Designers who work for musicians know the work
is about passion. Not only does a concert poster
invite the audience to the event, but long after the
performance is over the poster provides a powerful
link between the band and its audience—both those
who attended and those who merely wished they
had. And although we are in a digital age, there is
a reason people still sometimes purchase CDs over
digital albums: Digital music files just don’t provide
the same amount of content that a CD package
does. That value-added material includes liner notes,
lyrics and, of course, the album artwork.
A QUICK HISTORY OF ALBUM ART
Starting in the 1920s, bound collections of empty
sleeves with a plain cardboard or leather cover were
sold as “record albums” music lovers could use for
storing individually purchased records. During the
1930s, record companies began issuing collections of 78 rpm records in specially assembled albums.
This generic approach to album packaging would
change in 1938 when Columbia Records hired Alex
Steinweiss as its first art director. Steinweiss is credited
with inventing the concept of album jackets
and cover art, effectively creating a new marketing
medium. He subsequently designed for other labels
including Remington, RCA, Decca and London.
Steinweiss was active in record cover design for 35
years and is credited with over 2500 covers; he also
designed liquor bottles, posters, magazine and book
covers and titles for television shows.
The forced retirement of the vinyl LP in the late
1980s brought the end of an era—and the shrinkage
of this significant medium. While the size of a typical
cardboard LP sleeve cover is 12.375 in. square,
its successor, the CD jewel case, is a mere 4.75 in.
square. The thumbnails that accompany MP3 files
are the size of postage stamps.
Vinyl Gallery: Vintage Classical Album Covers
If indeed we are judged by the company we keep,
Alex Steinweiss would deserve his place in the Art
Directors Hall of Fame (1998)—even without his
indisputable design accomplishments. Steinweiss
attended Abraham Lincoln High School in the early
1930s and was in the graphic design program taught
by Leon Friend. Steinweiss’s classmates included
such design legends as Gene Federico, Seymour
Chwast and William Taubin, and his first job was
as an assistant to Joseph Binder. Hired by Columbia
Records in 1938, his early work was reminiscent of
the great French and German poster artists. Shown
here is a gallery of album covers, primarily from the
1940s and ’50s—some are Steinweiss’ work. Images
courtesy of http://learning2share.blogspot.com
MODERN DESIGNERS MAKING MUSIC BEAUTIFUL
Dynamic Graphics + Create contacted a number
of well-regarded designers and asked them to talk
about some of the work they have created for the
music scene. From logos for local garage bands to
CD art for Top 40 musicians, it’s clear there is great
work to be done in the music world.
Bryan Peterson, Peterson Ray & Company (www.peterson.com), Dallas:
“I advise those who wish to work for the music industry
to make it a labor of love. Musicians make little
money—even less than graphic designers—and what
the world needs now is music, music and more music.
If you decide to work for less than your normal rate,
or even pro bono, ask for creative freedom as a tradeout
for fees: Many artists will give you that. I have
found the most difficulty in working with major
labels where ‘The Man’ is in control. Musical projects
that are managed by accountants, lawyers and
marketing directors are more likely to end in disaster.
With the music industry moving away from major
labels and largely going the way of independents and
individuals, there is more opportunity than ever to
enhance the work of talented musicians with good
art. But at the same time, these independent labels
and individuals are typically cash poor. Maybe someday
this will change, but for now—if it comes down
to making money or making good art—I would earn
my design living elsewhere and opt to help the starving,
but talented, musician.”
Stefan G. Bucher, 344 Design
(www.344design.com), Los Angeles
“One artist I worked with insisted on using only photographs
he had taken, both of others and of himself
(with a timer). He’d send them over festooned with
copious notes on Post-its that would indicate cropping,
color changes, retouching. Memorably, one shot
included the instruction ‘Make my eyes as blue as the
sky.’ So I did. The photo ran as an ad, and I got an
angry phone call: ‘What did you do to my eyes? Are
you trying to make me look ridiculous?’ All I did was
fax him the note I had saved. The lesson there is that
you don’t mess with the person who retouches you.
But seriously, it’s easy to make fun of recording artists
and their fussy demands. Think about it, though:
These truly are fellow artists. Their trade is to shape a
track to fit the sound in their head, the same way that
we’re always chasing the images in our brains. We’re
all control enthusiasts, and as designers we have the
luxury of private failure. For the most part, the world
only sees the work we choose to show on our sites.
A recording artist is going to be carrying your cover
design around forever. Imagine if you had to show
your portfolio with a piece of music every time. I’d
be hovering over my composer’s shoulder the whole
time. So … give the poor recording artists a break.”
Amy Jo Hendrickson, Miss Amy Jo (www.missamyjo.com), Minneapolis
“Good design should translate the feeling of a particular
type of music to an audience. For example,
my mom can appreciate my design work, but she can
also immediately tell that she won’t like the type of
music just by looking at some of the rock posters I
have designed. There are no set rules when it comes to
imagery for music design. A picture of Charles Manson
may be appropriate for a heavy metal band, but not for
a jazz quartet. But a picture of a kitten may be just as
appropriate for a jazz quartet as it is for a heavy metal
band, depending on how it is used in the design.”
John Sayles, Sayles Graphic Design (www.saylesdesign.com), Des Moines
“I think there are two clients all designers want
to do work for: paper companies and performing
artists. I have been lucky enough to do a bit of
both in my career. Although neither has unlimited
resources, both seem to—usually—have wonderful
design sensibilities. I think the key to doing
successful work for such fabulous clients is to
get out of your own way. Don’t try too hard to
win awards/impress your friends/go over the
top. Just serve your clients and their audience.
It works every time.”
