and rich visual and cultural history. This inspiring volume celebrates this long creative tradition of visual artist-musician collaborations and, just like a perfect album, it will be treasured by art, music, and record lovers alike.
Music lovers have been attracted to the distinct style and sleek sound of jazz since its birth at the turn of the century. The album covers collected in this comprehensive volume under the well-known Blue Note record label embody classic design and pioneering typography. Two hundred color photographs of the album sleeves, an informative history of the Blue Note record company, and a portrait of Reid Miles, who designed nearly 500 album covers, capture the integrity of this distinctive record label. Sophisticated jazz connoisseurs and young listeners alike, as well as those with an interest in style and graphic design, will enjoy this exciting book of jazz memorabilia.
Album covers are recognized as a testing ground for creative visual expression, inspired by and amplifying our enjoyment of the music itself. The book features the best graphics from cutting-edge covers around the world. It includes the work of leading graphic designers such as Non-Format, Trevor Jackson (Play Group), Rudy VanderLans, Alorenz, Fehler, and Designers Republic, as well as showcasing some of the most groundbreaking designs for small underground labels. In addition, the book includes the favorite album covers of key figures from the worlds of design and music.
Take a giddy guided tour through the greatest moments of 1950s and 1960s spage-age pop and exotica. From newly rediscovered musicians like Esquivel and Yma Sumac to lesser-knowns like Markko Polo Adventurers, this collection of bizarre and fascinating vintage musical ephemera with enthrall both the serious collector and the neo-Swinger weekend enthusiast. Exotiquarium supplies information about the artists (both musical and visual), the (mood) music they created, definitions of the odd instruments they used to create these strage and beautiful sounds (like the theremin), and much more. Complete with a foreward by Lenny Dee-Decca recording artist and "Organ Lounge Master"--Exotiquarium offers a vibrant portrait of this surreal time in American music history. A must-have for lounge lizards young and old.
"Hipgnosis was the design firm of choice for the biggest and best bands of the classic rock era. Formed by Storm Thorgerson and Aubrey Powell in 1968, Hipgnosis was a graphic design studio specializing in creative photography and working mainly in the music business designing album covers for many rock 'n' roll bands including Pink Floyd, Led Zeppelin, Genesis, 10cc, Yes, Peter Gabriel, Black Sabbath, Paul McCartney, Syd Barrett and Styx, amongst others. For a dozen years Hipgnosis created timeless rock iconography. This is the first book to document their output in detail, focusing on over 60 package designs - from cover to label - written about in entertaining detail by the men who created them. Also included are short essays by musicians (such as Pink Floyd's Nick Mason), artists (Peter Blake) and fellow designers (Paula Scher) on their favorite covers, plus a contextual commentary by Adrian Shaughnessy, as well as unseen photographs and ephemera."--BOOK JACKET.
In this era of Vinyl revival, celebrate some of the greatest covers of the last 70 years, such as the Beatles’ ‘Sergeant Pepper’s Lonely Hearts Club Band’ or Pink Floyd’s ‘Dark Side of the Moon’, alongside entertaining and informative text. This great little book will make an ideal gift for any music aficionado or art and design enthusiast.
A starkly beautiful, wordless graphic novel about the end of the world by the cult artist and longtime Radiohead collaborator. A wild seascape, a distant island, a full moon. Gradually the island grows nearer until we land on a primeval wilderness, rich in vegetation and huge, strange beasts. Time passes and man appears, with clubs, with spears, with crueler weapons still—and things do not go well for the wilderness. Civilization rises as towers of stone and metal and smoke choke the undergrowth and the creatures that once moved through it. This is not a happy story, and it will not have a happy ending. Working in his distinctive, monochromatic linocut style, Stanley Donwood achieves with his art what words cannot convey, carving out a mesmerizing, stark parable of environmental disaster and the end of civilization.
We find ourselves square in the middle of one of the greatest periods in music packaging. Events such as Record Store Day have pushed collectible packaging back to the cultural forefront; millennials have started buying physical records; and hip clothing outlets devote massive amounts of space to record players and racks of LPs.The designers collected here are at the forefront of this movement. Some have been working in the music industry for decades, while others are fresh on the scene. They all share a desire to elevate the simple record cover and the wrapping that surrounds these products into something more, something special, something unique, something memorable. Lifelong music fans, they pour every ounce of creative energy into coming up with solutions worthy of the music inside. They also need to be inventive in how they accomplish this. Coming up with a great concept in a sketch during a meeting and actually seeing it to fruition and sitting on a shelf in a record store are two different things. As Paula Scher details in her interview, today's designers are faced with a very different task than the record sleeve designers of the past. Outside of the mega stars, budgets are more or less non-existent, yet the pressure to deliver something jaw-dropping and mind-blowing remains.Packed with innovative artworks by one-of-a-kind designers, this is the definitive guide to album cover design in the 21st century.
In the mid-1990s a fresh, Do-It-Yourself approach to producing album art began to percolate through the post-punk, emo and hardcore music scenes in the US and Europe. The visual material that is gathered together inDIY Album Art: Paper Bags & Office Suppliesshowcases a unique aesthetic and usage of materials borne out of financial necessity and creative imperatives. While a great number of the bands have not endured, their hand-made, screen-printed, glued, photocopied, drawn on, sewn together packaging paved the way for the potential of innovative, non-traditional music packaging.