This magazine advertisement promotes Kings of Leon's 2008 album "Only by the Night". It uses a unique night vision effect photo that merges photos of each band member, representing their equality. This graphic image catches the eye and relates to the album title through its dull green shades and grainy effect. The ad's generic layout clearly communicates the band, album, and release date using bold fonts on a black background.
The cover of Mallory Knox's album "Asymmetry" uses a black background with a gradient texture and bright colors in the logo to make it stand out. The band name and album title are positioned at the top in white and dark blue for readability. Inside the digipack, song lyrics are featured in the same colors and font as the cover to maintain consistency. The back provides the track listing and details about the band members and record label.
The document discusses conventions of album covers and magazine advertisements for music albums. It analyzes the album cover for the band MONA, noting the simplistic design, use of black and white photography, and hidden meanings potentially conveyed through images. It also examines example advertisements for albums by Manic Street Preachers and Green Day, highlighting common elements like release dates, purchase locations, and promotional text and imagery relating to the album art or band image.
This document summarizes and analyzes the album covers of two albums by the band Catfish and the Bottlemen: "The Balcony" and "The Ride". Both album covers use a simple, monochrome black and white design created through digital animation. The document discusses elements like the font, color palette, barcode placement, and inclusion of the album art on the disc. Overall, it praises the consistent and sophisticated design of both album covers.
The document analyzes the digipak for The Smiths' 1986 album "The Queen is Dead". It describes the front cover which features a photo from a 1964 French film chosen by Morrissey. It continues to describe the back cover and CD, noting they all follow the same color scheme of dark green, light red/pink, and white. The fold out contains information and photos about the album and track listings while maintaining the consistent color scheme throughout the digipak.
The document discusses the conventions and design of digipak album packaging. It analyzes several examples of digipaks from different artists such as Marilyn Manson, Rammstein, Nine Inch Nails, and Death Stars. Some common conventions highlighted are the use of dark colors, images related to lyrics or videos, inclusion of track listings and production credits, and anti-piracy messages. The goal of digipak design is to clearly represent the artist's genre and brand while informing fans about the music and incentivizing purchases.
The document discusses the evolution of Arctic Monkeys' album covers over their first four albums. Their early EPs featured simple designs that broke conventions by not including band photos. Their debut album again broke norms by featuring a friend instead of the band. Their second album had a more graphic, animated design. The third album was their first to include a band photo, which was edited to look retro. Their fourth album cover was extremely simple, continuing to push boundaries with minimalist design. Throughout, the band regularly changed their logo on each release.
The document analyzes the album covers of three indie bands - Franz Ferdinand, Razorlight, and Vampire Weekend - to identify key conventions to use in designing a digipak cover. Some conventions identified include using a contrasting color scheme to make the band name or members stand out, including the record label logo, featuring all band members wearing similar clothing to convey unity, and displaying different poses for each band member. The analysis concludes that an effective digipak cover should incorporate a contrasting color scheme, show the band members in matching outfits with various poses, and prominently feature the band's name.
This magazine advertisement promotes Kings of Leon's 2008 album "Only by the Night". It uses a unique night vision effect photo that merges photos of each band member, representing their equality. This graphic image catches the eye and relates to the album title through its dull green shades and grainy effect. The ad's generic layout clearly communicates the band, album, and release date using bold fonts on a black background.
The cover of Mallory Knox's album "Asymmetry" uses a black background with a gradient texture and bright colors in the logo to make it stand out. The band name and album title are positioned at the top in white and dark blue for readability. Inside the digipack, song lyrics are featured in the same colors and font as the cover to maintain consistency. The back provides the track listing and details about the band members and record label.
The document discusses conventions of album covers and magazine advertisements for music albums. It analyzes the album cover for the band MONA, noting the simplistic design, use of black and white photography, and hidden meanings potentially conveyed through images. It also examines example advertisements for albums by Manic Street Preachers and Green Day, highlighting common elements like release dates, purchase locations, and promotional text and imagery relating to the album art or band image.
This document summarizes and analyzes the album covers of two albums by the band Catfish and the Bottlemen: "The Balcony" and "The Ride". Both album covers use a simple, monochrome black and white design created through digital animation. The document discusses elements like the font, color palette, barcode placement, and inclusion of the album art on the disc. Overall, it praises the consistent and sophisticated design of both album covers.
The document analyzes the digipak for The Smiths' 1986 album "The Queen is Dead". It describes the front cover which features a photo from a 1964 French film chosen by Morrissey. It continues to describe the back cover and CD, noting they all follow the same color scheme of dark green, light red/pink, and white. The fold out contains information and photos about the album and track listings while maintaining the consistent color scheme throughout the digipak.
The document discusses the conventions and design of digipak album packaging. It analyzes several examples of digipaks from different artists such as Marilyn Manson, Rammstein, Nine Inch Nails, and Death Stars. Some common conventions highlighted are the use of dark colors, images related to lyrics or videos, inclusion of track listings and production credits, and anti-piracy messages. The goal of digipak design is to clearly represent the artist's genre and brand while informing fans about the music and incentivizing purchases.
The document discusses the evolution of Arctic Monkeys' album covers over their first four albums. Their early EPs featured simple designs that broke conventions by not including band photos. Their debut album again broke norms by featuring a friend instead of the band. Their second album had a more graphic, animated design. The third album was their first to include a band photo, which was edited to look retro. Their fourth album cover was extremely simple, continuing to push boundaries with minimalist design. Throughout, the band regularly changed their logo on each release.
The document analyzes the album covers of three indie bands - Franz Ferdinand, Razorlight, and Vampire Weekend - to identify key conventions to use in designing a digipak cover. Some conventions identified include using a contrasting color scheme to make the band name or members stand out, including the record label logo, featuring all band members wearing similar clothing to convey unity, and displaying different poses for each band member. The analysis concludes that an effective digipak cover should incorporate a contrasting color scheme, show the band members in matching outfits with various poses, and prominently feature the band's name.
This document provides an analysis of a magazine advertisement for the band The Prodigy's new album "Invaders Must Die". The summary is:
The advertisement captures attention through its unique fonts matching The Prodigy's branding and an unusual main image of a barrage balloon. The album name is prominently displayed in the center in a graffiti-like font. Red is used as the main color scheme to connote danger, matching the alarming words in the album title. While breaking some conventions, the advertisement effectively promotes the new album through its stylized design and clear communication of key details.
The document discusses the design choices for a CD cover for an album called "Ambition" by the artist "Adam Wiles". Black and white was used for the background to represent the past and relate to the music video's narrative about a boy growing up in boxing. Red text on the front represents strong emotions tied to the music. Boxing gloves are featured to connect all three related projects - the CD cover, music video, and poster. The designs were meant to relate to target audiences aged 16-21 and fit with the boxing and energetic theme rather than bright pop colors.
The document discusses and analyzes the album covers of several rock and metal bands, including Avenged Sevenfold, Korn, Metallica, and Pendulum. It notes that Avenged Sevenfold and Metallica both use consistent font styles and logos that serve as recognizable brands. The Korn album cover references Alice in Wonderland in a dark, twisted way, indicating their musical style. Metallica's album featuring a coffin implies themes of death and darkness. Pendulum's highly technical, layered cover with unusual colors suggests their music incorporates elements of techno and drum and bass. Across the covers, visual themes and styles provide clues to the kind of music listeners can expect from each band.
This document provides examples of digipacks from two albums - Coldplay's "Viva La Vida" and Lady Gaga's "The Fame Monster". It describes the design elements and conventions followed in each digipack, such as images, fonts, colors, and panel layout. It notes how Coldplay's digipack has a deeper meaning conveyed through text on one panel. The document concludes by stating the author's intention to design a digipack for their own music video that follows conventions similarly to Coldplay's example but keeps the front cover simple and avoids using a single panel with just a few words.
The document provides analysis of the album artwork designs (digipaks) for 4 different albums:
1) The Knife's "Shaking the Habitual" uses contrasting fonts, bright unusual colors, and distorted imagery that make it eye-catching yet difficult to discern details.
2) Captain Murphy's "Duality" has minimal text and vivid colors alongside complex graphics that retain attention on the artwork.
3) Death Grips' "Exmilitary" places the intimidating image of a stranger prominently with contrasting fonts and natural colors highlighting him against the background.
4) Atoms for Peace' "Amok" stands out with its intricate black and white graphic design spread
This document describes several music digipaks for various artists including Adele, Taylor Swift, Rihanna, and Jessie J. It provides details on the front and back cover designs, images used, song listings, and color coordination across the different elements. Common elements described include close-up or full-length images of the artist, differentiation in font styles for the artist and album names, inclusion of record label logos, and consistency in color schemes between the cover, disc, and internal packaging.
The document provides examples of digipacks from two albums - Coldplay's "Viva La Vida" and Lady Gaga's "The Fame Monster". It describes the design elements and conventions followed in each digipack, such as images on the front and inside panels, song information, and consistent fonts. It also notes differences between the two, such as additional text on Coldplay's packaging. The document concludes by stating the author's intention to design a digipack for their own music video that follows conventions like Coldplay's example while keeping the front cover simple and avoiding atypical design choices.
The document discusses three indie CD covers:
1) The Kaiser Chiefs' "Yours, Truly Angry Mob" album depicts the serious faces of the band members in black clothes, representing the darker lyrics of the album.
2) The Kooks' debut album "Inside In/Inside Out" features the band playing guitars with their heads down, showing their focus on music. The lead singer in the mirror isolates his role.
3) Arctic Monkeys' debut album "Whatever People Say I Am, That's What I'm Not" depicts the lead singer Alex Turner with short hair and drowsy eyes, implying a rebellious and drug-influenced persona to attract fans.
The front cover of Taylor Swift's 1989 album conveys a sense of aging through its polaroid-like imagery and title. It features a faded polaroid photo of Taylor Swift with handwritten text. While atypical for indie pop, the artist's image draws on her established fan base. The soft, warm tones of the cover imply the music will have a similar nostalgic, positive theme. Inside the digipak are more polaroid photos with handwritten lyrics, maintaining continuity between the imagery and nostalgic theme throughout the packaging.
Media Studies: Cavalier Youth Digipak AnalysisSarah Green
This document analyzes the design elements of the digipak for the album "Cavalier Youth" by the band You Me At Six. Key elements discussed include the placement of the barcode, the band's name and logo displayed prominently on the front and spine for branding purposes. Inside, photos from recording sessions in LA give fans insight into the album's production. Design choices like the lighter color scheme and simpler track listing reflect the band's maturation compared to past albums.
The survey responses showed that Bastille's target audience is primarily male aged 17-24. Most respondents liked the band. For their new music video and packaging, the group should tailor it towards this demographic while including female fans. Specifically, they should incorporate dark blues and reds, have a male protagonist with a relatable narrative of protest/rebellion, and continue Bastille's visual style. They should avoid focusing too much on the lead singer or including confusing surreal elements. The video should also emphasize the song over a band performance with some intercut shots of a protagonist singing along.
This CD cover analysis document summarizes and evaluates the design elements of four different album covers. The Michael Buble cover is described as dull with the artist as the main focus. The Dolly Parton cover uses her image holding a guitar to indicate a country genre. The Avenged Sevenfold cover depicts a nightmare scene setting with dark colors, skulls and wings to represent the band's logo and signal a rock genre. Details like song listings and small credits are described on the back cover.
The Smiths - The World Won't Listen Digipack cover uses iconic images that relate to the band's style. The front cover features an unknown man from a 1950s fairground scene, creating a narrative mystery. Similarly, the back cover shows four women dressed in 1950s attire that could represent the band members. Throughout the digipack, a simple font and pink and green color scheme are consistently used to match the band's aesthetic. The obscure characters and setting portrayed in the images establish an enigmatic narrative left intentionally unclear.
The document discusses and analyzes the album covers and packaging design for the band Sundara Karma. It notes that the front covers have a monochrome color scheme with the band name in a bold, contrasting font. While the first two album covers have a consistent simplistic theme, later covers displayed more varied styles and fonts. The vinyl records continued the color palette with vibrant colors contrasting the dull front covers. Overall, the document examines the visual design elements across Sundara Karma's album packaging and advertisements.
The document analyzes album artwork from bands similar to Bellevue Days like Modest Mouse and Radiohead to identify genre characteristics that could inform the design of a digipack for Bellevue Days. Key characteristics identified include illustrated or cartoon-like artwork, imagery related to destruction or rebellion, use of red and earth tones in color palettes, simplifying aspects of the cover artwork for the CD itself, and using bold, legible fonts on back covers. Evaluating these examples helped determine design elements that could create identity and appeal to fans of the genre.
The digipak uses a color scheme of black, white, and gold. The front cover features Justin Timberlake in a grayscale photo from his "Suit & Tie" music video in a white background. His initials "JT" are in bold gold font to represent his brand identity. A phoropter eye testing device alludes to the album title "The 20/20 Experience" meaning clear vision. The back cover continues the font and credits labels while inverting the phoropter image. The CD mimics a vinyl record with copyright information and the artist/album in bold white text on black. Overall the design draws from the "Suit & Tie" single and aims to clearly convey information to audiences.
A digipack is a type of CD or DVD packaging that resembles the foldable, book-style packaging used for vinyl records. A typical digipack consists of a gatefold cover and contains the disc inside, along with additional information about the artist and album. Conventions for digipacks include prominent images and text on the front cover to identify the artist and title, track listings on the back, and extra details inside along with a plastic holder for the disc. Digipacks come in various designs and styles and are commonly used to package music in genres like pop and R&B.
The document provides an in-depth analysis of the album artwork, layout, color scheme, images and text used in the Arctic Monkeys' "AM" album digipack. It analyzes how the black and white color scheme and toned-down, simplistic images create a classy, mysterious atmosphere fitting the band's classic rock genre. The front cover images of the suited band members looking away from the camera further this serious, self-reliant image. Frequency lines used on the front cover and CD cleverly reference the album title "AM". Overall, the organized layout and focus on music over distracting elements encourages the audience to focus on the music.
This document analyzes and provides examples of Grime music album covers and their connection to music videos. It examines two specific album covers - Stormzy's "Gang Signs & Prayer" and Jaykae's "Toothache" single cover. Both album covers feature the artist prominently and relate stylistically to their respective music videos through similar imagery, costumes, and color schemes. The document discusses how these covers follow conventions of representing the artist and title while relating back to the overall themes and imagery of their music videos.
A2 Media - Package analysis - My Chemical RomanceSarah Batty
The document analyzes components of the My Chemical Romance album "Danger Days": the album packaging, music video for the song "Na Na Na", and magazine advertisements. The album cover has a desert theme with no band photos. The music video is set in a post-apocalyptic desert, linking to the album cover. It establishes the location before the music starts. The magazine ads for the album featured lyrics from "Na Na Na" and members from the music video, linking the promotions. The document concludes the band put detailed attention into creating a cohesive package across these mediums reflecting their album theme.
Student Analysis for Digipaks and Advertsjadedowse123
The document analyzes two sets of student-created digipaks and advertisements - one for Coldplay's "Up in Flames" and one for Taylor Swift's "Red". For the Coldplay project, the author notes the use of low-key lighting, silhouettes, and themes of fire to match the album title. For Taylor Swift, natural/high key lighting is used to portray a happy, poppy scene reflective of Swift's style. Overall, the author determines that both projects effectively use genre conventions and brand identity to appeal to their target audiences.
The document provides an analysis of visual, audio, narrative, action, enigma, and technical codes used in four Nike shoe advertisements. The ads show feet and shoes forming to introduce a new technology, famous athletes demonstrating shoes' performance capabilities, and a computer animated shoe dismantling to show its parts and technology. Music, visuals, and lack of narration aim to immerse viewers and suggest they can achieve athletic goals through the shoes.
This document provides an analysis of a magazine advertisement for the band The Prodigy's new album "Invaders Must Die". The summary is:
The advertisement captures attention through its unique fonts matching The Prodigy's branding and an unusual main image of a barrage balloon. The album name is prominently displayed in the center in a graffiti-like font. Red is used as the main color scheme to connote danger, matching the alarming words in the album title. While breaking some conventions, the advertisement effectively promotes the new album through its stylized design and clear communication of key details.
The document discusses the design choices for a CD cover for an album called "Ambition" by the artist "Adam Wiles". Black and white was used for the background to represent the past and relate to the music video's narrative about a boy growing up in boxing. Red text on the front represents strong emotions tied to the music. Boxing gloves are featured to connect all three related projects - the CD cover, music video, and poster. The designs were meant to relate to target audiences aged 16-21 and fit with the boxing and energetic theme rather than bright pop colors.
The document discusses and analyzes the album covers of several rock and metal bands, including Avenged Sevenfold, Korn, Metallica, and Pendulum. It notes that Avenged Sevenfold and Metallica both use consistent font styles and logos that serve as recognizable brands. The Korn album cover references Alice in Wonderland in a dark, twisted way, indicating their musical style. Metallica's album featuring a coffin implies themes of death and darkness. Pendulum's highly technical, layered cover with unusual colors suggests their music incorporates elements of techno and drum and bass. Across the covers, visual themes and styles provide clues to the kind of music listeners can expect from each band.
This document provides examples of digipacks from two albums - Coldplay's "Viva La Vida" and Lady Gaga's "The Fame Monster". It describes the design elements and conventions followed in each digipack, such as images, fonts, colors, and panel layout. It notes how Coldplay's digipack has a deeper meaning conveyed through text on one panel. The document concludes by stating the author's intention to design a digipack for their own music video that follows conventions similarly to Coldplay's example but keeps the front cover simple and avoids using a single panel with just a few words.
The document provides analysis of the album artwork designs (digipaks) for 4 different albums:
1) The Knife's "Shaking the Habitual" uses contrasting fonts, bright unusual colors, and distorted imagery that make it eye-catching yet difficult to discern details.
2) Captain Murphy's "Duality" has minimal text and vivid colors alongside complex graphics that retain attention on the artwork.
3) Death Grips' "Exmilitary" places the intimidating image of a stranger prominently with contrasting fonts and natural colors highlighting him against the background.
4) Atoms for Peace' "Amok" stands out with its intricate black and white graphic design spread
This document describes several music digipaks for various artists including Adele, Taylor Swift, Rihanna, and Jessie J. It provides details on the front and back cover designs, images used, song listings, and color coordination across the different elements. Common elements described include close-up or full-length images of the artist, differentiation in font styles for the artist and album names, inclusion of record label logos, and consistency in color schemes between the cover, disc, and internal packaging.
The document provides examples of digipacks from two albums - Coldplay's "Viva La Vida" and Lady Gaga's "The Fame Monster". It describes the design elements and conventions followed in each digipack, such as images on the front and inside panels, song information, and consistent fonts. It also notes differences between the two, such as additional text on Coldplay's packaging. The document concludes by stating the author's intention to design a digipack for their own music video that follows conventions like Coldplay's example while keeping the front cover simple and avoiding atypical design choices.
The document discusses three indie CD covers:
1) The Kaiser Chiefs' "Yours, Truly Angry Mob" album depicts the serious faces of the band members in black clothes, representing the darker lyrics of the album.
2) The Kooks' debut album "Inside In/Inside Out" features the band playing guitars with their heads down, showing their focus on music. The lead singer in the mirror isolates his role.
3) Arctic Monkeys' debut album "Whatever People Say I Am, That's What I'm Not" depicts the lead singer Alex Turner with short hair and drowsy eyes, implying a rebellious and drug-influenced persona to attract fans.
The front cover of Taylor Swift's 1989 album conveys a sense of aging through its polaroid-like imagery and title. It features a faded polaroid photo of Taylor Swift with handwritten text. While atypical for indie pop, the artist's image draws on her established fan base. The soft, warm tones of the cover imply the music will have a similar nostalgic, positive theme. Inside the digipak are more polaroid photos with handwritten lyrics, maintaining continuity between the imagery and nostalgic theme throughout the packaging.
Media Studies: Cavalier Youth Digipak AnalysisSarah Green
This document analyzes the design elements of the digipak for the album "Cavalier Youth" by the band You Me At Six. Key elements discussed include the placement of the barcode, the band's name and logo displayed prominently on the front and spine for branding purposes. Inside, photos from recording sessions in LA give fans insight into the album's production. Design choices like the lighter color scheme and simpler track listing reflect the band's maturation compared to past albums.
The survey responses showed that Bastille's target audience is primarily male aged 17-24. Most respondents liked the band. For their new music video and packaging, the group should tailor it towards this demographic while including female fans. Specifically, they should incorporate dark blues and reds, have a male protagonist with a relatable narrative of protest/rebellion, and continue Bastille's visual style. They should avoid focusing too much on the lead singer or including confusing surreal elements. The video should also emphasize the song over a band performance with some intercut shots of a protagonist singing along.
This CD cover analysis document summarizes and evaluates the design elements of four different album covers. The Michael Buble cover is described as dull with the artist as the main focus. The Dolly Parton cover uses her image holding a guitar to indicate a country genre. The Avenged Sevenfold cover depicts a nightmare scene setting with dark colors, skulls and wings to represent the band's logo and signal a rock genre. Details like song listings and small credits are described on the back cover.
The Smiths - The World Won't Listen Digipack cover uses iconic images that relate to the band's style. The front cover features an unknown man from a 1950s fairground scene, creating a narrative mystery. Similarly, the back cover shows four women dressed in 1950s attire that could represent the band members. Throughout the digipack, a simple font and pink and green color scheme are consistently used to match the band's aesthetic. The obscure characters and setting portrayed in the images establish an enigmatic narrative left intentionally unclear.
The document discusses and analyzes the album covers and packaging design for the band Sundara Karma. It notes that the front covers have a monochrome color scheme with the band name in a bold, contrasting font. While the first two album covers have a consistent simplistic theme, later covers displayed more varied styles and fonts. The vinyl records continued the color palette with vibrant colors contrasting the dull front covers. Overall, the document examines the visual design elements across Sundara Karma's album packaging and advertisements.
The document analyzes album artwork from bands similar to Bellevue Days like Modest Mouse and Radiohead to identify genre characteristics that could inform the design of a digipack for Bellevue Days. Key characteristics identified include illustrated or cartoon-like artwork, imagery related to destruction or rebellion, use of red and earth tones in color palettes, simplifying aspects of the cover artwork for the CD itself, and using bold, legible fonts on back covers. Evaluating these examples helped determine design elements that could create identity and appeal to fans of the genre.
The digipak uses a color scheme of black, white, and gold. The front cover features Justin Timberlake in a grayscale photo from his "Suit & Tie" music video in a white background. His initials "JT" are in bold gold font to represent his brand identity. A phoropter eye testing device alludes to the album title "The 20/20 Experience" meaning clear vision. The back cover continues the font and credits labels while inverting the phoropter image. The CD mimics a vinyl record with copyright information and the artist/album in bold white text on black. Overall the design draws from the "Suit & Tie" single and aims to clearly convey information to audiences.
A digipack is a type of CD or DVD packaging that resembles the foldable, book-style packaging used for vinyl records. A typical digipack consists of a gatefold cover and contains the disc inside, along with additional information about the artist and album. Conventions for digipacks include prominent images and text on the front cover to identify the artist and title, track listings on the back, and extra details inside along with a plastic holder for the disc. Digipacks come in various designs and styles and are commonly used to package music in genres like pop and R&B.
The document provides an in-depth analysis of the album artwork, layout, color scheme, images and text used in the Arctic Monkeys' "AM" album digipack. It analyzes how the black and white color scheme and toned-down, simplistic images create a classy, mysterious atmosphere fitting the band's classic rock genre. The front cover images of the suited band members looking away from the camera further this serious, self-reliant image. Frequency lines used on the front cover and CD cleverly reference the album title "AM". Overall, the organized layout and focus on music over distracting elements encourages the audience to focus on the music.
This document analyzes and provides examples of Grime music album covers and their connection to music videos. It examines two specific album covers - Stormzy's "Gang Signs & Prayer" and Jaykae's "Toothache" single cover. Both album covers feature the artist prominently and relate stylistically to their respective music videos through similar imagery, costumes, and color schemes. The document discusses how these covers follow conventions of representing the artist and title while relating back to the overall themes and imagery of their music videos.
A2 Media - Package analysis - My Chemical RomanceSarah Batty
The document analyzes components of the My Chemical Romance album "Danger Days": the album packaging, music video for the song "Na Na Na", and magazine advertisements. The album cover has a desert theme with no band photos. The music video is set in a post-apocalyptic desert, linking to the album cover. It establishes the location before the music starts. The magazine ads for the album featured lyrics from "Na Na Na" and members from the music video, linking the promotions. The document concludes the band put detailed attention into creating a cohesive package across these mediums reflecting their album theme.
Student Analysis for Digipaks and Advertsjadedowse123
The document analyzes two sets of student-created digipaks and advertisements - one for Coldplay's "Up in Flames" and one for Taylor Swift's "Red". For the Coldplay project, the author notes the use of low-key lighting, silhouettes, and themes of fire to match the album title. For Taylor Swift, natural/high key lighting is used to portray a happy, poppy scene reflective of Swift's style. Overall, the author determines that both projects effectively use genre conventions and brand identity to appeal to their target audiences.
The document provides an analysis of visual, audio, narrative, action, enigma, and technical codes used in four Nike shoe advertisements. The ads show feet and shoes forming to introduce a new technology, famous athletes demonstrating shoes' performance capabilities, and a computer animated shoe dismantling to show its parts and technology. Music, visuals, and lack of narration aim to immerse viewers and suggest they can achieve athletic goals through the shoes.
This document discusses different types and methods of advertising including online, print, guerrilla, broadcast, outdoor, product placement, mobile, and packaging advertising. It provides examples of each type, describing key aspects. Constraints in advertising like laws, budgets, and ethics are also outlined. Several anti-animal testing advertisements are then analyzed in terms of design, message, audience, and effectiveness.
The document provides ideas for an advertising campaign against animal testing, including a mood board exploring themes of animal cruelty, harm, and pain from cosmetics testing and a list of potential slogans such as "Stop animal testing", "Cruelty is not beautiful", and "Why should we suffer for your fake beauty?".
Animal testing involves conducting experiments on live animals to test products like cosmetics, medicines, and treatments for safety before human use. It is done to study body functions, assess chemical safety, and test drugs. While some argue it has benefits like advancing medicine, others believe it is inhumane and causes unjustified animal suffering, as non-animal alternatives now exist. The use of animals in experiments is controversial with reasonable perspectives on both sides of the issue.
There are 9 major types of advertising: 1) Brand advertising aims to establish long-term brand identity, 2) Retail advertising encourages customers to visit local stores, 3) Political advertising promotes politicians, 4) Directory advertising provides listings of companies and services, 5) Direct-response advertising stimulates direct responses like sales through contact methods, 6) Business-to-business advertising focuses on business niches, 7) Institutional advertising establishes a company's look and identity, 8) Public service advertising communicates messages for good causes, and 9) Interactive advertising runs through webpages and digital media.
The document discusses different types of advertising including online, print, guerrilla, broadcast, outdoor, product placement, mobile, and packaging advertising. It also covers common advertising strategies such as "before and after", "advice", "empathy", "testimonial", "demonstration", "competitive", and "negative to positive". Finally, it analyzes sample advertisements and discusses constraints in advertising related to law, money, and ethics.
The document discusses various types of advertising media including print media, broadcast media, online advertising, and specialty media. It provides details on newspaper, magazine, direct mail, outdoor, transit, television, radio, and online advertising. For each type of media it highlights advantages and disadvantages. The document also briefly discusses media planning and selection.
The document discusses the definition and purposes of advertising. Advertising is defined as any paid, non-personal presentation and promotion of ideas, goods, and services by an identified sponsor. Some key purposes of advertising include introducing new products, supporting personal selling, reaching broader audiences, entering new markets, increasing competition, enhancing goodwill, improving dealer relations, and warning against imitations. The document also lists various advertising media like newspapers, magazines, billboards, television, radio, and the internet.
The document analyzes and summarizes music posters for four different albums:
1) Bring Me The Horizon's "Sempiternal" poster features the band's name in large white text on a black background for visibility. It also includes the album's unique "sempiternal" logo and positions the album title at the bottom in gold text for continuity.
2) Fall Out Boy's "From Under The Cork Tree" poster uses a theater theme commonly seen in 2000s pop punk posters. It features the band's tour van crash and contrasts monotone and vibrant colors to represent the band's old-school rock music.
3) Arctic Monkeys' "AM" poster positions the band's iconic white
The Years & Years digipak for the album Communion features a rainbow gradient incorporating the colors of the LGBTQ+ pride flag. The motif of a black "Y" is prominently used throughout the band's branding and merchandise. While distinctive, the minimalist design may not clearly communicate that the digipak belongs to Years & Years for those unfamiliar with the band. The interior layout continues the rainbow motif and focuses attention on the tracklist and credits in a clean, centered design.
The document discusses the album covers of three different bands. It analyzes the visual design elements, color schemes, fonts, and imagery used on the front and back covers. For the first band, Bastille, the cover features the lead singer running and continues themes from their music videos in a dark, gritty style. The second, Arctic Monkeys, uses a simple black and white design with waveforms spelling the album title. The third, The 1975, displays the band name in neon signs on both the front and back covers in a minimalist black and white style consistent with their music videos.
The document summarizes the designs of advertisements for digipaks from four indie/folk bands - Mumford & Sons, Ben Howard, Passenger, and Bombay Bicycle Club. All of the advertisements feature elements that are similar to the designs of the digipaks themselves, including the use of imagery, font styles, text formatting/capitalization, and color schemes. The ads also all include the band/artist name and album title prominently displayed.
The document analyzes and summarizes the cover art, packaging, and visual style of several albums. It discusses elements like the front and back covers, CD art, booklet images, and posters. Key points made include how various albums convey a casual, urban style through imagery of smoking and trash or use simplistic, minimalist design to reinforce the band's image. Color schemes, fonts, and photographic styles are also described as reflecting the mood or themes of the albums.
The document discusses conventions for digipack album design. It provides details on elements that should be included, such as a recognizable font style and color scheme carried throughout advertising. The front panel should feature the artist image and title coordinated with their branding. The back panel typically includes the tracklist, bar code, and label logo. Elements like the spine contain condensed artist and album text. Effective digipacks represent the artist and music genre through visuals and colors to attract the intended audience. Examples of Nirvana's Nevermind and other albums illustrate these conventions.
The document analyzes a magazine advertisement for the band Kings of Leon. It notes that the advertisement uses consistent formatting and colors to make the band name easily recognizable as a logo. The advertisement features a split image of the band members with an eagle in the background, symbolizing the band as the "best of the genre." Text in the advertisement is kept short and highlights key information like the album and release date. The analysis concludes that maintaining consistent branding across advertisements and digit packs is important to clearly connecting the materials to the band and album.
Digipaks typically consist of a paper or cardboard outer binding with one or more plastic trays inside to hold a CD or DVD. They are commonly used for CD singles or special editions of albums. The tall DVD Digipak is used as a premium package for DVDs and DVD sets.
This document analyzes the conventions of magazine advertisements for music albums. It examines three sample advertisements - one for an indie album, one also for an indie album that takes some unconventional approaches, and one for an urban album. The conventions it identifies include displaying the album/song title, release date, album cover image, artist name, information about the album, where to purchase, and record label logo. It finds the indie ads follow some conventions like using the album art but also break others to seem different, while the urban ad focuses more on artist promotion. Studying the differences has helped the document's author understand how to design an ad that reflects their genre.
The document discusses the album cover for Klaxons' album "Surfing the Void". It summarizes that the cover features a cat in a space suit, created by merging two photos. It then discusses conventions of album covers like simple designs and fonts. It notes the album cover has minimal text, just the band name on the space suit. The photography combined two photos in a clever way. Bright lighting and props help make the cover eye-catching. The document also summarizes a magazine ad for The Killers' "Day & Age" album, noting conventions like the band/album name and recognizable fonts and artwork.
This document discusses and summarizes the album covers of four different albums:
1) Echosmith's "Talking Dreams" album cover features the lead singer standing out in white against the black-clad band members.
2) The Neighbourhood's "I Love You" album cover features an upside down house symbolizing the band, with an eye and heart representing the album title. A cloud pattern represents the wide range of emotions in the album.
3) Bastille's "Bad Blood" album cover has a sepia-toned aesthetic and features a car chasing a man, alluding to the album's themes.
4) Haim's "Days Are Gone" has
The album art and poster for the band's 2007 album "Riot!" featured a consistent orange hand-scratched font for the album name that became a trademark visual element. The album cover showed the band from above against a white background, while the poster lacked the busy background to draw more attention to the band image. Both the album and poster emphasized the band members and album name through visual elements and font choices to clearly link the two promotional items and center attention on the band.
This is my analysis of album covers within my genre to gain knowledge of how to create my digipack and poster. I also looked into the synergy and how the album represented all aspects of an artist.
- Pink Floyd were an influential English rock band formed in 1965 known for their progressive/psychedelic music and elaborate live shows.
- Their 1973 album "The Dark Side of the Moon" was a commercial success, spending over 14 years on the Billboard chart and selling over 40 million copies worldwide.
- The album's minimalist front cover features the band's logo refracted through a prism, representing unity diffracted, leaving an absence of unity. This simple yet profound design became iconic.
The document provides examples of album artwork from various vinyl and CD releases. It summarizes the key elements and themes represented in the artwork for albums by U2, John Lennon, The Beatles, Sky Sailing, Kings of Leon, Franz Ferdinand, and The Script. Common aspects discussed include the use of photography, themes, fonts, color schemes, and layouts that tie the different elements of the artwork together and represent the music and band in an appealing way to audiences.
The document discusses various examples of album artwork for vinyl records and CDs. It analyzes the artwork for albums such as U2's The Joshua Tree, John Lennon's Shaved Fish compilation, The Beatles' Sgt. Pepper's Lonely Hearts Club Band, Sky Sailing's An Airplane Carried Me To Bed, Kings of Leon's Only By The Night, Franz Ferdinand's Tonight, and The Script's Science & Faith. Key points discussed include the use of consistent themes, imagery, fonts, and layouts to effectively represent the music and appeal to audiences.
The document summarizes research on the album covers of three popular albums from 2012-2013: fun.'s "Some Nights", Bruno Mars' "Doo-Wops and Hooligans", and Adele's "21". It analyzes the visual design elements, color schemes, photos, and typography used on the front and back covers of each album's digipack and how they relate to the mood and themes of the music.
The document analyzes and compares the album artwork for albums across different musical genres, including classical (Ludovico Einaudi's Elements), EDM/dance (Sub Focus' Torus), and indie (The Smiths' Meat Is Murder). For the classical album, the front and back covers feature hand-drawn musical notation, reflecting the genre's association with sheet music. The EDM album uses typography and geometric shapes consistent with the artist's branding. The indie album features a Vietnam War photo on the front with the title replacing text on the soldier's helmet, showing the album's political message regarding vegetarianism.
This document summarizes and analyzes the album covers of four different bands: Echosmith, The Neighbourhood, Bastille, and Haim. For each band, it describes visual elements of the album covers like colors, images, text, and layout. It also analyzes how these visual choices relate to the bands' images and intended emotions or messages for the albums. Key details like symbols, characters, and backgrounds are discussed in order to understand the overall themes or feelings conveyed by each album cover design.
The document discusses conventions for album covers, back covers, inside covers, and magazine advertisements across different music genres. It notes that album covers often feature the artist and relate to the genre's imagery. Back and inside covers usually list the tracklist and credits. Magazine ads prominently display the artist, album, release date, and where to buy the album. Overall, conventions provide recognition of the product while allowing room for uniqueness.
Oliver Tate wonders how people would react to his death. His Facebook profile provides basic personal information about himself, including that he is male, from Swansea, Wales, in a relationship with Jordana Bevan and holds socialist and deist views. It also shares his interests in psychology, favorite musicians, and quotes he finds meaningful about identity and adapting one's principles.
The document profiles three female R&B artists - Keri Hilson, Rihanna, and Cassie Ventura - and discusses some of their most famous music videos. It notes that Keri Hilson's "Knock You Down" video featured Ne-Yo and Kanye West, helping boost her fame. Rihanna's "Take a Bow" video effectively portrayed a relationship through its storyline and performance concept. Cassie's "Long Way 2 Go" incorporated voyeurism in a way that well represented the R&B genre, influencing the document authors' plans for their own music video.
The document summarizes the consistency between a music album's digipak cover, advertisement, and music video. Specifically, it notes that the artist is depicted wearing the same clothes and in the same setting on the front and back digipak covers. Additionally, the same fonts, color schemes, and designer brand of the artist's costume are used throughout the digipak, ad, and music video, helping viewers easily identify that the materials are related and represent the same artist.
The document discusses how the media product, a music video, relates to conventions of real music videos. It uses relationships between music and visuals, with scene changes coinciding with changes in the music's beat. The lyrics and story line depict a female star and male co-star. While there is not a strong synchronization of lyrics and visuals, the visuals help the audience understand the emotional narrative of the song through the star's expressions and depicted relationship situation. Performance aspects showcase the star, with shots of her alone bringing attention to her persona.
The song tells the story of a woman who has been driving herself crazy with thoughts about a past relationship. She feels she has lost herself and hears voices in her head. While she was never fully satisfied, she realizes now that it was not entirely her partner's fault that the relationship ended, as she also made mistakes. In the chorus and bridge, she pleads to be saved, wanting her former partner to take her back and end her turmoil, as she feels herself giving up.
The document analyzes the effectiveness of combining the main product (a song and music video titled "Down in the Mouth") with ancillary text (packaging and additional imagery). Similarities include facial expressions and body language portraying being at a low point after being fired from a job. The digipack cover and broken guitar shown on the back relate to feelings of being trapped, hopeless, and frustrated. Clothing differs only for the main character who wears a suit to work versus casual clothes for others not shown at jobs. Overall, the packaging, video, and other materials effectively interconnect and follow themes of being stranded and down as portrayed in the song and genre of indie music.
This document discusses and summarizes the digipak album covers of four artists: Cassie, Rihanna, Keri Hilson. It notes that Cassie's self-titled debut album features just a picture of herself on the front cover and necessary information on the back. Rihanna's "Loud" album has a consistent color scheme and captures her expression. Keri Hilson's "The Perfect World" digipak stands out with a cohesive color palette and includes typical identifying details.
The document discusses considerations for casting band members for a puppet music video project. It needed to cast a male vocalist, female vocalist, keyboardist, and guitarist. Several candidates were considered based on their availability, acting experience, fit with the indie image, and willingness to participate. While some candidates fit the look and had experience, many had time conflicts or unknown reliability. Casting the director in a role would be difficult due to directing from within.
Kalisha B is a 22-year-old R&B artist from Brooklyn, New York. She has a fashionable, feminine style inspired by artists like Rihanna and Beyoncé, featuring short, funky hairstyles and slightly provocative outfits like playsuits and crop tops. Her debut album is titled Dreaming Awake and includes songs like "Forgetting You", "Helpless Through Love", and a cover of Nicki Minaj's "Save Me".
Pop music is a subgenre of popular music characterized by upbeat rhythms that are easy for people to dance to. Pop song lyrics typically focus on themes of love, loss, emotion, or dancing. Unlike other popular music genres, pop songs are usually written by professional songwriters and popularized by singers. The promotion of pop music in the 1980s was greatly influenced by the rise of music television channels like MTV, which featured artists like Michael Jackson, Madonna, and Prince who had strong mass appeal. The Beatles helped reshape Western pop music and were the most successful band ever, releasing many hugely popular albums from 1963 onward that helped create a distinctly British pop sound.
Lady Gaga and Beyoncé star in the music video for "Telephone". The video portrays the stars with provocative clothing and behavior, intended to draw attention to their feminism and independence. Symbols of American patriotism and branded products throughout also reinforce the stars' self-confidence and influence.
This folk/electronic/alternative song pitch involves the story of a girl who wakes up in an unknown environment and is being turned into a puppet against her will by masked individuals. The performance would depict several failed attempts by the girl to escape, until she is changed and forced to perform lifelessly with the band. The performance would take place in a drama studio, using masks, costumes, lights, and actors playing the band members, girl, and various other roles. It is inspired by the works of Ex-Libris and Panic at the Disco.
The document provides ideas for the music video for the song Track 9 by Dimple & Farhannah. It suggests filming a girl riding her bike in the autumn in a park and dancing with friends with umbrellas in the rain. Additional ideas include showing the girl standing still on a busy street and in her sunny bedroom under sheets.
The document provides ideas for the music video for the song Track 9 by Dimple & Farhannah. It suggests filming a girl riding her bike in the autumn in a park and dancing with friends with umbrellas in the rain. Additional ideas include showing the girl standing still on a busy street and in her sunny bedroom under sheets.
Indie rock originated as a subgenre of alternative rock featuring diverse styles including punk, pop, and dance. The term "indie" referred to independent recording studios that produced lower budget music free from mainstream restrictions, allowing for experimentation. In the 1980s, the term was applied to describe bands from independent studios rather than just the studios themselves. Notable indie labels emerged during this time, helping bands gain popularity. While grunge and Britpop bands achieved mainstream success in the 1990s, indie rock remained dedicated to its anti-mainstream ethos. Digital technology has allowed indie to thrive, with bands like Arctic Monkeys benefiting from social media. Internationally successful indie bands in the 2000s included The St
Spike Jonze is a renowned music video and film director known for his distinctive and creative works. In this video for "Y Control" by Yeah Yeah Yeahs, Jonze explores the concept of a lack of control through scenes of humorous fake violence enacted by violent children in an abandoned house. Frontwoman Karen O commands attention through her exaggerated performance in a bright red leotard. Her star image in this video as feisty, attractive and sexually provocative matched later promotional material and represented a departure from their earlier, more subdued style. Throughout the video, the audience is given full consideration through close-ups of Karen performing directly to the camera.
The music video for Blur's song "Parklife" features actor Phil Daniels lip syncing the lyrics while driving around London. Though unconventional for a music video at the time, the abstract style fits with the Britpop genre. Various shots reference the lyrics, like a jogger mentioned in the words. While humorous, Daniels is the clear focus instead of the band. The upbeat tempo matches the fast-paced visuals, and colors occasionally sync with the music. The video parodies common music video tropes through exaggerated elements.
The document summarizes the results of a questionnaire about music magazines. It found that most respondents were female and between 17-21 years old. They preferred hip-hop music overall. Most people did not regularly read music magazines so the magazine would need to stand out. Respondents were also unwilling to pay much for a magazine. Their preferences for magazine content differed by age group.
The document summarizes research conducted through a questionnaire to identify preferences of the target market for a new music magazine. Key findings include:
1) Most respondents were willing to pay between £2-3 for the magazine, with a preferred price of £2.40.
2) A majority preferred the magazine to cover a wide variety of music genres rather than focusing on one.
3) Most would be more likely to buy the magazine if it came with a free CD related to their interests.
4) For magazine design elements like covers and layouts, preferences varied but distinctive, eye-catching visuals were generally favored over more text-heavy, structured designs.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
2. Funeral Party – The Golden
Age of Knowhere
This is the an advert for the debut
album of the American band
Funeral Party. I found this advert
in an addition of NME prior to
the release of the album.
Funeral party are a dance-
punk/alternative/indie rock band.
3. Analysis of advert
Name of band takes prominent
The name of the album is placed focus at the top of the advert.
directly underneath in gold, suiting Contrast between black and
the ‘golden’ in the title. white empahises this.
All of the text is capitalised to The fact that the album is the
make it stand out. band’s debut is flagged up
prominently in white text.
The image used for the background
is an long shot of the band
performing in concert. You can see
the signer bent over and carrying the
mic stand over his shoulder, along
with the bassist and guitarist playing
in the background. This gives the
band an image of enthusiasm and
powerful performance.
Important information such as the
date of release and the band’s
The black and white hue of the
website is listed at the bottom.
image also gives the band a ‘classic’
feel.
4. Comparison/Continuity
The original cover for Us release bares
little resemblance to the advert. However,
the advert came fro m a British magazine
so more closely resembles the cover for
UK release. The colour scheme is,
however, largely different (using blues and
whites instead of black and gold).
The advert is almost a double of the
iTunes cover – using the same image, font
and colour scheme. This could suggest that
the most important sales for the band’s
album is on iTunes, also further showing
the importance of continuity between the
advert and the digipak.
5. The Wombats – Jump Into
The Fog
This is the advert for the seventh
single ‘Jump in the Fog’ released
by ‘The Wombats’.
This is an A5 advert near the
back of NME.
The advert features the band’s
name in distinctive font – their
own logo. The single title is
capitalised and bold. Information
about the release of the CD and
legal information, as well as logos
are also listed beneath the title on
the left of the advert.
6. Comparison/Continuity
The silhouetted figure on advert
appears to be diving, the image
then blends with an image of
black smoke. The background for
the image is black overlaid with
white fog – making reference to
the single title.
The didgipak for the single uses
exactly the same image and band
title/single title arrangement.
The music promo does not
immediately remind me of the
digipak and advert but the use of
fog is continuous throughout.
7. The Joy Formidable – The
Big Roar
This is an A5 advert in NME for the
release of ‘The Joy Formidable’s’
debut album ‘the Big Roar’. The
image was located on the same page
as the advert of ‘The Wombat’s’
single.
Like the other adverts this one lists
the band name in the most
prominent place, followed by the
band title. The image is an
illustration that seems to bear little
relevance to the album title.
‘Debut Album’ and he release date
are also noted.
8. Comparison/Continuity
The album cover for ‘The Big
Roar’ uses the same image and
colour scheme as the advert. It
also uses the same font for the
title but the title on the digipak is
located at the bottom in white
text. Unusually, the band name
isn’t visible.
Although the image appears
unrelated to the album title, it is
clear that a theme of illustration
has been upon with the bands
other products – making their
album cover recognisable to their
fans.
9. Conclusion of Findings
Continuity between the digipak and the advert is
important as this allows the consumers to easily find and
purchase the album. However, similarity between the
video and the digipak isn’t always essential.
As seen with ‘Funeral Party’ it is common for new bands
to display their image on the front cover of the digipak
and the advert to promote their star image.