The document provides analysis and feedback on the draft design of a special edition digipak. It summarizes the key design elements and intentions for each section, including maintaining a minimalist design focused on the artist's image and name to create a strong brand. Feedback is provided on enlarging the artist name on the CD, rewriting the thank you note to address fans more, and changing the bottom left image to better center the artist.

1. DIGIPAK FIRST DRAFT
ANALYSIS AND FEEDBACK

2. FRONT COVER
 The design of the front cover in simple and
minimalistic like album covers such as Loud by
Rihanna or 21 by Adele. This ensures that it is
simple and eye-catching, ensuring that it is
memorable.
 I decided to create a self-titled special edition
digipak to maintain minimalism on the album
cover so that the artist name is the only text
that an audience will see. This will ensure that
a strong brand image is created alongside the
photograph.
 The font of the artist name is in a sans-serif,
blue font and large across the middle of the
frame. This further emphasises the brand
image and artist name whilst maintaining
minimalism.
 The artist name is in the same font and colour
along the spine for continuity and to make the
brand memorable. There is also a black
institutional logo which is conventional of pop
digipaks which aim to promote the record label
as well as the artist for financial benefit.
 The main artist photo is
naturalistic in style and
taken in a long-shot. This
means that the artist is
featured in the entire
frame and therefore a
brand image is created.

3. TRACK LISTING
 The track listing features a medium-long shot image of
the artist which emphasises the brand image further,
making sure that the digipak has a heavy artist-focus
which is conventional of the pop genre (Little Mix Get
Weird, Taylor Swif t 1989).
 The sans serif font style and colour of the track listing
is the same as the artist title on the album cover for
simplicity and continuity, making the digipak
memorable. Clear bonus tracks also convey that the
digipak is a special edition version.
 The copyright/institutional information at the bottom is
conventionally found on track listings of digipaks (Little
Mix Get Weird). Although not meant for aesthetic
purposes, it is always found on an album. It is written in
a black sans-serif to ensure that it doesn’t stand out
whilst continuing the colour of black found on the
artist’s costume.
 There are website addresses below the copyright
information to promote other brand products (like
merchandise, for example) to encourage audiences to
engage further in the brand whilst also promoting the
institution.
 There is an institutional logo which is always found,
whilst a barcode creates verisimilitude as a physical
release would always feature one,

4. INSIDE PANELS
 A close-up, birds-eye shot of the artist is spread across two of the inside panels. I drew
influence from the inside panels of Loud by Rihanna where the same effect is used to make
the digipak memorable and eye catching. By having a large photograph of the artist, the
digipak will remain conventional to the stereotypical artist focus.
 The disk features the artist name in the same blue, sans serif font which is seen on the
album cover. This creates a sense of continuity so that the brand is always memorable and
recognisable. The disk will also feature institutional information which is conventional of
pop digipaks and the institutional logo to promote the record label as well as the artist.

5. THANK YOU NOTE
 I included a thank you note addressed to fans and producers that was written by the artist.
The font style was the same sans serif style that is seen in the track listing and artist title.
The black colour conforms to the colour scheme of black, white and blue.
 The white background conforms to the other panels which have light backgrounds so the
digipak has continuity and an eye-catching, simple and memorable design.
 I featured a handwritten-style font for the artist name to act as a signature. This gives the
note a personal tone.
 I chose to include the thank you note because it is something that is rarely seen on a
regular physical album so suggests to an audience that it is a special edition digipak .

6. FEEDBACK
“I am not convinced about the CD – the artist name is slightly too
small and seems a bit empty. The font also could change for some
difference”
WHAT I WILL DO:
I do agree that the artist name is slightly too small. To improve, I will
enlarge the artist name and use only “ELLA”. This will fill the entire
disk so that it remains minimalistic but also engaging and
memorable. I have decided not to change the font or colour of the
logo design because it will keep a sense of continuity. If I do change
the logo, it could become confusing and could distract from the
minimalistic style of the digipak which is conventional of pop
digipaks. So, the brand image will still be conveyed but it will make
the disk more engaging and memorable.

7. FEEDBACK
“The message needs a bit of changing – perhaps more thanks to
various people and her fans rather than it being so personal”
WHAT I WILL DO:
To improve the thank you message, I will rewrite the message to
focus more heavily on the thanks rather than the process that the
artist went through when writing the album. This will ensure that the
note will address fans so will be more relatable to fans so will entice
them to buy the special edition digipak.

8. FEEDBACK
“I’m not massively keen on the bottom left image. I think it leaves too
much space.”
WHAT I WILL DO:
I agree that the bottom left image does not
fit well with the rest of the digipak. It leaves
too much space above the artist so may
distract the audience and isn’t too eye
catching and memorable. To improve this, I
will change the photo to one of a medium-
shot, over the shoulder photo of the artist.
This will ensure that the artist is in the
centre of the digipak so that a clear artist-
focus and brand image is conveyed. This will
mean that the brand is memorable,
encouraging audiences to buy the special
edition digipak.