.

2. The cover of the digipak captures the attention of the potential
consumer through the use of a striking image that depicts two of
the band’s four members, co-frontmen Carl Barat and Pete
Doherty. The image is a medium shot that shows the two men, one
of whom looks directly at the camera whilst the other looks down
with cigarette in hand. The use of direct address through one of the
men creates a sense of intimacy between the artist and the viewer
and allows you to develop a more personal relationship with the
face behind the music. Over the top of the image is text that reads
‘THE LIBERTINES’. This is significant because the text and font is
critical and iconic when it comes to the front cover of a ‘Libertines’
album as it features across a number of covers. The repetition and
exploitation of the same font and style allows the band to create a
sense of brand or band identity – something which they would
instantly be recognised by.

3. The design of the CD or disc is in large quite simple. It features
continuity and an essence of consistency through the repetition of
‘The Libertines’ text once more, which is very obviously a recurring
feature. The disc itself is uninspiring in that it features very little in
terms of design; however you could also argue that it is striking
enough and any extras would not be necessary despite the lack of
colour across it with no more than white text on a plain black
background. Besides the text there is both the copyright
information, the record label of the band ‘Rough Trade’ Records
and also the track list. The appearance of the track list is not
particularly common as it is not usually repeated if it appears on
the back cover as well like it often does. Another feature of this disc
which is uncommon is the lack of an image as most discs often
contain some form of picture to further develop the identity of the
band and make it obvious who the music on the CD belongs to.
However the lack of specific imagery could also open up the idea
that a straight talking and uncluttered design suggests the music is
open to interpretation and can reach a variety of audiences.

4. The back cover is relatively contrasting to the front cover in
terms of its colour scheme and photography style particularly.
The colours are a lot less bright and vibrant which changes the
way the audience approaches the back cover. It looks quite
faded and aged in comparison to the front cover and is very
different in a number of ways. The image in the middle of the
cover looks pre-digital age and captures all four band members
as opposed to the front image which just shows the two co-
frontmen (perhaps emphasising their importance ahead of those
who back them?). The track list appears again just like on the
disc and this is exactly what you would expect to see on a back
cover. The record label also features again as does a barcode
shown in the top right which is an uncommon position for a
barcode as it would normally appear nearer the bottom of the
cover or at least on other products so as to not divert the
consumer’s attention from the cover’s actual content. ‘The
Libertines’ font and text appears for a third time however this
time smaller and on its side at both of the cover’s edges.

5.  This particular digipak cover features the band’s four members
in a shop window in an artistically framed street arrangement
where they are dressed in a variety of costumes dissimilar to
what they may normally wear. What is also interesting is how
neither of the four members is accentuated more than another
which suggests the band want them to be seen as equals
possibly without a frontman. The positioning of the pavement
allows for the placement of the text that reads the band and
album title in a font that suggests elegance and maturity. The
buildings in the image are largely non descript and therefore
suggests that your attention should be centred almost entirely
around the window arrangement, suggestingthat by buying the
album you’re buying into the band and them as a product.
Similarly to many other bands including The Libertines
(focused on previously), the font used is the same one that is
used across other Mumford and Sons albums including ‘Babel’.

6.  The disc of the digipak is fairly neutral again with the
recurring font featuring for a third time along with the
underlining of the band name. There is also the feature
of a small piece of artwork/illustration below the
centre of disc that adds to the aura that the style and
font has already put in place both inside and on the
outside of the promotional package. Below that are the
logos of the record labels and written around the disc
in small text is the copyright information. The layout
of the text is simple and the title is made obvious. On
this disc, the track list does not feature and this is the
case with many CD’s purely because is the track list
needed a second time if you’ve already read it on the
back cover? Also the track list on the disc cannot be
referenced if the disc is playing. The use of black and
white supports the simple theme of both covers but
does lack the sort of imagery that the covers possess.

7.  Besides the two covers and disc there is
also additional content in the shape of a
lyrics booklet within the left leaf of the
digipak – something which is a common
feature of albums, allowing the consumer
to develop their understanding and
knowledge of the music within their
purchased album. To the right of the
booklet is a second image on its own
showing the band members again within
presumably the same white building, this
time framed in a window each. This image
again helps to grow the sense of intimacy
between the artists and their fans, all the
time bridging the gap between the idol and
the supporters.

8.  The back cover of the digipak features very little that relates
to the band in terms of something to be recognised by. It
simply has a window as its centrepiece which is
undoubtedly meant to be the back of the main building
from the front cover which does at least show continuity
and allows the consumer to make a relationship between
the two images. Below the window is the track list which is
presented in a slightly different manner to some which
made it difficult to interpret the order of the songs within
the album as opposed to if they were in a up to down list
like they often are. The font from the cover is used again in
the song titles and also this time on the spine of the digipak
which has a small record label logo, the band name and the
album title. In the top right, similarly to the previously
analysed digipak is the barcode which is slightly bigger
than normal and takes up slightly more space. However it
is clear that the vague layout is similar amongst most back
covers.

9.  To summarise, the two analysed digipaks in question have many features in
common and are both quintessentially English. Both the digipaks feature the music
artists on the front cover with the use of direct address, as well as in one case on the
back cover and the other through additional content. This emphasises the
relationship between the artist and the consumer and brings to prominence the
placing of the artist and the repetition of certain images helping to make the
intentions of the digipak bold and obvious. Both of the discs are plain with a black
background and have a minimalistic outlook on disc art featuring little to no
illustrations or artwork and instead deeming simple and assured fonts/text the
method for success. Both back covers feature images that relate directly to the front
cover and additional contents and both track lists are simple with black text on white
backgrounds in listed layouts. ‘Quintessentially’ English literally translates
‘representing the most perfect or typical example of the quality or class relevant to
the subject’. For example the costumes used by the artists are quite typically British
including suit jackets, waistcoats, white trousers and bowler hats. There are also
certain aspects that are typical of both Britain and the indie music genre such as the
feature of tattoos and cigarettes which both show a sense of rebellion and a casual
approach to body art and possibly drug use.