This document provides instructions for students on an assignment related to creating album artwork and identities for musicians. It discusses important visual tools for creating band identity such as logos, fonts, colors, and shapes. It provides examples of iconic band logos and the visual techniques used in their designs. Students are instructed to research a musician, create CD case designs using paper folding techniques, and make a stencil for their final design reflecting the artist's style and genre of music. Key techniques like bridges and islands and multi-layer stenciling are explained.

1. CORPORATE
IDENTITIES
THE GLOBAL MUSIC
MACHINE

2. HOMEWO
RK
• To research about a musician/band of your choice
– find images of their album covers/single covers.
• Find images of their logo if they have one.
• If they use their face on their covers then you
could print some images of their portrait/group
photo.
• Include BASIC INFO on the musician/band.
PRESENT INSIDE YOUR SKETCHBOOK.
Due: Tue 22nd November

3. • To explore the VISUAL
TOOLS used by designers
when creating an IDENTITY
for a musician/s.
• To consider a paper design
for a CD case and create
using a range of PAPER
FOLDING techniques.

4. How important is it for
an artist/group to have
an IDENTITY?
What VISUAL tools do
musicians use to create
their unique identity?

5. VISUAL TOOLS USED TO CREATE
BAND IDENTITY
LOGO FONT
STYLE
COLOURS
SHAPES
THEMSELVES –
ICONIC STYLE All of these need to
be in consideration of
their MUSIC STYLE

6. Band logo’s should be able to stand the test of time!...
- Have you heard of any of these iconic bands?
- Why do you think their logo/branding has become so successful? –
consider the VISUAL TOOLS discussed

7. John Pasche for The
Rolling Stones
The designer is said to have
been influenced by Mick
Jagger’s appearance for the
logo, stating that his lips were
the first thing you noticed
about him. The eye-popping
logo has continued to work
well for the band, who have
just celebrated their 50th year
in music.
Often, musicians have used famous artists to create the
artwork for their material…
MOVES LIPS LIKE JAGGER!!

8. Andy Warhol for The Velvet
Underground & Nico.
Warhol created the cover art for
the debut album of what was
originally the house band at the
Factory (Warhol’s New York studio
complex).
Early copies of the album featured
a functional “Peel slowly and see”
tab, in which the listener could
peel back a flap on the cover to
reveal a flesh-coloured banana
underneath.

9. Banksy for Think Tank
by Blur
Though Banksy prides
himself on typically
avoiding commercial work,
he defended his decision to
the do the 2003 Blur
album, saying that he
needed the money.
How important was the choice of artists for these
musicians when deciding on their album artwork?
Artist Julian
Opie has also
worked with
Blur!

10. How is the image COMPOSED
on the album cover?
Do you think it’s
important that
Beyonce uses her
face?
What are the
similarities/difference
s between Beyonce’s
range of album art?
What does her
pose suggest?

11. What MOOD does the image
convey?
What do you think the
image suggests about the
style of the band?
Is neon lighting significant?
What could it suggest?

12. What VISUAL techniques are used throughout the
CD artwork of The Chainsmokers?
Why, unlike Beyonce do you think the Chainsmoker’s
have avoided using their own portraits?

13. Choose one of the
following album
covers…
• What is most
successful about
it?
• What is least
successful?
• How does the
album cover
suggest the
style/genre of the
musician/s?
CALVIN HARRIS 21 PILOTS

14. •You will produce a range of CD case designs using PAPER
FOLDING TECHINQUES. Use worksheets provided.
•You need to briefly think about what kind of musician or
band you think you would like to use for the final designs
as this may influence your choice.
•HOWEVER, you should explore a range and REFINE your
paper folding techniques to ensure you have a range of
HIGH QUALITY outcomes to use for your final piece – CD
CASE.
YOUR
TASK

15. EXAMP
LES
Hexagonal case Flat square case
Flat square
case with
interlocking
back
Square fold
front case

16. TOP
TIPS
• Use a ruler ALWAYS!
• Use a ruler to ensure you are
folding your case to 12x12cm
size.
• Ensure all edges line up EXACTLY
to create an equal square.
• If a cd template is needed – use a
compass to draw and cut out a
12x12cm circle with a hole
exactly in the middle.
• Read the worksheets slowly and
follow carefully.

17. • To create two contrasting cd
case designs for a
musician/s of your choice in
fitting with their music
style.
• To consider LOGO DESIGN,
SHAPE, FONT STYLE, MOOD,
COMPOSITION and
COLOURING TECHINQUES.

18. EXAMPLE 1 – The
Rolling Stones
Band Biography:
• British band – from
London
• Formed in the 60’s
• Rock and Roll
We will be
STENCILING our
designs on. Why is
it then important
that the colours
are clearly split
and limited in
selection?
How does my design reflect the
bands style/genre?
https://www.youtube.com/watch?v
=nrIPxlFzDi0

19. EXAMPLE 2 –
The XX
Band Biography:
• Indie pop
• English group
• 2009 - present
Can you think of
the technique I
have used in my
COLOURING?
How does my design reflect the
bands style/genre? https://www.youtube.com/watch?v=3gxNW2Ulpw
k

20. The xx, simple yet effective.
This latest
variation of the
logo was
designed by
band member
Romy Madley
Croft.

21. EXAMPLE 3 – Lana
Del Ray
Musician Biography:
• American
• 2005 - present
What techniques
could I use to
create my
design?
Will the rose be
more effective
using another
medium other
than stencilling?
How does my design reflect the
musician? https://www.youtube.com/watch?v=cE6wxDqdOV
0

22. Your band/musician is releasing a
new album.
You, THE DESIGNER need to
create new album artwork for
the band.
You may use aspects of their original
logo’s/branding. However this should
be a new piece of artwork – Not a
copy of a previous album cover!

23. • Using your musician research page
created for homework you now
need to decide on a CD case design
shape to work into.
• Draw around your chosen CD case
and neaten with a ruler. ENSURE
that the sizing’s are correct! –
measure the CD case and then your
shape to double check.
YOUR TASK
x2
12x12cm

24. Begin designing by considering the following
key tools:
- COMPOSITION – what is the layout? How
are things arranged? Think about the way
the case opens – e.g Rolling Stones case
- SHAPES – what shapes will be used?
- LOGO – will you keep the original logo of
the musician/s? is this important?
- FONT/TYPOGRAPHY – is the font the logo?
Will there be any font?
- COLOUR – limited palette or graduation?
- MOOD – how does it reflect the
musician/s?
YOUR TASK
x2

25. TIPS FOR USING PENCIL:
- Begin lightly so that tones can be layered
and developed.
- Aim for bold split colour - MULTI LAYERED
design.
- Blend colours together through layering.
Blend warm colours together and cool
colours together to achieve more depth in
hue – GRADUATION.
- Keep a sharp pencil to avoid scratching.
- Work around white areas to create areas of
highlight.
YOUR TASK
x2

26. AIM FOR 2 CONTRASTING DESIGNS.
- Change the shape of the CD case and/or change the design/colouring technique
etc.
- Your designs will most likely be based on the same musician as you have your
research ready.

27. • To complete a chosen KEY Q
response.
• Choose either KEY Q sticker
from project 1 or 2.
• Create a new piece of work
– usually an improvement
(consider your EBI).
• QD4 – an entirely new piece
of work.
DUE: Mon 20th Dec

28. PEER-ASSESSMENT
Look at the CD case designs of your partner:
Consider a WWW and a EBI –
• Have they incorporated the style of the
artist/genre of music into their design through
use of colour, typography and composition?
• Have they considered a balanced composition
and interesting use of shape, colour and font?
• Is their CD case design appealing?
• Have they used a range of colouring
techniques (graduation for example) and is
their colour flat and bold?

29. • To complete any design
plans necessary in order to
create a stencil.
• To create the FINAL STENCIL
using tracing transfers,
CARD and craft knives.
• To understand stencilling
techniques of BRIDGES and
ISLANDS and MULTI-LAYRED
stencils.

30. I want to cut this hole
out as my stencil…
how do I do this?
Easy!...
But what
about
this…
This is called
an ISLAND
ANSWER:

31. Method
1 -
Bridges
and
Islands
Why is this technique necessary for the given
example?

32. Bridges and
Islands EXAMPLE
– The XX

33. Bridges and
Islands EXAMPLE –
Lana Del Ray

34. METHOD 1 -KEYWORDSSafety Border
The minimum distance you should have from the cut-out hole and the border,
this it's not specific in terms of measure, it's more about a distance you should
calculate in order to avoid any leak outside of the cut-out hole.
Island
Islands are independent parts inside of a cut-out hole, as you may notice
shapes can't float, so that's why they need bridges.
Bridge
This are the joint lines that make the island possible to exist on the cut-out
hole.
Cut-out hole
This is the place where we place the pigment, it should be stretched and
pushed hard against the wall or surface to avoid leaks and blurs.

35. Method
2 – Multi-
layer
LAYER 1
LAYER 3
LAYER 2How is the
multi-layered
effect different
to Bridges and
Islands?
When would
you use each? How are the colours applied?

36. Multi Layered
EXAMPLE – The
Rolling Stones

37. METHOD 2 -KEYWORDS
Multi – Layer
Using more than one stencil to layer a design. This allows you to more
effectively use split colours. Layers should be produced light-dark. The image
reduces as the layers become lighter.
Safety Border
The minimum distance you should have from the cut-out hole and the border,
this it's not specific in terms of measure, it's more about a distance you should
calculate in order to avoid any leak outside of the cut-out hole.
Cut-out hole
This is the place where we place the pigment, it should be stretched and
pushed hard against the wall or surface to avoid leaks and blurs.

38. • Complete all necessary design
work (outlines)
• Trace your image and TRANSFER
to the card. Use a 4B pencil.
• If you are doing a multi-layered
print you may need to trace
twice over – for example… my
water droplets were traced
twice, once for the droplet and
another for the text.
YOUR TASK – stencil tracing
- step 1

39. • Once the image is
transferred, draw back
over the lines
CAREFULLY.
• HASH OUT were you
need to cut away to
reveal the background.
What does HASH OUT
mean?
YOUR TASK – stencil tracing -
step 2

40. • If working with BRIDGES
AND ISLANDS, you now
need to decide where
they will be placed.
• Use a thick bridge to
avoid the card tearing.
Join your bridge to your
island in the MOST
DISCRETE area.
YOUR TASK – stencil tracing – BRIDGES
AND ISLANDS
REMEMBER…
Bridges any
smaller areas
mustn't be too
delicate/thin

41. HEALTH AND
SAFETYCan you name some of the HEALTH
and SAFETY considerations we need to
practice when creating a stencil?
Always cut using a
cutting mat. Never on
the table and NEVER
IN YOUR HANDS.
Place your hand at
the top of your work
and cut below and
away from your hand
Do not walk around
the room with a
knife.
Do not leave the
knife on the table
edge.
Leave the knife with
THE CAP ON in the
CENTRE of the table
when not using.

42. • 8 people around the WHITE TABLE at one time.
• Whilst others are cutting their stencils out you MUST complete all
design work WITH COLOUR.
• Ensure your designs are REFINED.
YOUR TASK – stencil CUTTING
Always cut
using a cutting
mat. Never on
the table and
NEVER IN YOUR
HANDS.
Place your
hand at the top
of your work
and cut below
and away from
your hand
Do not walk around the room
with a knife.
Do not leave the knife on the
table edge.
Leave the knife with THE CAP
ON in the CENTRE of the table
when not using.
Work in
YOUR
SPACE
ONLY.

43. • To complete the FINAL STENCIL
using tracing transfers, CARD
and craft knives.
• To understand stencilling
techniques of BRIDGES and
ISLANDS and MULTI-LAYRED
stencils.
• To use PAPER FOLDING
techniques to create a range of
final CD cases to be printed
onto.

44. HEALTH AND
SAFETYCan you name some of the HEALTH
and SAFETY considerations we need to
practice when creating a stencil?
Always cut using a
cutting mat. Never on
the table and NEVER
IN YOUR HANDS.
Place your hand at
the top of your work
and cut below and
away from your hand
Do not walk around
the room with a
knife.
Do not leave the
knife on the table
edge.
Leave the knife with
THE CAP ON in the
CENTRE of the table
when not using.

45. REMEMBER YOUR CHOSEN METHOD…
Multi-
layered
Bridges
and
Islands

46. • 8 people around the WHITE TABLE at one time.
• Whilst others are cutting their stencils out you MUST create final CD
cases – at least 3!
• Ensure your cases are FOLDED very well and EQUALLY. Measure to
ensure they are 12x12cm.
YOUR TASK – stencil CUTTING
Always cut
using a cutting
mat. Never on
the table and
NEVER IN YOUR
HANDS.
Place your
hand at the top
of your work
and cut below
and away from
your hand
Do not walk around the room
with a knife.
Do not leave the knife on the
table edge.
Leave the knife with THE CAP
ON in the CENTRE of the table
when not using.
Work in
YOUR
SPACE
ONLY.

47. Task 2 – CD cases – paper
folding
• Use a ruler ALWAYS!
• Use a ruler to ensure you are folding
your case to 12x12cm size.
• Ensure all edges line up EXACTLY to
create an equal square.
• If a cd template is needed – use a
compass to draw and cut out a
12x12cm circle with a hole exactly in
the middle.
• Read the worksheets slowly and
follow carefully.
• Create ATLEAST 3 CASES ready for
printing next lesson.

48. • To complete the SOTO
available on ZDrive.
• Present and stick into
sketchbook.
• TYPE and save to a memory
stick/your username.
Collect books on Monday 16th
Jan.
Due: Monday 23rd Jan

49. • To use PAPER FOLDING
techniques to COMPLETE
creating a range of final CD
cases to be printed onto.
• To begin PRINTING through
STENCILING designs onto final
CD cases.
• To explore a range of PRINTING
techniques – flat colour and
graduation.

50. WHAT IS
STENCILING?
A technique for reproducing
designs by passing ink or paint
over holes cut in cardboard or
metal onto the surface to be
decorated.
Stencilling produces an image
or pattern by applying pigment
to a surface over a surface with
designed gaps in it.
The pigment then only prints in
the intended gaps.

51. • The first recorded
stencils are said to
originate in
Prehistoric caves.
• Other records show
that leaves were used
for the first stencils.
• Natives from Fiji
Islands normally use
bamboo and banana
leaves in creating
their stencils.

52. • Roy Lichtenstein, replicated the
dots characteristic of comic-book
illustrations through stencilling
and screen printing.
• For a silk-screening print an artist
places a stencil on a stretched
piece of silk. Printing ink is then
pressed through the stencil.

53. • Banksy is an England-based
graffiti artist and political activist.
• His ironic street art combines dark
humour with graffiti executed in a
distinctive stencilling technique.
• His works of political and social
commentary have been featured
on streets, walls, and bridges of
cities throughout the world.
• Banksy's work grew out of the
Bristol underground scene.