3. Jungle – Jungle
Gradiented colour to create feel of a
physical environment
Egyptian-style typeface
Simple contrasting
colour scheme
Dust effects giving the
artwork texture but
also a vintage aesthetic
Symmetrical composition,
with equal space around the
central subject
Square border with
approximately a 1cm trim
Made with a layer-style approach
using a design interface such as
Photoshop
Connotations of gold: class,
sophistication and wealth
This album artwork is very effective. In my opinion the main selling point is the minimalistic approach
taken with the design. The simple yet contrasting colour scheme and composition work synchronously to
provide a strong emphasis on the band name ‘Jungle’. Considering this was the debut album for the band
and in this temporal context they were trying to establish their selves as artists it was imperative that
this was emphasised. The use of layered textures and relfective gradients gives the digital album artwork
the appearance of a physical copy, although when this particular album goes into print, a gold foil
material is used rather than a simple gold ink print. This imitates a gold leaf texture and creates an
impression of wealth and sophistication.
4. The Man’s Machine – Jamie T
Pop-art style print design,
modernist aesthetic (Andy
Warhol influence)
Capitalised stencil font
- creating an impression of
aggression and masculinity.
Relates to the title – ‘Man’s
Machine’
Repetition of the EP title/artist
around the central image
- symmetry
Image with strong implication/
Holding societal controversy
Colour differentiation between
artist, EP title and form aiding
coherence
Light coloured border with
approximately 2-3 cm trim
Simple contrasting CMYK
colour scheme - Magenta/Cyan
Textures created using
Photoshop layers.
Creates gritty aesthetic –
continuation of the
‘masculine’ theme
There are many different factors that make this artwork a very successful as well as contextual piece. Firstly, the title ‘The
Man’s Machine’ creates an overall theme of the art, which many of the devices used adhere to. For example, the
capitalised stencil typography and extensive use of red carries a connotation of masculinity and aggression. The design of
the piece is also particularly effective. The modernist pop-art style used, most likely created with a design interface such
as Photoshop allows the audience to create a familiarity with the piece, whilst also opposing trends of the 21st century –
connoting rebellion – again continuing the theme of masculinity. The central image used touches on animal testing – a
very controversial issue in the modern day. This would catch the attention and create discussion points on opinionated
audiences.
5. Astro Coast – Surfer Blood
Prevalence of red colour,
connoting blood and
therefore relating to the artist
name.
Artist name ‘Surfer
Blood’ written bigger
than album title ‘Astro
Coast’
Mix of both capitalised
and non-capitalised
letters. Suggests
spontenaety/a lack of
uniformity
Checkered grid style
template overlay
obscures the
photographed images
Although obscured, we can
see that the main
photographs show two great
white sharks from key
features such as the teeth.
This relates to the artist
name.
Rounded sans serif type
face – juxtaposing with
the theme
Non-central
composition. The text is
slightly left-aligned.
Surfer Blood’s album artwork for ‘Astro Coast’ is aesthetically contrasting to many products of
similar genres on the market. Firstly, a checkered grid style template has been used to overlay two
photographic images of sharks. This obscures an obvious denotation and creates a sense of chaos in
the abstract piece. There is also strong juxtaposition within the artwork. Whilst the background
images suggest aggression, violence and brutality, the typeface used carries a connotation of
softness due to its rounded edges. Interestingly again, the artist’s name ‘Surfer Blood’ is significantly
larger than the album name, reflecting that this is not a particularly established band.
7. Cover and Spine
This cover art is of an abstract form. The central subject is an side-angle impression of an elephants head
emerging from a liquid form. The liquid is a dyed marble, with a turquoise blue and white colour palette and
is continued across the whole canvas. Although not capitalised, the text used for the artist’s name
‘elefantasy’ is significantly larger than the typeface used for the name of the project ‘Waiting For Nothing’.
Assumably, this piece has been photographed – deduced from the shallow depth of field around the central
subject – and the text has been overlayed using a design package such as Photoshop or InDesign for
example.
8. Inside Left
Although this page is largely blank, the artist has used it to relay
some additional information to the consumer. In this case, the band’s social media links
have been placed here, which is very effective in my opinion, as it could generate further
interest for the consumer. In addition, consistent typefaces and colour choices have been
adopted on this page also, and the left alignment of the text matches that of the back
cover.
9. Inside Right
The inside right cover continues on from the theme of the artwork. Not only is the dyed marble
effect printed behind the plastic CD holder, it is also printed on the CD itself. Also on the CD is the
track listing, and the band as well as EP name. This can be used as a quick reference point if the
digipak is not available when the CD is being used. The words “All rights of the producer and the
owner of the works reproduced reserved. Unauthorised copying, hiring, lending, public
performance, broadcasting of this record prohibited’ are written around the outside of the CD.
This is the generic copyright terminology used across almost all musical publications such as this.
10. Back Cover
The back cover of this digipack continues on the theme of the main cover artwork, which is typical of many
products such as this. This means that it can be viewed holistically, especially when opened up and seen next to the
cover art. It is possible that when this was designed, the front image was stretched across the back cover too in the
template, making it possible to achieve this accurately. The only other element incorporated in this back cover is the
essential information – the tracklisting. Usually, this is placed in the centre of the canvas, however, in this case it
appears tucked away in the top left corner. This is likely to be because this is where the text would contrast most
against its background. If it was placed in the centre, the colour similarities with the background could mean that it
wouldn’t stand out entirely. However, this design looks particularly neat and tidy and adds an element of symmetry
to the back cover art.
