Research

Looking at the sales in albums in recent years shows a defined trend in streaming music rather than owning it. With platforms such as Spotify, Apple Music and Google Play,
streaming services have taken hold of the industry once ruled by digital download and physical formats. The graph below shows this increase in streaming, as physical and
downloads decrease. Both these are on the decline, however specific formats such as vinyl have gained popularity in recent years. A 2017 article from The Guardian stated
that vinyl record sales reached a 25-year high the previous year, with LP sales up by 53%. This is believed to have been the result of stores such as HMV taking larger stocks
of vinyls and events such as ‘record store day.’ The death of David Bowie in 2016 appeared to spark sales of his records, making him the most popular vinyl artist of that
year.
The article also stated that there were 45bn audio streams in 2016. Streaming allows for a greater discovery in music which people tend to buy later as to own a physical
and tangible copy. This view is shared by the BPI, which released an article in January 2019 stating that streaming along with physical copy sales were on the rise. An
interview from Ginny Cooper, Co-Chair of BPI’s Classical Committee, reveals: “It is encouraging to see CDs and streams thrive alongside each other…” This may seem
contradictory to the delcining market of physical formats, as shown in the first graph, however they have not dropped as drastically as digital downloads. The BPI also
mentioned, ’collectible CDs and box sets continue to appeal to passionate classical buyers.’ This is backed up with an increase in stores such as VinylMePlease and Rough
Trade, which have begun monthly services that provide the customer with records.
A 2018 article from Vinyl Factory underlines a change in the digital download industry. They analyse music sales in the USA from 2017, where vinyl records and CDs sold
more than digital downloads. According to the Recording Industry Association of America, 65% of the US market was owed to streaming services, being the most popular.
The next most popular was physical format, with a lower yet impressive 17%; it was just above downloads which were 15%. More interestingly were that statistics of the
physical formats. That years vinyl records were on a 10% increase and CDs had actually dropped by 6%.
ALBUM SALES
SECONDARY RESEARCH

Looking at the biggest selling albums of 2018
ALBUM SALES
SECONDARY RESEARCH

The increase of streaming is also recognised by Music Business Worldwide which, in a 2019 article, it was revealed that UK consumers spent £1.33bn on recorded music in
2018. These figures mean that there has been an annual increase of £100m, for the second year in a row. These are from streaming services as statistics from the BPI show
the continuous fall in album sales from physical and digital platforms.
ALBUM SALES
SECONDARY

caCzXC
AUDIENCE RESEARCH
SECONDARY

AUDIENCE RESEARCH
SECONDARY
https://www.theguardian.com/music/2017/jan/03/record-sales-vinyl-hits-25-year-high-and-outstrips-streaming
https://thevinylfactory.com/news/physical-sales-downloads-2017-report/
https://www.bpi.co.uk/news-analysis/#
https://www.musicbusinessworldwide.com/uk-record-industry-enjoys-109m-annual-growth-but-album-sales-tanked-in-2018/
https://app.vinylmeplease.com/records_of_the_month
https://www.roughtrade.com/

https://www.radiox.co.uk/features/most-boring-album-covers-
all-time/the-xx-xx/

ARTWORK COMPARISON
DEBUT ALBUMS
Whatever People Say I Am, That's
What I'm Not
by Arctic Monkeys
1st studio album, released 2006
Definitely Maybe by Oasis
Parachutes by Coldplay
These are completely different albums from different bands. Though they are different in every way to each other they are all debut albums which I believe hold certain characteristics. All
three include the band name which is not normally shown. The Arctic Monkeys album shows a man smoking a cigarette as he looks directly into the camera. This is not member of the band,
but a producer which the band members coaxed into modelling for a photograph. The album is given a grounded and casual appearance. It is a far cry from the work of Pink Floyd, however
this seems to be the message of the image: it is above all that. This suggests, ‘we just make music and this is the image we’re using, we don’t care about fancy covers’ which gives the album a
casual air.
The Oasis cover shows all the band members in various positions around a room, a room filled with random items; a globe lamp shade, a curved mirror, a photo of George Best. According to
the band the room was filled with items significant to each of them.
Parachutes shows a spinning globe in a darkened, wooden panelled room.

ARTWORK COMPARISON
SIMPLISTIC DESIGN
X & Y by Coldplay
3rd studio album, released 2005
xx by The xx
AM by Arctic Monkeys
5th studio album, released 2013
Despite being their own individual designs, each with their own meanings and signatures of the band, there are some similarities between each of the album covers. The main one is the use
of very few colours, with the exception of the Coldplay album, only two tone are used. This said, even X & Y uses dark colours that resemble the other works.
Another aspect that unites the covers is their unusual designs and visual choices. They may appear a little dull at first but the meaning behind them reveals a deep level of thought. X & Y's
cover actually depicts a code-like language invented for the release of the album and actually blazons the name of the album in the cryptic font. The xx's debut album sports a letter x which
relates to the band name in a similar way that that many debut albums include their band name to gain notoriety. The black and white design can be a little overlooked but it relates to the
style of music which has become a unique sound. Interestingly, Radio X magazine picked up on this and listed their cover in their article, 'Most boring album covers of all time.'
AM is a thought-through name which has several meanings. The first is the initials of the band, Arctic Monkeys. The second refers to radio frequencies which is what the cover appears to tie
into. The pattern is a wave-like shape, though I see this as a pair of eyes or perhaps sunglasses. The latter would tie into their perception of 'coolness' as shown in their debut album's cover
on which a man smokes a cigarette. This wave design is used again in a music video from one of the album's songs.

ARTWORK COMPARISON
COLLAGE/COLOUR
Coexist by The xx
2nd studio album, released 2012
Dig Out Your Soul by Oasis
A Head Full of Dreams by Coldplay

ARTWORK COMPARISON
PHOTOGRAPHY
A Rush of Blood to the Head by
Coldplay
2nd studio album, released 2002
Standing on the Shoulders of Giants
by Oasis
Tranquillity Base Hotel & Casino by
Arctic Monkeys
The correlation between each of these album covers is photography. Each of them have stunning photographs that inspire intrigue. Oasis have used New York City as the subject of their
photograph. The point of interest comes from the lighting which blends from daylight to night in a left to right gradient. Photography took place throughout the day at regular intervals to
achieve this, the images blended together later. The effect gives a sense of a state of limbo which the city appears to be in.
The Coldplay album covers comes from a photograph seen in a magazine by the band’s lead singer. The image came from a 3D scan of a face which was thrown into confusion by the model’s
painted face. It produced this distorted reading of a human torso and head, which is partially missing. Upon a white background the piece looks very solitary and unusual.
The third cover is one that is inspired by designs such as the hotel from 2001: A Space Odyssey. It sits upon a tape machine containing an early version of the Arctic Monkeys album.

ARTWORK COMPARISON
PHOTOGRAPHY
Original Pirate Material by The
Streets
How Dare You! by 10cc
Plastic Beach by Gorillaz
3rd studio album, released 2010
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ARTWORK COMPARISON
PHOTOGRAPHY
The Stone Roses by Stone Roses
Wish You Were Here by Pink Floyd
Simulation Theory by Muse
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https://www.shortlist.com/entertainment/music/the-20-craziest-limited-edition-albums/78448

https://www.wired.com/2014/11/design-stories-behind-15-awesome-collectors-edition-albums/
EXISTING PRODUCT
MYLO XYLOTO

https://www.officialcharts.com/chart-news/vinyl-albums-re-issues-and-limited-editions-released-in-2018__21634/
EXISTING PRODUCT
NO RETURN

https://shop.ianbrown.co.uk/*/*/Ripples-Super-Bundle-inc-Ltd-Edition-Signed-Print/5Z8N0000000
EXISTING PRODUCT
RIPPLES

EXISTING PRODUCT
A MOON SHAPED POOL
A Moon Shaped Pool Special Edition by Radiohead contains two vinyl discs on which the album is spread across and two CDs, all housed inside a bound book. This book
also includes the many artworks produced in coordination with the album. Radiohead singer Thom Yorke collaborated with artist Stanley Donwood to produce the many
pieces. They were painted with acrylic on canvas and later edited digitally to create the finished product.
The artwork is varied and does not follow a visible theme apart from the medium used to create the pieces. Looking at the motion of the art I originally thought inks
were used to create the work, however upon research I discovered that acrylic paints were used.

Why people buy
What included
What can I take for my own project

Special edition – x2 vinyl x2 CDs
-Bound in book – which is collection of artowkr
Front cover – not album exactly
-Different colours used
-Artwork different through book – still same design/theme
-not neccesarily related – allows for more options
-certainly different colours – vinyls encased in green pages
Artwork contains band members – shapes of people – could be used instead of photos like in MX cd case.

Released in 2011, this is the fifth Coldplay album, featuring synthesized sounds it took the band in a new direction. It also contained a continuous theme, making it a
concept album. Based upon a tale of two people living in an Orwellian society, it tells a story of a war against colour and sound. Inspired by 70s New York graffiti and the
White Rose movement the theme shows the historic pattern of people turning to art during turmoil. Coincidently this is similar to Coldplay’s prior album artwork which
uses Delacroix’s Liberty Leading the People, famously saying, “And if I haven’t fought for my country at least I’ll paint for her.” Members of the White Rose would distribute
pamphlets and spray messages during the reign of Nazis. This was the aim of art directors, Tappin Gofton and street artist, Paris: to replicate these themes in order to tell
the story of the concept album.
To create the piece a studio wall was painted using spray paints, guided by Paris. The process was closely documented with photographs taken at the end of each day. The
finished piece was then photographed in full and in sections for different uses. Different pieces were used for the two variations of the album cover. Both of these feature
of the front and back covers of the accompanying booklet that comes with the CD version. These were swapped in a 50/50 ratio, meaning that the album had two
appearances. In the centre is the full wall, spread across the double page. The wall features psychedelic colours, fitting of the revolutionary/resistance theme, along with
lyrics and references to the songs. The font is also completely original, designed specifically for the album. It is large, almost bubble-writing, characters resemble fonts used
by street artists as they paint with largely inaccurate spray paints.
MYLO XYLOTO
ARTWORK

The two variations of the album have different meanings. The one shown on the right has a much clearer meaning; the bright colours are encased in a dull sheet of metal
which represents the oppression of all sound and colour by the fictional leader, Major Minus. The contrast is blatant, the industrial looking sheet of metal with its rigid
edges and machine cut holes, which tries its best to enclose the bright, cheery, free-flowing colours and shapes of the artwork underneath. The graffiti actually shows
through holes in the grey page, the page can be turned to reveal the full image underneath, symbolic of the characters attempts to uproot the Orwellian society and
restore freedom; the turning of the page means the next chapter, a chapter without Minus. I believe it could also reference illegal warehouse raves, such as acid house,
which originated from a need of freedom in music. Deterred by club’s music and dress rules, people used warehouses to stage illegal raves where bright clothing were all
the fashion. Enhanced by club drugs such as MDMA and acid, these became popular and associated the neon colours with the psychedelia experienced.
The booklet cover on the left uses the full section of wall and the full album name, in its original font. Although correctly spelled with a space between the two words, this
negates that and the words have no break. It is also presented in a curious way, with comparisons to Japanese poems, known as haikus. These consist of three lines, the
first with only five letters, the second with seven and the third with five. Similarities can be seen between the cover and the poem style, though it may not be necessarily
intended to appear like this format as no other references are made to it. Given that they are not words and have no meaning it would not matter too much to present
them in this way. Many albums do not feature the album name at all, so it does not matter to title the product, or title it concisely. It also creates another visual element,
with the shape of the words forming a hexagonal shape.
The colour of font is also chosen to contrast with the background, however the characters are not filled as they are with the stencilled version. This is presumably to allow
the painted wall to show through. The font was added in post-production and was not part of the wall art.
MYLO XYLOTO
ALBUM COVER

A special edition release of the album depicts a similar product that I am looking to create for my final product. The image shows the album in vinyl and CD format, with
their respective sleeves, stencils of each album cover as well as for every character in the Xyloto font, a pop-up book, a sheet of stickers and a larger image of the painted
wall art. All of this is fits into a stencilled MX sleeve which appears to be a larger version of the CD case. The art style is prevalent throughout the items in the package,
everything down to the disk design uses the colour palette. Grey only appears on the sleeve and on the pages of the book, showing how the colour bursts from the seam of
the page, like weeds growing through the cracks of the pavement. The rest, bar the stencils, carry the spray painted design.
Although the stencils may seem an odd choice to include, it is symbolic of the album’s message. The concept album refers to a group of youths who take it upon
themselves to introduce colour back into a regime which forbids it. The band is almost saying that if life becomes similar to this, the stencils will provide you with the
means to reintroduce it.
Taking a look at the CD disk it is clear that the colours are the same but the design is slightly different. Gone is the art of the wall and a new, radial pattern has been
introduced. It resembles slightly a colour wheel, as most colours in the spectrum are present but also because of the layout. Looking at the texture, the paint has clearly
been sprayed onto a concrete surface. This invokes a similar feeling to the larger piece of wall art seen in the other parts of the album’s artwork. The main focus, however,
is the spiral that begins off the edge of the disk, winds around and concludes in the centre. Not only is this an entrancing design but also will create an illusion when spun,
the same applying to the vinyl record which also bears the same design. Around the spiral is the song list, the coloured background showing through the black. I believe the
meaning behind the disk cover is the same as the album cover (the stencilled MX version). In the same way, this depicts a domineering regime, suggested by the black; it is
a complete contrast to the rest of the palette in the same way that the metal MX logo is. In addition to this the spiral symbolises hypnosis, brainwashing, as an oppressive
government would through the fear and chaos incited through its propaganda. The spiral lays on top of colours in attempt to block their message, as the MX stencil does.
MYLO XYLOTO
SPECIAL EDITIONS

MYLO XYLOTO
CD CASE
1.
CD case closed. This version
has the MX stencil as the
cover. In the top left a
sticker lists the singles
featured in the album. The
case hinge bears the legend,
Mylo Xyloto, upon a
colourful background.
2.
The reverse of the case shows the song list against a
painted background. This appears to be a different
part of the spray painted wall. During the
production, photographs would be taken at the end
of each day. Sections of the wall were repainted, so
the way evolved during the process. Through the
accumulation of the photos, the band could choose
between hundreds for the album.
Judging by the close spray patterns of the paint, this
appears to be a relatively small section of wall
which gives the artwork variation.
The songs are listed in the original typeface created
for the album. Underneath are a number of symbols
which are thought to relate to the lyrics of the
songs.
3.
With the case open we can see the disc on the right and on the left, the booklet. Unique to MX,
Coldplay have given the album a reversible cover. Half of the albums were produced with the
stencil version and half with the cover seen inside. I personally prefer the first as the contrast
between the grey shell and the colour underneath has more meaning. The other version has its
merits as the artwork is shown in full.
The disk sits upon a background of graffiti and the difference in both the art style and colour
palette can be appreciated. Looking at the texture of the paint it would appear that the photo
has been taken on a smaller scale. Similar to the back cover of the case, this gives variation to
the artwork. The colours also draw the eye immediately to that area. I believe that the aesthetic
would not be the same had the disk followed the same art style.

MYLO XYLOTO
CD BOOKLET
1.
Taking the booklet out of the case shows the full effect on the cover’s paper. A metallic print is given to
the paper which gives it a slight shine, not enough to produce a reflection but enough to carry light
across its surface. Not only does this give it an aesthetically pleasing quality to it but it also appears very
industrial, as though serving a purpose than to look attractive: function over fashion. This conveys the
meaning of the concept album as actually bright and cheerful colours are breaking through the
monotony.
The inside shows that the characters on the cover have been stencilled out, which adds to the industrial
theme; it has been cut through like steel on a production line. The artwork is revealed to spread across
the entire page and can be recognised as the centre piece of the wall painted by the band members. On
the reverse of the cover is a different piece of artwork. Like the reverse of the case this appears to be at a
much smaller scale, owing to the larger strokes of the spray paint. It is an interesting choice to break up
the pages with two images as the photograph on the right is only a section of a larger piece. It does add,
however, variation to the layout and keeps the main image ‘fresh’ and not overused.
2.
The next page is a photograph of the band performing over a double page spread. This shows the members upon a stage
using similar light work and pyrotechnics to their later 2012 tour. This predates their tour so the stage design is different.
Visible are a number of spiral designs both on the floor and backdrop which are seen emitting the colour scheme.
The movement in the photo and the camera’s position suggests that this is a still from a video. The fish-eye lens also
suggests that this is an action camera which has been positioned to capture the band from a secondary angle. An
interesting feature of this is that it appears that everywhere but the centre of the photograph is in focus, due the motion
of the foreground singer.
The photograph has also been given a vignette-style border which is noticeable in the top corners.

MYLO XYLOTO
CD BOOKLET
3.
The next page is a tri-fold spread of the full artwork, with the outside page a flipped image of two of the band members.
This is because of the reversible cover which can be flipped to the preferred side. The full wall shows the lengths to
which the band went in order to create the cover art. Seen amongst the streaks of colour are lyrics and messages. This
page adds a nice feature to the booklet as it showcases the artwork behind the album. It also adds authenticity, I believe,
as it presents the physical work and shows that it was not digitally produced.
To view the portrait the booklet must be flipped. Two members are seen wearing clothes were appear similar to the tour
costumes, casual clothes but adapted with bright highlights. Behind them is a clear sky which has been pierced by a tall
chimney. It juxtaposes the peace shown in the sky, with the dull and imposing industrial society.
4.
This page shows the other band members in a photograph and
also the album credits. This portrait is staged in another
location, in front of a sprayed wall which gives a similar
industrial theme. The paint seems to be of the same style as
the rest of the artwork. The next page uses the artwork as
background so it unofficially transitions from the joining page.
5.
On the very last (or first) page of the booklet the spaces are dedicated to
more artwork. The reverse of this is the photograph of the band
performing, which suggests that these pages are generally used to space
out the centre piece. These two photos appear to be close-up shots of
the wall art. The left photo shows lyrics from one of the songs,
underneath the word ‘Xyloto.’
The booklet finishes with the alternative cover, as shown in the middle of
the page.

It is curious how the art style has changed for the live performances of the album. Live 2012 is a collection of songs recorded from locations that the band toured the album
in, featuring not only songs from Mylo Xyloto but from previous albums as well. As MX is a concept album the band have opted to continue the theme in their tour, but the
art direction has been altered slightly.
First looking at images from the tour we can see that the stage has been decorated in similar graffiti artwork and that message have been sprayed across the walls as they
were in the original album artwork. The medium has changed slightly, instead of bright, psychedelic colours, the palette has been changed to more luminescent, neon
colours. Looking at live performances from the DVD shows that the reason behind this; the band plays in almost darkness and is only illuminated by lasers and florescent
lights that pick up the paint. This gives the band a grimier, more underground look that focuses more on the acid house theme that I mentioned previously. It is fitting with
the concept album: a story about two people fighting against a regime restricting colour and sound, so enhancing the colours (and sound) puts the band members in the
place of the characters. In addition to this the stage design closely followed the theme. In some performances where two stages were provided (a main and smaller stage),
an ‘X’ shaped bridge was used to connect them together.
The band’s instruments have also been painted in this style and each of the members have introduced the colour palette into their outfits. The piano has been decorated
appropriately with the art style present throughout the concept album. Similarly the band wear shirts and trousers featuring bright colour similar to the ones used in the
artwork, further building upon their concept album.
MYLO XYLOTO
LIVE PERFORMANCES

The album cover for the tour uses art style of the tour rather than revering back to the original. I like this, however, as it separates the two into different products, which
they are. The live tour includes songs from previous albums. It therefore strays away from the title Mylo Xyloto, though the symbol can be seen on the front, slightly off
centre. Primarily, the cover is blue however this gives a good background colour for the green, pink and orange. In a different approach, lyrics form the majority of the
shapes and ‘foreground’ of the art, unlike the wall art which only featured it. It is has not been sprayed painted as the original artwork was, but drawn in inks. A reactive
light has been pointed at the work giving it an ultra-violet appearance, similar to lighting effects that may be found at underground rave scenes, referring to the concept of
the album.
The font is the same as used in the studio recorded LP, however the band’s name is present. This is because without the name Live 2012 could relate to any album
performed during that year. I also believe it to be a marketing strategy as the cover does not speak for the album the same way that the Mylo Xyloto artwork does. The
opaque ’Live’ also gives the title variation, in the same way that the haiku-looking format was previously employed.
Also captured was footage of the band playing, which was edited into a DVD. The cover of the case sports the same artwork as the album, however due to the difference in
length we can see more of the artwork. The reverse contains the list of songs played on the tour, the text uses colours from the scheme though a new font is introduced.
Instead of the refined, stencil-like appearance of the MX font, this appears rough and hastily drawn. It bears a likeness, as though a copy of the font. Looking closer it
becomes apparent that the font has been spray painted and reduced in size to fit on the back of the cover. This is evident from the size of the characters but also from the
feathered edges of each of the letters.
MYLO XYLOTO
LIVE ALBUM

A HEAD FULL OF DREAMS
COLDPLAY
2015

This is the latest studio album released by the band Coldplay.
ARTWORK

Art production began when Phil Harvey, manager of Coldplay, became aware of Pilar Zeta’s work. The band met and began to create work. In an interview she explains,
"…there was this big canvas – it was three metres by one and a half metres – and we had all this material to use. I was like, “Woah! Where to start?!” They began to create
a collage from old magazines and photographs from the band. The inspiration was dreams and memories, fitting with the themes of the songs. The canvas was never
intended as the cover, merely as art for the inside, however the results exceeded expectations. Coldplay asked Zeta to then translate into an album cover. The Flower of
Life was added to a reflected version of the collage that incorporated the designs created by the band.
I particularly like the transformation between the landscape canvas collage into the album cover. It shows the creativity and skill of the artist to be able to confine all the
ideas and themes into a asymmetrical yet stunning design.
During my context research I found 10cc’s How Dare You? which I commented on how it was the most visually interesting I had seen. I believe that this is why this cover,
and most of Pilar Zeta’s work, is so successful. It is visually interesting and the eyes never stop looking at things. This is down to the striking colours and patterns but
primarily because of the surreal world being shown: people sitting on clouds and hanging from planets. Things such as the layers of mountains cause intrigue which gives it
such a visual richness.
The finished piece was a combination of physical art and digital refining. The canvas was scanned and adjusted to create a kaleidoscope effect, which is why the piece
features the symmetry. Using both these types of art is something that I want to do myself as it will grant me a much wider range of tools to produce the work.
ARTWORK

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