Dissertation

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CONTENT
• Illustrations 8
• Abstract 12
CHAPTER 1
• Important Pop Culture & Iconic Pop Culture Record
Covers of the Eras 16
––
The 1960s 18
––
The Beatles 19
––
The 1970s & the Sex Pistols 23
––
The 1980s 27
––
Video Killed the Radio Star 29
––
The 1990s to now 31
CHAPTER 2 • How Have the Pop Culture Records Become Iconic 38
––
Trends 41
CHAPTER 3 • Branding the Individual 45
CHAPTER 4
• The Future of Graphic Design & Art Direction
in the Mainstream Music Industry 52
––
A Sea of Information 53
––
Style & Disposability 55
––
Embracing Vintage 57
––
D.I.Y. Culture 61
• Conclusion 63
• Reference List 66
• Bibliography 68

ILLUSTRATIONS
1. Umberto Confini, Unknown, 2015, Photography, 3203 x 1766px, Italy.
https://unsplash.com/@umbe?photo=lEOogB2 x h1M&photo_info_popover
=is_visible. [Accessed: 10th January 2017]
2. Peter Blake, Sources of Pop Art V, 2007, Silkscreen print, 505 x 505mm, England.
http://www.ccagalleries.com/artists/peter-blake/sources-of-pop-art-v.html.
[Accessed: 10th January 2017]
3. Peter Blake, Sgt. Pepper’s Lonely Hearts Club Band, 1967, Colour offset lithograph on
paper and card, 12” x 12”, England, http://collections.vam.ac.uk/item/O88532/sgtpeppers-lonely-hearts-club-record-sleeve-sir-peter-blake/.
[Accessed: 10th January 2017]
4. Unknown, Doris Day, Day by Day, 1956, Cardboard, 12” x 12”, New York. http://www.
dorisday.com/work/discography. [Accessed: 10th January 2017]
5. Storm Thogerson, Pink Floyd, Dark Side of the Moon, 1973, Cardboard, 12” x 12”, London.
http://www.rollingstone.com/music/news/storm-thorgerson-how-i-designed-the-coverof-dark-side-of-the-moon-20110928.
[Accessed: 10th January 2017]
6. Finlay Cowan and Storm Thogerson, Pink Floyd “Back” Catalogue Poster, 1997, Paper,
594 x 841mm, London. http://www.feelnumb.com/2012/07/19/the-classic-1997-pinkfloyd-back-catalogue-poster/.
[Accessed: 10th January 2017]
7. Jamie Reid, Sex Pistols, God Save the Queen, 1977, Card, 7” x 7”, England.
http://www.jamiereid.org/archive/sex _pistols/god_save.html.
[Accessed: 10th January 2017]
8. Jamie Reid, Sex Pistols, Never Mind the Bollocks, 1977, Card, 12” x 12”, England.
http://www.sexpistolsofficial.com/records/never-mind-the-bollocks-heres-the-sex-pistols/.
[Accessed: 10th January 2017]
9. Jamie Reid, Anarchy in the U.K. fanzine, 1976, Paper, 210 x 297mm, England. Book:
Punk: An Aesthetic, Johan Kugelberg, 2012. [Accessed: 10th January 2017]
10. Stefan Sagmeister, Lou Reed, Set the Twilight Reeling Poster, 1996, Paper,
420 x 594mm, New York. https://chrisklimek.com/2013/10/28/
where-do-i-start-with-lou-reed/. [Accessed: 10th January 2017]
11. Frank Olinsky, MTV Logo, 1981, Digital, New York. http://frankolinsky.com/mtvstory1.
html. [Accessed: 10th January 2017]
11

ILLUSTRATIONS
12. Kirk Weddle, Nirvana, Nevermind, 1991, Photography, US.
http://www.nirvana.com/album/nevermind/. [Accessed: 10th January 2017]
13. Jonathan Barnbrook, David Bowie, Blackstar, 2016, Digital, England.
http://www.bowieblackstar.net/. [Accessed: 10th January 2017]
14. Jonathan Barnbrook, David Bowie, The Next Day, 2013, Digital, England.
http://www.davidbowie.com/album/next-day. [Accessed: 10th January 2017]
15. Peter Saville, New Order, Blue Monday, 1983, Paper, 120 x 120mm, London.
http://petersaville.info/sleeves/1983-1986.html#. [Accessed: 10th January 2017]
16. Peter Saville, Joy Division, Unknown Pleasures, 1979, Cardboard, 120 x 120mm, London.
http://petersaville.info/sleeves/1978-1982.html#Y1979. [Accessed: 10th January 2017]
17. Richard Hamilton, The Beatles, The White Album, 1968, Cardboard, 12” x 12”, London.
http://www.thewhitealbumproject.com/design/. [Accessed: 10th January 2017]
18. Mitch Monson and Lizz Luce, Prince, The Love Symbol, 1992, Digital, Minnesota.
https://www.wired.com/2016/04/designers-came-princes-love-symbol-one-night/.
[Accessed: 10th January 2017]
19. Alexander McQueen, Björk, Homogenic, 1997, Photography, London.
http://bjork.com/#/past/discography/homogenic. [Accessed: 10th January 2017]
20. Kash Goudarzi, Unknown, Photography, 5472 × 3648px, 2016, New York. https://unsplash.
com/search/busy-signs?photo=QoDnLcD4zk4. [Accessed: 10th January 2017]
21. Aspen Plummer, Unknown, Photography, 3456 × 2304px, 2015, Seattle. https://unsplash.
com/photos/nBiherz3tBE/?photo_info_popover=is_visible. [Accessed: 10th January 2017]
22. Gemma O’Brien, Volcom Art Loft, Painted Mural, 2014, Sydney. http://www.monsterchildren.
com/20032/volcom-mural-by-gemma-obrien/. [Accessed: 10th January 2017]
23. Snask, Attention Craft Poster, Paper, 594 x 841mm, 2014, Sweden.
http://snask.com/case/attention-craft/. [Accessed: 10th January 2017]
24. Andrew Welch, Photography, 6000 × 3376px, 2016, Jackson, US. https://unsplash.com/
photos/6mOXg-RDd8s?photo_info_popover=is_visible. [Accessed: 10th January 2017]
25. Clem Onojeghuo, Photography, 5400 × 3696px, 2016, London. https://unsplash.com/
search/vinyl-records?photo=Jv3QGa_gVTI. [Accessed: 10th January 2017]
13

ABSTRACT
This dissertation investigates how changes and
advancements in society have influenced graphic
design and art direction in the mainstream music
industry. This can be broken down into four main
chapters. Important pop culture and iconic pop
culture record covers between 1960 to the present
day; how pop culture records have become iconic;
branding the individual; the future of graphic design
and art direction in the mainstream music industry.
Umberto Confini, Unknown, 2015, Photography, 3203 x 1766px, Italy.
Key research includes books by Fiell, C. and Fiell, P.,
authors of Graphic design for the 21st century, which
reflects on important graphic designers and art
directions opinion on the future of technology and
its affect on the design industry. Other key authors
referenced in this dissertation include, Stephen Heller,
and his book Pop: How Graphic Design Shapes Popular
Culture and the collection of essays entitled, Looking
Closer, written by Tibor Kalman, J. Abbott Miller, and
Karrie Jacobs. The essays I have referenced discuss the
importances of style and context in the design industry.
The conclusion examines the increase in digital
mediums such as social media and smartphones
and looks at the decline in traditional methods of
distribution and packaging within the mainstream
music industry therefore having a knock on effect
on graphic designers and art directors outcomes.
15

CHAPTER 1
IMPORTANT RECORD COVERS
FROM 1960 TO THE PRESENT DAY
This chapter will discuss graphic styles between
1960 to the present. This, however, is not the
sole focus of the chapter as the social, political
and economic climate of the period, culture
and context are prevalent in understanding the
meaning of the covers. Other critical factors in
understanding the creation of the covers are why
the designers created them and understanding
the message of the musicians. In the book,
Looking Closer, authors Tibor Kalman, J. Abbott
Miller, and Karrie Jacobs (1994, 26) discuss in
the essay entitled Good History/Bad Design, that,
‘Visual literacy is important, but it isn’t everything.’
If the context of the artwork is not taken into
consideration then the visuals are merely an
exercise in style. Stefan Sagmeister (2012, 380)
stated this idea, simply as, ‘Style=fart’.
The visual aesthetic of an album cover can
represent the mood and movements of society
in a specific era. Album covers represent a lens in
which to see the society of the time. To evaluate
and understand graphic design and art direction
from 1960 to the present we must understand
the time period the artwork was created. Kalman,
Miller and Jacobs (1994, 27) stated, ‘...Each
[designed] artifact marks more than a place in
the progression of artistic sensibility. Each also
speaks eloquently of it’s social history... Our
aesthetic standards are different from these
of the past. What looks cool to us today may
have been embarrassing, regressive, offensive or
just run-of-the-mill in it’s own day. To look at an
artifact without knowing what they were in their
own time is to look into a vacuum.’ This quote
argues the importance of the artifact or in other
words, a record cover’s history. Graphic design
and art direction is directly affected by the
world around us, as it is a medium of expression.
The record covers that will be discussed
are record covers that are deemed important.
Important, meaning that they were significantly
popular in their society of their era and therefore
influential records of their time. These influential
records were recorded with musicians whom
are still significant today and have become iconic.
Many of the designers and musicians discussed
from past decades can still be seen in our visual
pop culture world today due to their importance.
These graphic designers and art director’s
visual landscape from previous eras are not
only reflected in their record covers but other
industries outside of the mainstream music
industry such as fashion, technological goods,
automobiles and many more. An example of
this is Peter Saville’s work for Joy Division and
New Order’s record artwork manifesting from
a music cover onto catwalks and car adverts.
19

Peter Blake, Sources of Pop Art V, 2007, Silkscreen Print, 505 x 505mm, England

CHAPTER 1
THE 1960S
The ‘60s had a generation of baby boomers
from the Post-World War II era who weren’t
burdened with the fear and struggle of war. The
youth of the 1960s had more freedom than their
previous generations.
The most well known societal changes in the
‘60s were the increase in use of recreational drugs
such as marijuana and hallucinogenic drugs like
LSD. Other important changes include the rise
in feminism seen with the mini skirt, and the
legalisation of the contraceptive pill for women
in the US. These changes directly affected the
graphic designers and art directors’ creative
output at that time which is reflected in
psychedelic art and pop art movements.
The swinging sixties was where the boom
in pop culture branding for pop musicians
began. Stephen Heller and Véronique
Vienne (2012, 202) describe in their book,
100 Ideas that Changed Graphic Design, that
the 1950’s and 1960’s were a time of, ‘creatively,
progressive rock LP’s that exploded with
unconventional covers. These covers emerged
from a younger generation of art directors and
design innovators.’ With changes in society and
a more progressive youth, this made way for
changes in artist expression. This can be described
in the book, Icons, Classic Rock Covers (2004, 72),
‘There was a full-tilt war between adolescence
|and age – it was US against THEM. US had long
hair, free love and expanded consciousness, new
highs, new lows, new clothes and new music.
THEM were stunting, straight, selfish, archaic
and imperialistic. All this was communicated
through the expanding music scene.’ Some of
the most iconic pop culture movements in the
mainstream music industry were discovered or
developed from the 1960’s onwards, such as
rock’n’roll, the hippy-folk movement, punk,
disco, electronica and indie, to name a few.
21

Peter Blake, Sgt. Pepper’s Lonely Hearts Club Band, 1967, Lithograph On Paper & Card, 12” X 12”, England

CHAPTER 1
THE BEATLES
Andy Warhol and Peter Blake were at the
fore front of the art world. They are both
well known for their pop art style work. This
art movement influenced many record covers
in the 1960’s. The Beatles were part of the British
Invasion that hit the USA in the ‘60s. The music
invasion also included The Kinks, The Rolling
Stones and The Animals. The Beatles channelled
the vibrant colour palettes and psychedelic feel
of the ‘60s with their record cover Sgt. Pepper’s
Lonely Hearts Club Band, released in 1967.
Sgt. Pepper’s Lonely Hearts Club Band record
by The Beatles is one of their most well-known
and influential albums. Steven Heller (2010, 59)
described Sgt. Pepper’s Lonely Hearts Club
Band cover in his book, POP, How Graphic Design
Shapes Popular Culture, as an album that, ‘forever
altered content and style of rock and pop music’,
and commended The Beatles record cover as a,
‘break through that launched an extremely popular
trend in “concept cover” art.’ 7 This LP record was
an ambitious project as it was an elaborate stage
set up with acclaimed English pop art artist Peter
Blake. Heller (2010, 61) in the book, POP, How
Graphic Design Shapes Popular Culture stated it
was, ‘...more costly than most of the time period.’
Conceptual cover art was uncommon in the
1960’s and became more widely used in the
1970’s. Graphic Design, A History, by Stephen
J.Eskilson (2012, 380) states, ‘While all design
has a conceptual component, some practitioners
in recent years have brought the “brain aided”
element more to the fore.’ Before the ‘60s, album
covers usually depicted the artist presented in
a pleasant pose with the title of the album or
single with clearly displayed typography. An
example of this is Doris Day’s Day by Day record.
Designer Storm Thorgerson and illustrator
George Hardie worked together at design studio,
Hipgnosis. They created the iconic conceptual
record artwork for Pink Floyd, Dark Side of
the Moon. Dark Side of the Moon is an abstract
depiction of what Theosgen (2011) describes
as, ‘…a symbol of thought and ambition, [that]
was very much a subject of Roger’s lyrics.’
This cover was completely different from the
norm of the ‘50s record covers. The cover had
no clear typographic signatures of the band and
no imagery of the band members. This abstract
and elusive treatment of record cover was soon
to become more popular. Thorgerson created
many other thought provoking and surrealistic
covers for progressive-rock band, Pink Floyd.
Some of the other covers included, Wish You
Were Here and Relics.
23

Storm Thogerson, Pink Floyd, Dark Side of the Moon, 1973, Cardboard, 12” x 12”, London
24

Unknown, Doris Day, Day by Day, 1956, Cardboard, 12” x 12”, New York
25

Finlay Cowan and Storm Thogerson, Pink Floyd “Back” Catalogue Poster, 1997, Paper, 594 x 841mm, London
26

27

Jamie Reid, Sex Pistols, God Save the Queen, 1977, Card, 7” x 7”, England

CHAPTER 1
THE 1970S & THE SEX PISTOLS
The Post-World War II party was over in the
‘70s and society had a more financially difficult
time. The ‘70s saw an emerging array of exciting
new genres of music such as disco, funk, smooth
jazz and punk rock.
Punk was created as a response to the hedonist
ideologies of the ‘60s. The most evocative punk
band of the ‘70s, were the Sex Pistols. The Sex
Pistols (2012) stated that they were ‘Disillusioned
by the bloated progressive-rock and hippie music
scene of the time.’ Their most well-known singles
were, Anarchy in the UK and God Save the Queen
and their only album, Never Mind The Bollocks.
The British artist, Jamie Reed, designed these
record covers. Reid’s photomontages and
energetic work echoed the Sex Pistols anger,
anti-establishment beliefs and do it yourself
attitude. Jon Savage (Poynor, 2016) is quoted
in the Design Observer article, stating that
punk montage is ‘in the act of dismembering
and reassembling the very images that were
supposed to keep you down and ignorant, it
was possible to counteract the violence of the
spectacle and to refashion the world around you.’
Savages statement echoes the atmosphere and
spirit of the punk movement and reasoning
behind the graphic design response during the
‘70s. The punk photomontages are similar to
that of the Russian photomontages in the
1920s by artists like Vladimir Mayakovsky.
In the book, Graphic Design, A History author
Stephen J. Eskilson (2012, 196) stated ‘In Russia,
it was hoped that the startling juxtapositions of
photomontage could result in works that disrupted
the conventional passive reception of photographs
and unleashed the revolutionary potential of
modern images.’ This is relatable to Reid’s work
as his work was a juxtaposition to the formal and
respectable images of Queen Elizabeth II, this
treatment of a British Royal was uncommonly
seen before and caused outrage with the general
public. The Sex Pistols (2012) stated, ‘No one had
ever spoken up so publicly about them. The nation
was up in arms.’ The best example of this would
be Reid’s record artwork for God Save the Queen.
Jamie Reid was not the sole architect of the
punk visual style but he is most well-known and
important in establishing punk’s visual identity
and defining an era. Reid’s style of artwork is
known worldwide. His style of artwork was
organically grown from the Punk music genre
and is still a visual trend used today.
29

Jamie Reid, Sex Pistols, Never Mind the Bollocks, 1977, Card, 12” x 12”, England

Jamie Reid, Anarchy in the U.K. fanzine, 1976, Paper, 210 x 297mm, England

THE 1980S
Stefan Sagmeister became a critically acclaimed
graphic designer for his work during the 1980s.
Sagmeister has created many distinct record covers
throughout his career to the present day. Many of
the record covers Sagmeister designed have been
innovative, experimental, playful packaging, mostly
involving illusion with Compact Disc (CD) cases.
Sagmeister welcomed the new 5” CD packaging
during the ‘80s. Peter Hall (2009, 136) the writer
of Sagmeister’s book, Made You Look, states, the
CD covers ‘offered a new play found for optical
trickery and invention... it offered the interplay
of moving surfaces and materials.’ These methods
of playful design were unusual as beforehand
the designer commonly designed for cardboard
LP format rather than smaller plastic jewel cases.
Stefan Sagmeister (2009, 135) describes using the
cases, ‘It has a book-like element, and its ins and
outs can be a lot more surprising than pulling out
a big old record out. It becomes a toy you want to
cherish.’ An example of his use of playful packaging
was for the band H.P Zinker with their record
Mountains of Madness. Where Sagmeister played
with 3D illusions for this cover.
Sagmeister is most famous for his work with
Lou Reed and Reed’s iconic album, Set the
Twilight Reeling. Peter Hall (2009, 228) describes
the typographic tattoo-esque treatment of the
cover as ‘…effectively conveying the personal,
confessional nature of the songs on the album.’
32

Stefan Sagmeister, Lou Reed, Set the Twilight Reeling Poster, 1996, Paper, 420 x 594mm, New York

Frank Olinsky, MTV Logo, 1981, Digital, New York

CHAPTER 1
VIDEO KILLED THE RADIO STAR
The 1980s saw the rise of
pop stars like Madonna,
Grace Jones, Adam Ant and
many more. Many of whom
were fixtures on MTV. The
medium of moving image for
their records added a new
dimension to their identity.
MTV was a simple concept
to showcase pop culture
music videos on television,
encompassed in their simple
acronym – Music Television.
This American television
channel increased the amount
of music videos being made
and the pressure for musical
artists to keep up with the
trends of the youth. MTV was
a way for musicians’ to engage
with their audience and create
a larger audience through a
more intense visual platform.
MTV wanted ‘…a unique hip
design identity.’ (Eskilson, 2012,
384) This came in the form of
their interchangeable logo by
Frank Olinsky of Manhattan
Design in 1981.
MTV was a technological
advancement of its time and
understood that it needed to
stay relevant in popular culture
to stay alive. They used young
designers to keep their young
demographic engaged with
their product. MTV have a
history of hiring young
designers straight out of
university in New York City.
Eskilson (2012, 384) states,
‘…MTV have so effectively
absorbed and marketed the
counter culture impulse of the
young, designers who want to
stay on the fringe such as Earls
or Sagmeister, have to go to
greater extremes in order to
maintain some sort of
non-commercial credibility.’
MTV relay on trends to win
over their young audience
rather than highly conceptual
ideas however their approach
may not be completely in vain
as they are nurturing a young
generation of ‘radical designers’
to have a more experimental
graphic design outcome.
This allows the designers to
challenge the visual norms
within the mainstream
music industry.
35

Kirk Weddle, Nirvana, Nevermind, 1991, Photography, US

CHAPTER 1
THE ‘90S TO NOW
The ‘90s saw the rise of grunge rock bands
such as; Nirvana, who defined a generation
with their anti-capitalism ideologies like that of
the punk movement in the 1970s. They rejected
the flamboyance and excess of the 80s preferring
a dishevelled and ‘rawer’ identity to emphasis
their political and socio-economic status. This
anti-capitalism view is distilled in their iconic
cover, Nevermind.
The distribution of music has greatly changed
from 1990s to now. There are different types
of distribution networks and forms that music
packaging takes. Most record covers are now
digitally uploaded and streamed online. This
means that the 12” vinyls, cassette tapes and
CD jewel cases have been shrunk into small,
square pixels to be seen on a smartphone and
other digital interfaces. There is an increased
importance on the musician’s identity and their
use of social media to express the musical content
rather than a vinyl record, cassette tape or CD.
Peter Saville (2003, 496) states that ‘...[graphic
design is] the interface of today’s social and
cultural change, graphic design will continue to
evolve as a reflection of the needs and values
of it’s audience and it’s practitioners.’
Designers who have lived through these changes
in graphic design and art direction are championing
them. Such as designers like Jonathan Barnbrook.
Barnbrook most notably designed the most recent
of David Bowie’s record covers. The record cover,
The Next Day with a monochrome colour palette
and layout for the CD case and printed advertising
allowed the public to play with their own versions
of the record cover.
Barnbrook challenged and grew the same idea
with the last Bowie cover, Blackstar. The simple
black star artwork forms a pattern and language
have been released by Jonathan Barnbrook
and Bowie under the Creative Commons Non
Commercial Share Alike licence. Meaning that
they are accessible to the masses to reproduce
and will become affiliated with the Bowie brand
identity due to the accessibility and meaning
behind the album artwork. This record cover will
be iconic and significant for many decades in the
future due to the success of the collaboration
between musician and designer.
37

Jonathan Barnbrook, David Bowie, Blackstar, 2016, Digital, England

Jonathan Barnbrook, David Bowie, The Next Day, 2013, Digital, England

CHAPTER 2
HOW HAVE THE RECORD COVERS
BECOME ICONIC?
For a record to become iconic it needs to have the right
combination of success with the record artwork and
the success of the musician. Over time the graphic style,
the musician and physical record becomes iconography
and inseparable with it’s past. Style is not specifically
timeless but can be nostalgic reminders of the decade.
The importance of a record cover becoming iconic, marks
a prominent moment for graphic design and art direction
in society as it forms the next step for graphic design and
art direction in the mainstream music industry.
Some styles are deemed to be ‘timeless’. Timelessness
is an idea that can be broken in two: context and style.
The context and visuals of the designed object still have
to be prevalence to the society from one era to another.
Timelessness is an equal match of both context and style.
Peter Saville’s graphic design and art direction for
Factory Records has been deemed timeless. Peter Saville
(2003, 223) explains that, ‘I can’t seperate the icon of
Blue Monday from Blue Monday. You could take that
cover and put in an ineffective pop song and it would
still look good, but it wouldn’t be an icon. Blue Monday
is a landmark in pop music. The opportunity is there for
the visual aesthetic to make an imprint upon the mind. If
the music doesn’t open the mind then you’re not making
the imprint, and if the cover isn’t up to much, not much
is imprinted.’ The music and the design of the record
need to be both strong in context for it to become a
timeless record. Saville’s iconic record covers for Joy
Division have been mimicked in car adverts to clothing
and become part of our contemporary pop culture.
43

Left - Right: Peter Saville, New Order, Blue Monday, 1983, Paper, 120 x 120mm, London and
Peter Saville, Joy Division, Unknown Pleasures, 1979, Cardboard, 120 x 120mm, London

45

Richard Hamilton, The Beatles, The White Album, 1968, Cardboard, 12” x 12”, London

CHAPTER 2
TRENDS
Each decade between 1960 to the present can
be stylised into one popular trend of the era.
Heller and Vienne (2012, 160) liken graphic design
to fashion. They believe they have ‘one thing in
common: they are ephemeral art forms. Both
disciplines create artifacts that are transient,
even though... some can become treasured
classics’. The ‘60s had the hippies and rock’n’roll;
the ‘70s had disco, punk and glam rock; the ‘80s
had new wave and new romantics, ‘90s grunge.
Heller and Vienne (2012, 160) go on to state ‘…
fashion and graphic design trends are periodically
rediscovered, their revival often as much of a
cultural event as the original introduction... the
nostalgic fads are good indicators of what excites
new generations.’ Many styles are recycled and
adapted into new graphic styles. An example
of this is David Carson reusing aspects of the
Dada movement to form his own style with
grunge typography and experimental layouts.
Jonathan Barnbrook deems The White Album,
by The Beatles and the record cover design by
Richard Hamliton in 1968 to be an important
record cover. Barnbrook (2016) states that:
Once you understand the context, it gets
really interesting. We think of design as
for the present moment, but while music
doesn’t change, people’s feelings and
relations to it do. So the sleeve becomes
a reflection of that. It placed an avantgarde
idea into the mainstream – the cover
is a blank space on which you can project
your fantasies. A few years ago, this guy
had a record shop selling nothing but old
copies of the White Album. People had
drawn on them, made coffee cup rings
on them…and each one was different,
because it had lived a life. On the vinyl
edition of Blackstar, you can see the
record and, over time, watch it decay.
It’s trying to say: “That’s reality.”
Barnbrook understands the changes that the
record cover will travel through. Heller (2010,
286)in his book, POP, How Pop Culture Shapes
Graphic Design discusses how music and record
covers can spark an idea or memory ‘…that
every generation has some definitive object that
triggers memories – some of these are visual,
others visual and oral’. Pop culture record cover
packaging can give a person or audience a
moment of nostalgia.
47

CHAPTER 3

BRANDING THE INDIVIDUAL
The branding of a pop culture musician(s) has
become increasingly more prevalent from the
1960s in society, which is therefore reflected into
many aspects of graphic design and art direction.
The designer’s role has expanded from a designer
of objects to a designer of experiences.
The designer’s role has expanded because
musicians have become a covet-able symbol of
the freedom of expression and wealth. Branding
has expanded from mark-making and semiotics
to the idea that the brand is a liveable thing and
lifestyle choice. This includes user experience
and interaction. The musician’s fans want to
inhabit their life. The normal person on the street
wants to walk in the musicians branded shoes
and live a life like theirs. This can be witnessed
with the increase in celebrities using socialising
apps such as Snapchat and Instagram stories and
also through live broadcasting on platforms like
Facebook. This gives the audience a direct and
frequent glimpse into the life or branded world
of the musician.
Graphic designers have moved on from
designing a logo for a letterhead and business
card. Designers are now expected to use their
skills to develop the on going identity of a client.
Branded items include: apps; mobile games;
blogs; clothing ranges; food packaging; perfumes;
to emulate the musicians own brand of lifestyle.
Design studio Typhoon (2003, 580) believe that
the brand will develop further, they stated
‘The role of the graphic designer will become
more important as a cultural medium and graphic
designers will find themselves in high demand...
Graphic design will be used as a sensory medium
which cannot be described as a verbal language,
or as an entertainment tool.’ Branding will carry
on developing with technological advancements
in society and changing consumer trends.
However before the daily use and invention
of social media, a rebellious and outspoken
artist was the late, Prince or the Artist formally
known as Prince. Prince changed his name to the
Love Symbol in 1993. This logo was a combination
of the universal symbols for male and female.
This name change was due to legal disagreements
with his record company Warner Bros. over the
ownership of the name Prince. At the time this
was very controversial. The Artist formally known
as Prince used technological advancements and
graphic design to benefit and utilise his freedom
over his own brand identity. In a BBC article,
Why did Prince change his name to a symbol?, by
writer Jessica Lussenhop (2016) ‘Prince produced
music on his own independent label, he bundled
exclusive LPs [long-playing vinyls] with concert
tickets and newspapers. He became one of the
first artists to sell an album online, and won a
Webby Lifetime Achievement award for
“visionary use of the Internet to distribute music.”
50

Mitch Monson and Lizz Luce, Prince, The Love Symbol, 1992, Digital, Minnesota

Alexander McQueen, Björk, Homogenic, 1997, Photography, London

CHAPTER 3
Another example of a contemporary artist
pushing boundaries is, Björk. Björk has been
at the forefront for music visualisation and has
experimented in a sensory domain to express
her music outside of a 7” vinyl square record
cover or a music video. Björk has created full
immersive experiences for the audience. Björk
|uses mediums such as moving images, animation
and virtual reality. Creative Director, Rochelle
Nembhard (2016) stated that Björk’s album cover,
Homogenic designed by Alexander McQueen
‘…[shows all] aspects of her. The visual aspect
of music, the album cover, is important, because
it is a picture of the music, depicting the sound.
It should be so much more than just a onedimensional
image – it has to be the face of
the music. ’ One of the designers to help Björk
fortify her identity has been M/M Paris, they
have forged a strong individual image for the
Björk brand while working with Björk over
15 years. One half of M/M Paris design studio,
Mathias Augustyniak (2016) discusses their
visual relationship with Björk in an interview
with Dazed magazine. Augustyniak stated,
‘I think in the contemporary world, if you
don’t manage your image then you disappear.’
Augustyniak understands the contemporary
pressures of the visual important for branding a
musician in the mainstream music industry today.
David Bowie had created an elusive catalogue
of stage characters. Bowie was aware of the
changing styles of the eras and how to benefit
from changing style.
53

54

55

CHAPTER 4
WHAT IS THE FUTURE OF GRAPHIC DESIGN & ART
DIRECTION IN THE MAINSTREAM MUSIC INDUSTRY?
The packaging and distributing of music has
massively changed since the 1960’s. Many
of the changes are due to changes in technology.
Much of our music today is streamed through
smartphones and laptops with streaming services
like, Spotify, iTunes, Soundcloud and Tidal. The
IFPI, are a global multi-service, music company.
Some of their services include analysing music
data, researching and reporting music industry
trends. The IFPI (2016) reported, ‘The global
music market achieved a key milestone in 2015
as digital [media] became the primary revenue
stream for recorded music, overtaking sales of
physical formats.’
Stephen Heller (2010, 225) argues that the era
of large LP art is long over and they have been
eclipsed by more sedate, less ornate, minimalist
compositions.’ This can be due to the reduction
in scale of the packaging from LP to CD and
on-screen covers. Vienne and Heller (2012, 178)
argue that digital covers have, ‘become little more
than icons...the album cover is effectively dead.’
Heller (2010, 227) imagines that ‘...music
will never again be packaged with the same
triumphant fanfares of the LP, but that does
not mean graphic representation will cease
to exist. In a world of branding, a logo or icon
is an invaluable mnemonic for any product.
Graphic design continues to complement
and enhance listening.’ Graphic design and
music go hand in hand to merge for an
attractive user experience.
Musician Lou Reed is quoted in Sagmeister’s
book, Made You Look with a similar view to
Heller (2009, 150) ‘I feel that design affords
another avenue into the imaginary field of the
writer’s concerns. Stefan Sagmeister’s graphics
are always blended effortlessly into the totality
of the original concept – his acute wit and style
are a roadmap to the pleasures available to the
viewer/listener.’ Lou Reed is aware of the value
of graphic design and art direction to express his
work as an all rounded package. Music and visuals
are important for the audience. The packaging
may change but the basic principals are the same.
57

A SEA OF INFORMATION
With advances in technology also come
different challenges for designers.
London based design studio, Spin (2003, 520)
argue that with the increase in technological
advances there is therefore an increase of
information so there is greater importance on
context, ‘Your campaign/publication/website
will be ignored if it has nothing to say. There is
so much choice that the quality of the content
has to match the strength of expression to
make an impact. Bells and whistles alone
won’t cut it. As a result good design will be
more influential, impactful and important
than ever.’ Spin have seen the advancements
and changes in technology to be a positive
change for graphic design and art direction,
helping to create better global standards of
design. This therefore creates better visual
adaptations of music as the context is the key
visual problem to solve for the designer and
not simply thinking of how to make the artist
appear cool.
Charlotte and Peter Fiell (2003, 348) agree
with Spin studio, ‘In an ever expanding sea
of information and images the best attention
“snaggers” are those who bait their hooks
with meaningful content, quirky intelligent
humour and/or more rarely, genuinely new
formal inventiveness.’
Andrew Welch, Photography, 6000 × 3376px, 2016, Jackson, US

59

Aspen Plummer, Unknown, Photography, 3456 × 2304px, 2015, Seattle
60

CHAPTER 4
STYLE & DISPOSABILITY
However there needs to be eye-catching
impact for the passer by or the online
‘scroller’. Karen Jacobs (1994, 187) describes
in her essay, Disposability, graphic design, style
and waste that ‘...packaging on a shelf to be like
that of a “fashionable New York City club on a
Saturday night.” She is discussing the impact
of products on a crowded supermarket shelf
however this can be likened to a cluttered CD
rack, shelf of vinyl’s in a music shop or a digital
steaming service. The designer designs mostly
for how it will appear in a crowd, like that of
the people outside Jacobs busy night club.
The music industry is a competitive and fast
paced industry to work within. Jacobs (1994,
187) argues ‘...It’s impossible to look cool under
such circumstances.... as it becomes a cavalcade
of desperate new looks, new shapes and new
material... All of it is about catching your eye.
All of it us about catching your interest.’
Fiell and Fiell (2003, 410) agree with Jacobs,
‘...[graphic design] has become so much part
of the fabric of every-day modern life – from
breakfast cereal packaging and advertising
billboards to logos on clothes and television
identities – that often we register their codes
only on a subconscious level.’ An individual
or musician needs a graphic designer to form
a distinctive visual language from their target
audience to identify.
Karen Jacobs (1994, 186) states, ‘Style is the
most disposable thing there is. Graphic design
is largely used as a way of giving things style. It’s
about cloaking magazines, products... whatever
in newness... the main difference between those
old packages and the ones we have today is style.
Even the difference in the materials is related
as much to style as technology. Technology is
a style.’ We know Jacobs statement, ‘Technology
is style’ to be true as technology does directly
relate to the designers practice.
61

EMBRACING VINTAGE
The most recent revelation for graphic design,
art direction and the music industry is the
movement away from printed packaging and
physical objects and towards digital interfaces
and online steaming services. IPFI (2016) stated
‘Digital revenues now account for 45% of total
revenues, compared to 39% for physical sales.’
and ‘Streaming remains the industry’s fastestgrowing
revenue source. Revenues increased
45.2% to $2.9 Billion (US Dollars) and, over the
five year period up to 2015, have grown more
than four-fold.’ (IPFI, 2016) On the other hand
the music industry has also seen an increase in
vinyl sales. The NME (2016) have stated, ‘The
Recording Industry Association of America
(RIAA) has posted sales of nine million vinyl
albums in the first half of 2015, compared
with 14 million in the whole of 2014.’
Some designers have moved away from computer
and mechanical techniques. A re-emergence of
hand crafting and using traditional tools to design
has increased. Some traditional methods include
sign-painting, letter-pressing and screen printing.
These hand-crafting methods have long been part
of the design world but like vinyl records these
design methods have dramatically decreased due
to increased use of technological advances like
the Macintosh computer. The traditional forms
of visual communication have been used long
before vinyl records ever existed however the
interest is that some designers are actively
disregarding or reducing their use of digital tools
such as the InDesign, Photoshop and Illustrator.
Well-known designers celebrating hand crafted
processes are Gemma O’Brein, Jessica Hische
and the design studio, Snask. These individuals
have decided to craft typography with some
traditional methods such as drawing, painting
and making instead of solely using digital means
to create the artworks.
Why has there been a rejection of technology?
David Crow (2016) head of design, Manchester
Metropolitan University stated in Eye magazine
‘Artists and designers have always approached
technology with this eye for the accidental:
witness Vaughan Oliver’s creative play with
photo-mechanical transfer camera and old
chemicals.’ Some designers are now removing
themselves from the technological, mechanical
process of graphic design and art direction by
hand crafting their designs. The new generation
of designers today are more conscious of new
technologies influencing their work. Society
today are bombarded with visual communication
in the form of smart phones and digital interfaces.
Gemma O’Brien, Volcom Art Loft, Painted Mural, 2014, Sydney
62

Snask, Attention Craft Poster, Paper, 594 x 841mm, 2014, Sweden

CHAPTER 4
Chalotte and Peter Fiell (2003, 287) discuss in
their book, Graphic Design for the 21st Century,
the importance of technology within graphic
design. They said that, ‘graphic design has
undergone a momentous change as pixels
have became a handy substitute for print
and software has lessened the professional’s
reliance on traditional tools of pen and paper
... In no other discipline of design has computer
technology had such a transforming impact.’
Graphic designer, Vince Frost (2003, 287)
is quoted within their book stating, ‘Today...
our high tech, busy lives mean designers are
spending more and more time in front of a
computer screen. In this sense, there is very
little difference between a bank and a design
studio. What use to be a physically creative
process has become automated to such
a degree.’
Jessica Walsh (2016) believes in the design
philosophy, that it is ‘important to integrate
play into your life.’ Meaning that removing
yourself from your technological vice can
help your creative work ‘...create through
play [craft] to allow space for experimentation
and new discoveries to form break through
with innovation and it stops you from
regurgitating old styles and techniques that
worked for us in the past. By playing we
can constantly be making new work.’ (2016)
It is unfair to argue that rejecting new
technology is the future for graphic design
and art direction for the music industry. Other
designers are embracing new technologies to
brand and advertise within the music industry.
This type of work can be seen with design
studio, Reed & Radar’s work for the VMA
Awards with the award host Miley Ray Cyrus.
This studio continually use new technologies
and experiment with moving image and virtual
reality (VR). The television advertisements
they created for the VMA Awards with Cyrus,
involved the duo creating a virtual world based
on a similar visual style to retro arcade games.
Traditional tools and new technologies are two
different approaches to graphic design and art
direction however both are a promising way
forward and can work hand-in-hand to create
new and innovative visual styles in the future
within the music industry.
65

Andrew Welch, Photography, 6000 × 3376px, 2016, Jackson, US

CHAPTER 4
D.I.Y. CULTURE
Aspiring musicians today have utilised the hand
crafted styles and new technologies to benefit
themselves. These musicians have never been more
equip in starting their own music career without the
help from a record label. Most of the tools they can
use are now free online.
Designers like musicians now have the ability to
use a grassroots ethos similar to that of punk rocks’
do it yourself (D.I.Y.) attitude in the 1970’s. There
are an array of online platforms for an individual to
promote themselves and to connect to an audience.
Examples of digital sharing include social media
(Facebook, Instagram, Twitter) to sharing videos
(Youtube, Vevo, Vimeo) and sharing record covers
and music through steaming services and online
music shops such as Soundcloud, Spotify, Amazon
and iTunes. On the other hand, the starling reality
for a signed recording artist to become a well
established brand in the UK music industry, they
would need a substantial investment from a record
company of $50,000 to $2 million (US Dollars) and
upwards. Some of these costs would include running
costs and advertising and branding in the current
design and music industry climate. (IPFI, 2016)
67

CONCLUSION
Throughout this dissertation there has been an emphasis
on style. Style is not specifically timeless but can be iconic.
Style is a key identifier of the time period and of what society
was in that moment of history. Graphic design and art
direction are directly affected by society and therefore are
part of the ephemeral style chain. Designers use their visual
environment and client objectives to form visual solutions to
the client’s problems; the product formed then becomes an
artifact in
our society. Designers create an integral part of our visual
language and our visual world. These artifacts or record
covers then move into and become part of our identity.
The mainstream music industry consumer and society are
visually projected with their own society values and cultural,
social, economic, political issues and the world they live in.
Therefore record covers are a response piece to the cultural,
social, economic, political issues of that time and become
pop culture relics.
Record covers may not be distributed and packaged the same
as they were in the pre-digital era but the future of graphic
design and art direction in the mainstream music industry
are looking very positive as streaming sales have increased.
Designer Storm Thorgerson is quoted in Heller’s book POP,
How Graphic Design Shapes Pop Culture. Thorgerson (2010,
227) states ‘So long as visual material is welcomed alongside
music, they’ll always be opportunities for designers to produce
music packaging, no matter the format, and no matter the
size.’ Regardless of technological advancements and changes
in society, graphic design and art direction will adapt.
Clem Onojeghuo, Photography, 5400 × 3696px, 2016, London
68

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= Le design graphique au 21e siécle: 100 of the world’s best graphic designers. p410, Ko¨ln: Taschen
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BIBLIOGRAPHY
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on graphic design. New York: Allworth
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com/feature/article/magic-box-craft-and-the-computer. [Accessed: 11th January 2017]
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74

BIOLIOGRAPHY
• Kane A. (2016) M/M Paris on 15 years with Björk, [Online] Available http://www.dazeddigital.com/
artsandculture/article/23875/1/m-m-paris-on-15-years-with-bjork. [Accessed: 11th January 2017]
• Lydon J., Matlock G., Jones S. and Cook P. (2012) Sex Pistols Biography [Online] Available: http://
www.sexpistolsofficial.com/bio/. [Accessed: 11th January 2017]
• Lussenhop J. (2016) Why did Prince change his name to a symbol?, [Online] Available: http://www.
bbc.co.uk/news/magazine-36107590. [Accessed: 11th January 2017]
• Poynor R. (2016) The Art of Punk and the Punk Aesthetic, [Online]
Available: http://designobserver.com/feature/the-art-of-punk-and-the-punk-aesthetic/36708/.
[Accessed: 11th January 2017]
• Simpson D. and Barnbrook J. (2016) The Greatest Record Sleeves – as chosen by designers,
[Online] Available: https://www.theguardian.com/artanddesign/2016/sep/22/the-greatestrecord-sleeves-as-chosen-by-the-designers.
[Accessed: 11th January 2017]
• Simpson D. and Nembhard R. The Greatest Record Sleeves – as chosen by designers, [Online]
Available: https://www.theguardian.com/artanddesign/2016/sep/22/the-greatest-record-sleevesas-chosen-by-the-designers.
[Accessed: 11th January 2017]
• Thorgerson S. and Hiatt B. (2011) How I designed the cover of Dark Side of the Moon, [Online]
Available: http://www.rollingstone.com/music/news/storm-thorgerson-how-i-designed-the-coverof-dark-side-of-the-moon-20110928.
[Accessed: 11th January 2017]
VIDEOS
• Jessica Walsh: Alles is Play! (2016) The Next Web, 28 May [Online] Available:
https://www.youtube.com/watch?v=1HXnu-Gom34 [Accessed: 10th January 2017]
75