The document provides information about designing a digipak for a folk rock album. It discusses the key characteristics of digipaks, including their book-style design which protects CDs. It also analyzes the album art and designs of five folk rock bands, noting that most album covers in the genre feature hand-drawn or painted art rather than photos. This hand-drawn art markets the artist as having natural talent rather than relying on technology. Overall designs are often simple with an emphasis on connecting the artist to nature.
The document provides information about designing a digipak for a folk rock album. It discusses the research conducted on digipaks for folk rock music, which was difficult due to the genre being more popular in past decades. The research analyzed album covers from 5 bands - Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. Most of the covers had hand drawn or painted art rather than photos, marketing the artist as having natural talent rather than relying on technology. The covers also commonly depicted the artist in a natural setting or incorporated natural elements.
This document provides details about researching and analyzing Digipak album covers for a folk rock band. It summarizes the key findings from analyzing covers of 5 folk rock artists:
- Most of the album covers had hand-drawn or painted art rather than photographs, which markets the artist as having natural talent rather than relying on technology.
- The artwork often depicted the artist in a natural setting or incorporated natural elements to emphasize the folk rock theme of being connected to nature.
- Common design elements across the covers included simple fonts and layouts, handwritten text, and artwork that tied the artist's identity to nature. These elements sell the artist as introspective, mature, and focused on the music rather than
The document provides details about researching and analyzing Digipak album covers for five folk rock bands: Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. It notes that folk rock album art often features hand-drawn or painted artwork rather than photographs. It then analyzes elements of the album covers like fonts, colors, backgrounds, and depictions of the artists that market them as introspective, wise, and connected to nature in keeping with folk rock themes.
This document discusses digipak album packaging for folk rock music. It provides details on what a digipak is and how it offers more creative design options than a jewel case. Research was conducted on the album art of 5 folk rock bands - Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. Most of their album covers featured hand-drawn or painted art rather than photographs, marketing the artist as having natural talent rather than relying on technology. This style of album art matches the folk rock genre's themes of being in touch with nature.
The document provides details about researching and analyzing Digipak album covers from five folk rock bands: Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. It notes that Digipaks allow more creative design than jewel cases and are less likely to crack. Analysis is provided of design elements of the covers, including hand-drawn backgrounds, simple fonts, depictions of the artists, and inclusion of record label details.
The Digipak for Rihanna's album "Loud" prominently features an extreme close-up of the artist to promote brand recognition. Red is a central color motif relating to Rihanna's passionate persona. The music video for the single "Only Girl in the World" influenced the Digipak design with its close-ups and nature shots. Colbie Calliat's "Breakthrough" Digipak features candid photos of the folk artist in natural settings, conveying her down-to-earth style through vintage design elements and simple color palette.
This document analyzes two double page spreads from music magazines. [1] The first spread features an artist spray painting and introduces an article about Dizzee Rascal's rise to fame. The style is casual but informative. [2] The second spread features the band Crystal Castles and introduces an unconventional article about their success and lifestyle. Key features of effective double page spreads are identified, including large images, titles, columns, and drop capitals.
The document analyzes and compares the album artwork and design of two hip hop artists, J.Cole and Chris Brown. For J.Cole's album, the front cover image depicts him sitting confidently on a bench in a sophisticated outfit, denoting his success. The background of a locker room suggests themes of waiting and the sidelines. Typography and imagery are consistently used across the design. Chris Brown's album features a stern portrait of the artist against a colorful graffiti-style background, focusing on his image over the music itself and appealing to younger audiences. Both album designs utilize consistent typography and imagery that tie into themes and styles of the respective artists.
The document provides information about designing a digipak for a folk rock album. It discusses the research conducted on digipaks for folk rock music, which was difficult due to the genre being more popular in past decades. The research analyzed album covers from 5 bands - Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. Most of the covers had hand drawn or painted art rather than photos, marketing the artist as having natural talent rather than relying on technology. The covers also commonly depicted the artist in a natural setting or incorporated natural elements.
This document provides details about researching and analyzing Digipak album covers for a folk rock band. It summarizes the key findings from analyzing covers of 5 folk rock artists:
- Most of the album covers had hand-drawn or painted art rather than photographs, which markets the artist as having natural talent rather than relying on technology.
- The artwork often depicted the artist in a natural setting or incorporated natural elements to emphasize the folk rock theme of being connected to nature.
- Common design elements across the covers included simple fonts and layouts, handwritten text, and artwork that tied the artist's identity to nature. These elements sell the artist as introspective, mature, and focused on the music rather than
The document provides details about researching and analyzing Digipak album covers for five folk rock bands: Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. It notes that folk rock album art often features hand-drawn or painted artwork rather than photographs. It then analyzes elements of the album covers like fonts, colors, backgrounds, and depictions of the artists that market them as introspective, wise, and connected to nature in keeping with folk rock themes.
This document discusses digipak album packaging for folk rock music. It provides details on what a digipak is and how it offers more creative design options than a jewel case. Research was conducted on the album art of 5 folk rock bands - Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. Most of their album covers featured hand-drawn or painted art rather than photographs, marketing the artist as having natural talent rather than relying on technology. This style of album art matches the folk rock genre's themes of being in touch with nature.
The document provides details about researching and analyzing Digipak album covers from five folk rock bands: Cat Stevens, Laura Marling, Bon Iver, Mumford & Sons, and Simon & Garfunkel. It notes that Digipaks allow more creative design than jewel cases and are less likely to crack. Analysis is provided of design elements of the covers, including hand-drawn backgrounds, simple fonts, depictions of the artists, and inclusion of record label details.
The Digipak for Rihanna's album "Loud" prominently features an extreme close-up of the artist to promote brand recognition. Red is a central color motif relating to Rihanna's passionate persona. The music video for the single "Only Girl in the World" influenced the Digipak design with its close-ups and nature shots. Colbie Calliat's "Breakthrough" Digipak features candid photos of the folk artist in natural settings, conveying her down-to-earth style through vintage design elements and simple color palette.
This document analyzes two double page spreads from music magazines. [1] The first spread features an artist spray painting and introduces an article about Dizzee Rascal's rise to fame. The style is casual but informative. [2] The second spread features the band Crystal Castles and introduces an unconventional article about their success and lifestyle. Key features of effective double page spreads are identified, including large images, titles, columns, and drop capitals.
The document analyzes and compares the album artwork and design of two hip hop artists, J.Cole and Chris Brown. For J.Cole's album, the front cover image depicts him sitting confidently on a bench in a sophisticated outfit, denoting his success. The background of a locker room suggests themes of waiting and the sidelines. Typography and imagery are consistently used across the design. Chris Brown's album features a stern portrait of the artist against a colorful graffiti-style background, focusing on his image over the music itself and appealing to younger audiences. Both album designs utilize consistent typography and imagery that tie into themes and styles of the respective artists.
The document provides an analysis of the digipak designs of four hip hop albums:
1) J. Cole's "Cole World: The Sideline Story" depicts the artist sitting on a bench, representing his mindset of waiting for his chance since being signed by Jay-Z. Imagery throughout continues this theme of being "on the sidelines."
2) Chris Brown's "F.A.M.E" uses colorful, graphic imagery of the artist to attract a young audience. Imagery on the back depicts the artist in a metal mask, possibly representing his desire to be obscured from media attention.
3) Jay-Z's "The Black Album" features an obscured image of the
This document provides a summary of the plot and structure of a proposed transmedia series titled "Jezabel, the track of a lifetime."
1. The series follows 19-year-old Jezabel, a student who gains online fame after posting a song. She is offered a record deal by a producer but struggles to find her artistic voice amid the demands of the music industry.
2. The series will be told across multiple mediums, including a 12-episode TV season, an interactive blog, social media, a radio show, and a concert livestream. This allows the story to be experienced from different character perspectives.
3. The TV episodes depict Jezabel's rise to fame in
The document analyzes two double page spreads from NME Magazine.
The first spread features artist Dizzee Rascal and analyzes elements like the main image, captions, headings, color scheme, and background. The written article discusses Dizzee Rascal's career over the past year.
The second spread features artist Florence from Florence and the Machine and also analyzes elements such as the main image, captions, headings, color scheme, and background. The written article covers Florence's rising fame and success in the music industry.
Both spreads showcase the artists and provide concise updates on their recent work in a formal journalistic style through images, design elements, and short column articles.
This document provides biographical information about American photographer Don Freeman and discusses his artistic process and body of work. It notes that Freeman is known for his large monochrome prints that depict subject matter in states of transformation. It describes Freeman's early works incorporating religious iconography and his experimentation with different photographic techniques like dye toning and blueprinting to create nuanced images. The document also discusses Freeman's influences, including filmmaker Andrei Tarkovsky, and how Freeman arranges his images in a specific sequence to create an emotional narrative experience for the viewer.
The document discusses inspiration the author has gained from various works related to the connection between humans and plants. They discuss poems by Ezra Pound and their own interpretation of merging human and plant. They also discuss literature exploring plant-based characters, photography exploring minimalist compositions and lighting, and sculptures representing humanity through nature. The author intends to portray a similar merging of human and plant in their music video through a woman carrying a small growing tree.
The document analyzes the album covers of two artists, Jessie J and Chris Brown.
1. Jessie J's album cover directly connects to her song titles and portrays her as an empowered woman. The colors, layout, and her direct gaze are meant to appeal to hip hop fans while still showing her uniqueness.
2. Chris Brown's album cover presents him as a mysterious new artist looking to leave his past behind, shown by his backward glance. The monochrome scheme draws attention to just him and promotes his "new" image and hip hop style.
3. Both covers are carefully designed to portray the artists' personas and connect to their music in a way that will attract hip
The document discusses several common conventions found in real music videos that were used in the project's video. These include:
1) Synchronizing cuts in shots to the rhythm of the music.
2) Illustrating lyrics and emotions visually.
3) Using voyeurism through framing characters in private moments.
4) Incorporating intertextual references to other works.
5) Focusing on both narrative and artistic performance.
6) Raising questions not fully answered to engage viewers.
The front cover of Wiz Khalifa's album appeals to its target audience of smokers with the image of green smoke and references to rolling papers. The back cover further sells the persona of the artist as a smoker by displaying his name in green smoked writing.
The front cover of Eminem's Encore album portrays the artist in a suit to attract audiences of other genres like classical while subverting expectations of rappers. The inside panel tells a story about the album through a designed letter and bullet to engage the target audience.
The front cover of Tiesto's album uses bright colors and UV lights appealing to clubbers and dancers, while the back cover portrays possible anger and threats of violence common in
This double page spread from a magazine provides an analysis of an artist. [1] It features the main image of the brightly dressed artist as the focal point. [2] Small background images and a direct quote from the artist are used to give insights into her quirky personality and lifestyle. [3] The article is organized into four columns that discuss her work and background through an interview.
The album cover of Kanye West's "College Dropout" is unconventional in several ways. It does not feature the artist's name prominently or follow typical hip hop album conventions. The use of natural colors like brown and gold suggests the artist's authentic nature. While minimal on information, the cover intrigues viewers and sets expectations that the music will provide a bold statement. The back cover continues the natural motif and provides more context about the artist through its tree design and inclusion of the tracklist and artist name.
1. The genre characteristic shown is that it focuses on a boys band. Additionally, guitar is used as an instrument in some scenes.
2. The relationship between lyrics and visuals is both illustrative and amplified. Some scenes directly relate to the lyrics while others enhance the meaning.
3. The relationship between music and visuals matches the pace and tone. Faster scenes correspond to faster music and louder scenes correspond to louder music.
The magazine article analyses focus on key elements like mastheads, cover lines, images and copy layout.
The NME article summary focuses on Dizzee Rascal, with a long close-up image of him contributing to street art. The headline uses different sized handwritten fonts. Copy is in 4 columns around a radio image.
The Kerrang article summary features an exclusive interview with My Chemical Romance. The pull quote title spans both pages in bold red and white fonts. Images include a band member performing and in the studio.
The Q article summary profiles Lana Del Rey across both pages. The title uses two fonts to appear as two titles. Images show the artist in dramatic makeup against pale backgrounds
The document discusses the design choices made for the magazine "Vinyl". It uses a three-color scheme of black, white, and purple. The cover uses three fonts but additional fonts are used inside. Photographs with old-style frames indicate an interest in retro photography. The target audience is described as teenage girls based on the feminine photography, fonts, and color scheme used. The magazine aims to represent indie music styles through the featured bands, fashion content, and photography style.
The magazine focuses on rock music through its use of red, black, and white colors; bold font; and photography of Hayley Williams in an intimidating pose. Short, bold writing uses language associated with rock fans. Overall, the design successfully represents the rock genre to appeal to its target audience.
This document compares the conventions of folk rock music videos to the student's own music video production. It finds that the student's video used many typical conventions, such as showing the band performing in a natural rural setting surrounded by trees and fields. It also finds that the student's video developed some conventions by having the music and visuals amplify each other rather than just illustrating the lyrics, such as when the music sped up as the man leapt into the sea. The document analyzes several examples of professional folk rock music videos and identifies their conventions around performance style, nature settings, relationships between music, lyrics and visuals, close-ups of artists, and notions of voyeurism.
This document summarizes the research and creative process undertaken to develop a retro-inspired magazine concept. It involved researching 1940s/50s pin-up stars, genre conventions from magazines of the era, and inspiration from modern artists emulating retro styles. Mood boards and music were used to set the tone. Photography and editing techniques replicated the aesthetic. A fictional artist 'Sophia Fox' was featured throughout, portrayed through photography, article profiles and a music video concept drawing on analyzed retro and modern works.
The album cover features a close-up shot of the artist, drawing attention to her face and eyes. A plain white background focuses all attention on the artist, following typical album cover conventions. The color scheme uses red, yellow, and blue, with yellow signifying happiness and red danger, possibly indicating the tone of songs. Fonts and illustrations appear hand-drawn to give the album a personal feel. Overall, the cover provides essential identifying information about the artist and album in a visually engaging design that hints at the album's unconventional folk-inspired genre and themes.
The album cover features a close-up shot of the artist, drawing attention to her face and eyes. A plain white background focuses all attention on the artist, following typical album cover conventions. Elements like colorful props, fonts, and illustrations reinforce themes of folk music and unconventionality. The color scheme of red, yellow, and blue may provide clues to the tone and content of the songs on the album. Overall, the cover utilizes common techniques but also unconventional elements, leaving the specific genre ambiguous.
Jordan Kierans was planning the cover for his debut solo album "Cloud Nine". His initial designs were too simple and lacked artistic flair. After reviewing conventions from Atlantic Records albums and the needs of his target audience, he created a psychedelic front cover with a graffiti-style font and a wood pattern on the back. A promotion poster advertised the album and upcoming tour dates using the same fonts and record label branding for recognition.
The document contains magazine advertisement research questions about various folk artists' posters and album covers. For Bon Iver, the poster focuses on nature through a black sky and red flowers, connecting to the artist's dark and sexual lyrics. For Laura Marling, the poster and album cover both depict nature through drawings and use of orange. For Bruce Springsteen, the font on the poster relates to the simplicity of the music and artist, while the poster and album cover have little connection beyond simple fonts and colors.
This document analyzes several factors related to CD covers, including:
1) The relationship between the cover and other panels in terms of linking colors, images and themes to create a consistent brand identity.
2) How the choice of images, fonts, colors and layout/design are used to make the cover eye-catching and convey meaning about the genre and artist.
3) Where industry information like the artist, album, label and copyright details are typically displayed.
The document provides questions to consider when analyzing design elements and how they relate to marketing the artist and suggesting the music genre.
Digipak analysis - Kanye West - College Dropoutkmuzira
The album cover of Kanye West's "College Dropout" is unconventional in several ways. It does not feature the artist's name prominently or clearly on the front cover, conveying his focus is on the music rather than fame or image. The use of gold and brown colors on the front and back represents wealth and something natural. The back cover features the artist's name in an intricate font and the album title in bold, suggesting the music will be complex yet make a bold statement. The CD cover breaks from the color motif using bright pink and yellow normally associated with children, further challenging hip hop conventions.
The document provides an analysis of the digipak designs of four hip hop albums:
1) J. Cole's "Cole World: The Sideline Story" depicts the artist sitting on a bench, representing his mindset of waiting for his chance since being signed by Jay-Z. Imagery throughout continues this theme of being "on the sidelines."
2) Chris Brown's "F.A.M.E" uses colorful, graphic imagery of the artist to attract a young audience. Imagery on the back depicts the artist in a metal mask, possibly representing his desire to be obscured from media attention.
3) Jay-Z's "The Black Album" features an obscured image of the
This document provides a summary of the plot and structure of a proposed transmedia series titled "Jezabel, the track of a lifetime."
1. The series follows 19-year-old Jezabel, a student who gains online fame after posting a song. She is offered a record deal by a producer but struggles to find her artistic voice amid the demands of the music industry.
2. The series will be told across multiple mediums, including a 12-episode TV season, an interactive blog, social media, a radio show, and a concert livestream. This allows the story to be experienced from different character perspectives.
3. The TV episodes depict Jezabel's rise to fame in
The document analyzes two double page spreads from NME Magazine.
The first spread features artist Dizzee Rascal and analyzes elements like the main image, captions, headings, color scheme, and background. The written article discusses Dizzee Rascal's career over the past year.
The second spread features artist Florence from Florence and the Machine and also analyzes elements such as the main image, captions, headings, color scheme, and background. The written article covers Florence's rising fame and success in the music industry.
Both spreads showcase the artists and provide concise updates on their recent work in a formal journalistic style through images, design elements, and short column articles.
This document provides biographical information about American photographer Don Freeman and discusses his artistic process and body of work. It notes that Freeman is known for his large monochrome prints that depict subject matter in states of transformation. It describes Freeman's early works incorporating religious iconography and his experimentation with different photographic techniques like dye toning and blueprinting to create nuanced images. The document also discusses Freeman's influences, including filmmaker Andrei Tarkovsky, and how Freeman arranges his images in a specific sequence to create an emotional narrative experience for the viewer.
The document discusses inspiration the author has gained from various works related to the connection between humans and plants. They discuss poems by Ezra Pound and their own interpretation of merging human and plant. They also discuss literature exploring plant-based characters, photography exploring minimalist compositions and lighting, and sculptures representing humanity through nature. The author intends to portray a similar merging of human and plant in their music video through a woman carrying a small growing tree.
The document analyzes the album covers of two artists, Jessie J and Chris Brown.
1. Jessie J's album cover directly connects to her song titles and portrays her as an empowered woman. The colors, layout, and her direct gaze are meant to appeal to hip hop fans while still showing her uniqueness.
2. Chris Brown's album cover presents him as a mysterious new artist looking to leave his past behind, shown by his backward glance. The monochrome scheme draws attention to just him and promotes his "new" image and hip hop style.
3. Both covers are carefully designed to portray the artists' personas and connect to their music in a way that will attract hip
The document discusses several common conventions found in real music videos that were used in the project's video. These include:
1) Synchronizing cuts in shots to the rhythm of the music.
2) Illustrating lyrics and emotions visually.
3) Using voyeurism through framing characters in private moments.
4) Incorporating intertextual references to other works.
5) Focusing on both narrative and artistic performance.
6) Raising questions not fully answered to engage viewers.
The front cover of Wiz Khalifa's album appeals to its target audience of smokers with the image of green smoke and references to rolling papers. The back cover further sells the persona of the artist as a smoker by displaying his name in green smoked writing.
The front cover of Eminem's Encore album portrays the artist in a suit to attract audiences of other genres like classical while subverting expectations of rappers. The inside panel tells a story about the album through a designed letter and bullet to engage the target audience.
The front cover of Tiesto's album uses bright colors and UV lights appealing to clubbers and dancers, while the back cover portrays possible anger and threats of violence common in
This double page spread from a magazine provides an analysis of an artist. [1] It features the main image of the brightly dressed artist as the focal point. [2] Small background images and a direct quote from the artist are used to give insights into her quirky personality and lifestyle. [3] The article is organized into four columns that discuss her work and background through an interview.
The album cover of Kanye West's "College Dropout" is unconventional in several ways. It does not feature the artist's name prominently or follow typical hip hop album conventions. The use of natural colors like brown and gold suggests the artist's authentic nature. While minimal on information, the cover intrigues viewers and sets expectations that the music will provide a bold statement. The back cover continues the natural motif and provides more context about the artist through its tree design and inclusion of the tracklist and artist name.
1. The genre characteristic shown is that it focuses on a boys band. Additionally, guitar is used as an instrument in some scenes.
2. The relationship between lyrics and visuals is both illustrative and amplified. Some scenes directly relate to the lyrics while others enhance the meaning.
3. The relationship between music and visuals matches the pace and tone. Faster scenes correspond to faster music and louder scenes correspond to louder music.
The magazine article analyses focus on key elements like mastheads, cover lines, images and copy layout.
The NME article summary focuses on Dizzee Rascal, with a long close-up image of him contributing to street art. The headline uses different sized handwritten fonts. Copy is in 4 columns around a radio image.
The Kerrang article summary features an exclusive interview with My Chemical Romance. The pull quote title spans both pages in bold red and white fonts. Images include a band member performing and in the studio.
The Q article summary profiles Lana Del Rey across both pages. The title uses two fonts to appear as two titles. Images show the artist in dramatic makeup against pale backgrounds
The document discusses the design choices made for the magazine "Vinyl". It uses a three-color scheme of black, white, and purple. The cover uses three fonts but additional fonts are used inside. Photographs with old-style frames indicate an interest in retro photography. The target audience is described as teenage girls based on the feminine photography, fonts, and color scheme used. The magazine aims to represent indie music styles through the featured bands, fashion content, and photography style.
The magazine focuses on rock music through its use of red, black, and white colors; bold font; and photography of Hayley Williams in an intimidating pose. Short, bold writing uses language associated with rock fans. Overall, the design successfully represents the rock genre to appeal to its target audience.
This document compares the conventions of folk rock music videos to the student's own music video production. It finds that the student's video used many typical conventions, such as showing the band performing in a natural rural setting surrounded by trees and fields. It also finds that the student's video developed some conventions by having the music and visuals amplify each other rather than just illustrating the lyrics, such as when the music sped up as the man leapt into the sea. The document analyzes several examples of professional folk rock music videos and identifies their conventions around performance style, nature settings, relationships between music, lyrics and visuals, close-ups of artists, and notions of voyeurism.
This document summarizes the research and creative process undertaken to develop a retro-inspired magazine concept. It involved researching 1940s/50s pin-up stars, genre conventions from magazines of the era, and inspiration from modern artists emulating retro styles. Mood boards and music were used to set the tone. Photography and editing techniques replicated the aesthetic. A fictional artist 'Sophia Fox' was featured throughout, portrayed through photography, article profiles and a music video concept drawing on analyzed retro and modern works.
The album cover features a close-up shot of the artist, drawing attention to her face and eyes. A plain white background focuses all attention on the artist, following typical album cover conventions. The color scheme uses red, yellow, and blue, with yellow signifying happiness and red danger, possibly indicating the tone of songs. Fonts and illustrations appear hand-drawn to give the album a personal feel. Overall, the cover provides essential identifying information about the artist and album in a visually engaging design that hints at the album's unconventional folk-inspired genre and themes.
The album cover features a close-up shot of the artist, drawing attention to her face and eyes. A plain white background focuses all attention on the artist, following typical album cover conventions. Elements like colorful props, fonts, and illustrations reinforce themes of folk music and unconventionality. The color scheme of red, yellow, and blue may provide clues to the tone and content of the songs on the album. Overall, the cover utilizes common techniques but also unconventional elements, leaving the specific genre ambiguous.
Jordan Kierans was planning the cover for his debut solo album "Cloud Nine". His initial designs were too simple and lacked artistic flair. After reviewing conventions from Atlantic Records albums and the needs of his target audience, he created a psychedelic front cover with a graffiti-style font and a wood pattern on the back. A promotion poster advertised the album and upcoming tour dates using the same fonts and record label branding for recognition.
The document contains magazine advertisement research questions about various folk artists' posters and album covers. For Bon Iver, the poster focuses on nature through a black sky and red flowers, connecting to the artist's dark and sexual lyrics. For Laura Marling, the poster and album cover both depict nature through drawings and use of orange. For Bruce Springsteen, the font on the poster relates to the simplicity of the music and artist, while the poster and album cover have little connection beyond simple fonts and colors.
This document analyzes several factors related to CD covers, including:
1) The relationship between the cover and other panels in terms of linking colors, images and themes to create a consistent brand identity.
2) How the choice of images, fonts, colors and layout/design are used to make the cover eye-catching and convey meaning about the genre and artist.
3) Where industry information like the artist, album, label and copyright details are typically displayed.
The document provides questions to consider when analyzing design elements and how they relate to marketing the artist and suggesting the music genre.
Digipak analysis - Kanye West - College Dropoutkmuzira
The album cover of Kanye West's "College Dropout" is unconventional in several ways. It does not feature the artist's name prominently or clearly on the front cover, conveying his focus is on the music rather than fame or image. The use of gold and brown colors on the front and back represents wealth and something natural. The back cover features the artist's name in an intricate font and the album title in bold, suggesting the music will be complex yet make a bold statement. The CD cover breaks from the color motif using bright pink and yellow normally associated with children, further challenging hip hop conventions.
The document provides research questions and responses about magazine advertisements for three musical artists: Bon Iver, Laura Marling, and Bruce Springsteen. For each artist, it analyzes whether the artist features in the advertisement and why, describes the mise-en-scene and how it relates to the target audience, discusses how the artist's identity is established through fonts, and examines connections between the advertisement, album covers, and music videos.
The document provides research questions and responses about magazine advertisements for three musical artists: Bon Iver, Laura Marling, and Bruce Springsteen. For each artist, it analyzes whether the artist features in the advertisement and why, describes the mise-en-scene and how it relates to the target audience, discusses how the artist's identity is established through fonts, and examines connections between the advertisement, album covers, and music videos.
The document analyzes the album art for three albums:
1) The Black Keys' "El Camino" album art features a car on a road representing the band's first tour vehicle and aims to connect with fans.
2) Patti Smith's debut album "Horses" features a black and white portrait of her taken by Robert Mapplethorpe to represent her punk style.
3) Arctic Monkeys' debut "Whatever People Say I Am, I'm Not" uses photos of an average man smoking to represent relatability while still conveying rock iconography.
This document analyzes and summarizes the design elements of digipaks for albums by Tinie Tempah, Lana Del Ray, and Ariana Grande. For Tinie Tempah's album, the purple theme represents spiritual protection and the font is consistent throughout. For Lana Del Ray's album, the simple front cover focuses on her beauty and vintage style, while the back has bold colors representing powerful emotions. Ariana Grande's album uses black and white to signify her pop and R&B genre and illustrate that her songs are timeless.
The document summarizes the album covers of three different albums:
1) Rihanna's "Loud" album cover features dark red colors and roses to portray love and romance, matching Rihanna's facial expression.
2) Katy Perry's "Teenage Dream" cover is bright and colorful, reflecting her fun personality and targeting females. It features images of Perry promoting her song "California Gurls".
3) Oasis' "Acoustic" cover is simple, featuring an abstract guitar image to represent their music and acoustic style. It clearly displays the band name and album title.
This document discusses conventions used in music album magazine advertisements. It analyzes several advertisements, noting that they typically feature an eye-catching image, prominent display of the artist's name in a unique font style, and a consistent color theme. Specific advertisements are then examined in more detail, highlighting aspects like iconic images, use of fonts, inclusion of reviews or song names, and integration of online sales promotion. Overall trends as well as genre-specific approaches are covered.
Album Cover and Magazine Adverts for Album Release Analysislelicordell
The advertisement features a picture of a gorilla eating plants with minimal text. The band name "Basement Jaxx" is in the largest, most colorful font to draw attention. The album name is in a smaller white font with limited additional information provided. A black background with starry sky design and pink scribbles make the advertisement bold and eye catching through strong contrasting colors.
The album cover features a close-up of Rihanna's face in bold red lipstick and hair against a plain background, drawing attention to her. The font with the album name is barely noticeable against her skin and makeup tones. There is no text identifying the album or artist by name, but it is implied to be Rihanna's based on her image being the focal point.
Album Cover and Magazine Adverts for Album Releases Analysislelicordell
The album cover features a close-up of Rihanna's face in bold red lipstick and hair against a plain background, drawing attention to her. The font with the album name is barely noticeable against her skin tone. There is no text identifying the artist, but it is implied to be Rihanna based on her image. The simple design allows fans to interpret the music in their own way.
Our media product challenges some conventions of folk rock music videos while adhering to others. We kept the band members stationary while performing and did not include intertextual references. However, we challenged conventions regarding the treatment of females by not objectifying the one female character featured. Close-ups of the artists were used to highlight emotional lyrics as is typical in folk rock videos.
The document provides details on the cover designs of albums and mixtapes from various hip hop artists including Eminem, Nas, Tupac, and others. It analyzes elements like the photo shots, backgrounds, font styles, colors, and layouts used on the fronts and backs of the covers. Key techniques discussed that help capture audience attention include using contrasting colors, unusual font placements, and images or details that represent the theme or message of the album. The document suggests cover design elements that could be replicated to attract audiences, such as an emphasis on title fonts or backgrounds related to the music's content.
These two advertisements show how an artist's promotional style changes as their popularity increases. The Laura Marling advertisement evolved from a homemade style to a more mainstream photo shoot style. Less popular artists like The May Dolls do not need to appeal to a wide audience, allowing more original advertisement designs. As bands like Mumford & Sons and Noah and the Whale became more mainstream, their advertisements adopted a larger size and more prominent font styles.
Cover Art and Magazine Advert Analysis (similar bands)JoeStevens95
The Alphabeat album cover art stands out with a confusing array of colorful letters and fonts. Maroon 5's "Overexposed" cover was inspired by Pablo Picasso's surreal portraits and draws the eye with its unconventional facial images. Coldplay's "Mylo Xyloto" cover features graffiti-inspired artwork relating to the album's theme of a repressive society, though the graffiti style may not align with Coldplay's music genres.
The album art for Florence and the Machine's "Lungs" depicts Florence wearing fake lungs around her neck, relating to the album title. The muted color palette and forest backdrop create a dreamlike, storybook atmosphere suggesting innocence and purity. The art conveys the album's indie rock genre through Florence's unconventional hairstyle and the lack of vivid colors typically seen in pop albums.
The document discusses conventions and techniques used in folk rock music videos. It notes that artists are typically shown performing alone in natural settings like forests or fields. Visuals are usually illustrative or amplifying of song lyrics. Close-ups of the artist are common to promote them as the brand. Artists usually have longer hair and wear simple, minimalist costumes. Movement in videos tends to be slow and subtle rather than dramatic. The positioning of band members is usually equal without one person in the foreground. Intertextuality with other works is rare in keeping with the genre's focus on original songwriting.
The document discusses conventions and techniques used in folk rock music videos. It notes that artists are typically shown performing alone in natural settings like forests or fields. Visuals are usually illustrative or amplifying of song lyrics. Close-ups of the artist are common to promote them as the brand. Artists usually have longer hair and wear simple, minimalist costumes. Movement in videos tends to be slow and languid rather than dramatic. Editing usually moves in time with the music. The document provides examples of how the student's video both uses, develops and challenges some conventions of the genre.
The document discusses conventions and characteristics of folk rock music videos. It analyzes how several videos use, develop, or challenge conventions. Key points:
1) Videos often show the artist alone performing in nature to highlight the music and depict the artist as introspective.
2) Visuals are usually illustrative of lyrics but sometimes amplify meanings. Relationships between music and visuals can be illustrative or develop meanings.
3) Record labels demand close-ups of artists to make them recognizable brands. Long hair on male artists implies authenticity from life experience.
This document outlines evaluation tasks and questions for a media production project on a band called "Jamie Thorn & The Mystery Pacific". It discusses how the group's music video, digipak, and magazine advert complement each other through consistent branding elements. Feedback was gathered from audiences but not detailed. A variety of new media technologies were used at different stages of the project, including online sharing platforms, video/audio recording and editing software, and research sites.
The document contains 8 questions asking for feedback on various aspects of a folk rock music video that was created, including the quality of filming, editing, resemblance to a real music video in the genre, pacing and syncing of visuals with music and lyrics, identified theme, suitability of shot content to the theme, appealing aspects of the style and content, and suggestions for improvement if remaking the video. It also contains 2 additional questions about the layout, content, clarity of information, and impression given by a digipak and advertisement.
The document discusses conventions and characteristics of folk rock music videos. It analyzes how our media product uses, develops, or challenges these conventions through its visuals and narrative. Our video shows the band playing surrounded by nature, keeping with conventions of folk artists depicted as close to nature. The visuals are sometimes illustrative of lyrics and sometimes amplify their meaning. The relationship between music and visuals is developed, with camera movements emphasizing parts of the song. Our video focuses on the artist through close-ups while keeping costumes simple, following conventions that draw attention to the music.
This document contains evaluation tasks related to a media production project for a band called "Jamie Thorn & The Mystery Pacific". The tasks include: [1] Analyzing how the media product uses, develops or challenges real media conventions; [2] Assessing how effective the main product and ancillary texts like a digipak and magazine ad work together; [3] Learning from audience feedback; and [4] Exploring the use of new media technologies in production.
This document outlines four evaluation tasks for a media production project:
1. Analyze how the media product uses, develops, or challenges conventions of real media products.
2. Assess how effectively the main product and ancillary texts like a digipak and magazine ad work together.
3. Consider what was learned from audience feedback.
4. Describe how new media technologies were used in construction, research, planning and evaluation.
The research found that audiences prefer the concept over performance or narrative in folk videos, discover new folk artists mostly through radio and friends/family, and watch folk music videos exclusively on YouTube. Audiences reported usually seeing the artist performing in folk videos, and album covers typically feature photographs of nature, animals or the artist/band.
The majority (60%) of folk/folk rock fans prefer the concept over performance or narrative for music videos. Friends and family have the most influence (25%) on learning about new artists, followed by radio (21%). Nearly all (100%) fans watch folk music videos on YouTube rather than other platforms like MTV.
This document provides a script and filming directions for a music video. It includes the lyrics divided into verses and choruses, along with camera shots and angles to depict the performance and story being told in the song. The song tells the story of a soldier reflecting on fighting in war and losing friends, as well as the pressure to serve one's country. It ends with him wishing he had died among his friends rather than surviving alone.
The document reports the results of a survey about folk and folk rock music videos. Most respondents indicated that performance is the key element they prefer in a folk video and that they find out about new folk artists mainly through friends/family and festivals. The majority of respondents watch folk music videos on YouTube and commonly see bands performing in the videos. Most folk album covers contain both art and photographs according to the survey.
Folk rock music videos and album covers typically feature natural settings and performances by artists. Surveys of target audiences found that the key elements in folk rock videos are performances and narratives. Viewers most commonly watch folk music videos on YouTube and discover new artists through friends/family and festivals. Album covers for folk artists usually feature nature, animals, and photographs of the artist/band.
This document summarizes the results of market research about the target audience for folk and folk rock music videos. Respondents preferred key elements in videos to include performance and narrative over concepts. Words associated with folk videos included slow music, love, emotions, and images of men with beards and vintage clothing performing outdoors. The most common ways respondents learned about new folk artists were through friends/family, festivals, radio, and magazines rather than billboards or TV. YouTube and Google Video were preferred over MTV to watch folk music videos. Album covers typically featured nature, animals or photos of the artist and respondents' favorite parts of covers were the artwork, photos, and seeing details about the songs and band.
The document reports the results of a survey about folk and folk rock music videos. Most respondents indicated that they prefer the key element in such videos be the performance of the band. They also reported finding out about new folk artists mostly through friends/family and festivals, and watching folk music videos primarily on YouTube. Most commonly, folk music videos show the band performing at a level of 4 on a scale of 1 to 5. Album covers for folk artists usually show both art and a photograph.
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Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
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The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
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2. About our Digipak
A Digipak is a book-style fold out paperboard or card outer binding used
to hold CDs on the inside, the first alternative to jewel case packaging.
It’s much less likely to crack then jewel cases and allows the
manufacturer more creativity with the graphics and overall design. The
panels can range from from 4, to 6, to 8 etc.
For our chosen track we must create a Digipak to market the band – this
will be done using skills of editing, software e.g. Photoshop, photography
and design skills. In researching digipaks however it was difficult to find
recent examples as folk rock is a genre that was explored much more by
artists a couple of decades ago than the present day and full digipaks
are relatively new and more common in the more popular genres e.g.
pop, hip hop, RnB etc. Even though album covers front covers are easily
found, the inside and back covers are not always available. To the best
of my ability I have researched five different bands’ albums front and
back covers and analysed them in the following slides.
The bands and artists I have used are: Cat Stevens, Laura Marling, Bon
Iver, Mumford & Sons, and Simon & Garfunkel.
3. The entire background of the
The fontcolour used is orange-red album cover is not a
which matches the myriad of colours photograph which is more
of the things drawn around the common for digipaks of other
background. matches the background. mainstream genres but hand
Her name is printed within a flower. drawn which is a common
The background consists of feature of folk rock album art
butterflies, snake on a plant, smiley that is often painted or drawn.
face sun, mushroom, a crocodile, bug
and overall wildlife amongst flowers Of the album covers I
and plants all painted in researched in this
blue, red, yellow and orange. This presentation and the ones on
makes for a very bright, colorful album my homepage and
cover which draws attention. research, the majority (Laura
Marling: Alas I Cannot
The actual font type is very curly at Swim, Bob Dylan: Blood On
the ends and matches the curly inside The Tracks) have hand drawn
strands of the flower – it looks like her or painted art on the cover –
name has grown into the flower, her the few photos they do have
identity is tied up within it and nature. are either mixed with art (Cat
This is is consistent with the theme of Stevens: Catch Bull at
folk genre which usually markets the Four), or tend show the artist
artist as being a part of nature (see in a nature setting (Simon &
cover Iron & Wine: Our Endless Garfunkel: Sounds of
Numbered Days). Silence).
This markets the artist as
having natural talent to use in
their art instead of technology.
This is in keeping with the folk
rock theme of staying in touch
with nature, along with the
very simple setting of the artist
lying on the grassy ground
and nothing else.
4. The back cover matches the front cover as it is also hand drawn with an extended
version of the wildlife amongst plants drawn on the right half. As Laura Marling’s
name was tied within the nature on the front cover, this is now associated with her
so the large block of art stands in as a symbol of her – her name does not need to
be printed in large. The track list is kept simple, bold and black on a light
background and its simplicity is also in keeping with the general track listing style of
folk music genres. The art was so ornamental that nothing further is needed to
make a statement about the genre and what it means.
The record label’s logo, website and address are
present next to the barcode to sell the label
themselves and associate themselves with the artist
as well as give credit.
5. The fontcolour used is yellow like the The entire background of the album
shade of sunlight, and matches the IMPROVEMENTS: cover is not a photograph which is more
background. This is in keeping with Examples, link to marketing, common for digipaks of other
the the most dominant theme of folk what audiences match, use mainstream genres but hand drawn
rock which is being in touch with target audience research, look which is a common feature of folk rock
nature. at marketing of folk rock or other album art that is often painted or drawn.
genres, the selling, the genre
The actual font looks like cursive and the audience Of the album covers I researched in this
joined up it looks like it has been presentation and the ones on my
handwritten as opposed to type. This homepage and research, the majority
is important to the persona of folk (Laura Marling: Alas I Cannot
genre which is about truth and Swim, Bob Dylan: Blood On The
personal talent over technology, so Tracks) have hand drawn or painted art
reminds the listener that this music is on the cover – the few photos they do
what the artist has written himself and have are either mixed with art (Cat
is not subject to the producer of the Stevens: Catch Bull at Four), or tend
record label’s demands. show the artist in a nature setting
(Simon & Garfunkel: Sounds of
This also links back to how the artist Silence).
has been marketed similarly in his
videos where genre characteristics This markets the artist as having
match album cover characteristics in natural talent to use in their art instead
their connotations of nature with a of technology. This is in keeping with the
lack of technology (Bon Iver: Calgary), folk rock theme of staying in touch with
relying on artist’s musical talents and nature, along with the very simple
his reality (Iron & Wine: Boy With A setting of the artist lying on the grassy
Coin). ground and nothing else.
The artist has been depicted similar to his real life self. Here he has a large beard with an open necked
shirt, and appears to be sleeping. He fits quite neatly into the grass around him, and with his eyes closed looks
very at peace – this markets the artist as being a part of nature, a peaceful person at heart. Not looking at the
camera or even out at all shows he is focused on his music, and is an introspective person. His long beard
although natural is almost a part of a costume or dress code as across artists in the folk rock genre most men
keep beards to emphasize their maturity and life experience, and the long beard has connotations of
wisdom, spirituality. This sells the artist as a wise, mature, peaceful man at one with nature and in the business
for the music and not the money.
6. The background matches the front cover as it is also hand
drawn with a grass ground background, the font type and
colour remain the same. Although curiously, the artist here is
completely absent – but his imprint is left behind on the grass
so when looking at the back the viewer stills thinks of the
artist, who has actually been made conspicuous by his
absence.
The record label’s logo, website and address are
present next to the barcode to sell the label
themselves and associate themselves with the artist
as well as give credit.
7. The font type is in capitals
and a very simple font,
A photograph has been
which looks quite classic
used for the front cover
looking.
which looks like a typical
The fontcolour used is a
street, and the focus is on
simple black on white, which
the shop on the middle
is in keeping with the
which looks like an old
simplicity of the folk rock
charity shop, a boutique or a
genre. Simplicity shows no
shop that sells vintage
need for showing off or
clothing – not any shop that
glamour, indicates humility
would be found on the high
which leads to introspection
street and does not need to
which the artists are sold as.
be flashy with lights and big
displays to advertise itself.
Although this cover does not
reference nature, the
vintage impression is
consistent with folk rock
music being presented in a
way as having links with
history and past culture, and
The band have been depicted wearing the typical dress of the music style which is closely fashion/dress is a large part
related to how indie artists dress. They are wearing hats, waistcoats, baggy jeans tucked into of culture – this genre
boots, long coats and instruments in hand. They look like mannequins in the shop window, characteristic is also seen
which as mentioned in the analysis of the front cover on the right looks like from another time within the music video iron &
period – they are the band in the shop window, they have become the product and you can Wine: Boy With A Coin
buy them. Their instruments being forefront even before them shows the music is the most where the dancers are all
important part. Under their hats they all have long floppy hair and stubble. Although not the dressed in a very classic
typical long beard of many other male artists in the folk rock genre, there is still stubble style of dress with even their
indicating their maturity and the facial hair symbolizes their masculinity and maturity, perhaps make up and in a traditional
indicating they will grow it into a beard – they’re young and new artists but their experience seeming dance.
and music is growing along with themselves as person. Again this sells the artist as looking
into the deeper meanings of life, and very much about the music although this impression is
slightly juxtaposed by their becoming the product in the window the aesthete of what the
customer wants to be
8. The background is even simpler than the front and focuses on one window, which
matches the shop window on the front cover, on a blank white wall. The colour
scheme is all white and glass, very simplistic once again and the band are absent
from the back cover – but the window has been left slightly open, and with the
track titles printed underneath shows that by listening to this album you have been
let into the band’s collective mind. This references the genre which is there for
introspection and usually has descriptive lyrics of significant events as opposed to
a clubber tune with three words being repeated to a repetitive tune.
The record label’s
logo, website and address are
present to sell the label
themselves and associate
themselves with the artist, as
well as give credit to them for
helping produce the album.
9. The fontcolour used is yellow like the shade of sunlight, on white for the album title and the artist name on a
rocky textured background. This is in keeping with the the most dominant theme of folk rock which is being in
touch with nature.
The font type is in capitals and a very simple font, which looks quite classic looking. Simplicity shows no need for
showing off or glamour, indicates humility which leads to introspection which the artists are sold as.
The entire background of the album cover is not a photograph which is more common for digipaks of other mainstream genres but
hand drawn which is a common feature of folk rock album art that is often painted or drawn. E.g. Laura Marling: Alas I Cannot
Swim, Bob Dylan: Blood On The Tracks)
The art also tends to be of nature or animals and wildlife: here within a yellow circle there is a little boy who looks like a monk holding
the snout of a bull. The bull signifies rage and for a little boy so young to have achieved the status of a monk’s inner peacefulness
and enlightenment to the extent that he has by himself calmed a wild animal speaks volumes about his capacity for peace. The boy
could be taken to represent the artist and the bull the artist’s inner demons which appear to have been defeated. The boy could be
taken to represent the artist and the bull the artist’s inner demons which appear to have been defeated. Like the Mumford & Sons:
Sigh No More album, once again the customer is presented with a window. We are on the outside looking into the artist’s mind, they
offer us a glimpse of their soul and this markets the artist as being peaceful, moral, reflective and introspective which artists are
usually sold as within the folk rock genre.
10. The background matches the front cover as it is also fairly The record label’s logo, printed name and address
plain with black print on a white background apart from the are present to sell the label themselves and
artist shown on the right. Interestingly although the band/artist associate themselves with the artist as well as give
if shown is usually on the front if not both sides, here they credit for producing the album.
have chosen to show him only on the back cover – this shows Even the track titles usually have something to do
that the music and his personal connection and feelings in the with spirituality, love or nature: ‘moon’, ‘star’, ‘angels’,
songs take precedence over the glamour of him as an artist, ‘sea’, ‘sunlight’, ‘sweet scarlet’ and ‘ruins’ which
or a rock star. reminds us of the ruins of history civilizations and
places.
The artist has been depicted typical of folk rock artists. Here he has afair sized beard with a deep open necked shirt, and has a
cigarette in one hand. He’s staring straight at the camera and consequently straight at us, looking happy with a smile and fairly
relaxed in a casual stance with long curly hair under his hat. He looks peaceful, marketing the artist as a peaceful person at heart.
His beard like other folk rock artists emphasizes his maturity and life experience.This sells the artist as a mature, peaceful man.