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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
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Page 5: CONTENT • Illustrations 8 • Abs
Page 9: ILLUSTRATIONS 12. Kirk Weddle, Nirv
Page 15 and 16: CHAPTER 1 IMPORTANT RECORD COVERS F
Page 17 and 18: CHAPTER 1 THE 1960S The ‘60s had
Page 19 and 20: CHAPTER 1 THE BEATLES Andy Warhol a
Page 21 and 22: Unknown, Doris Day, Day by Day, 195
Page 23 and 24: 27
Page 25 and 26: CHAPTER 1 THE 1970S & THE SEX PISTO
Page 27 and 28: Jamie Reid, Anarchy in the U.K. fan
Page 29 and 30: Stefan Sagmeister, Lou Reed, Set th
Page 31 and 32: CHAPTER 1 VIDEO KILLED THE RADIO ST
Page 33 and 34: CHAPTER 1 THE ‘90S TO NOW The ‘
Page 35: Jonathan Barnbrook, David Bowie, Th
Page 40 and 41: Left - Right: Peter Saville, New Or
Page 45 and 46: CHAPTER 3
Page 47 and 48: Mitch Monson and Lizz Luce, Prince,
Page 49 and 50: CHAPTER 3 Another example of a cont
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Page 54 and 55: A SEA OF INFORMATION With advances
Page 56 and 57: Aspen Plummer, Unknown, Photography
Page 58: EMBRACING VINTAGE The most recent r
Page 61 and 62: CHAPTER 4 Chalotte and Peter Fiell
Page 63 and 64: CHAPTER 4 D.I.Y. CULTURE Aspiring m
Page 67 and 68: REFERENCES • Kalman T., Abbott Mi
Page 69 and 70: REFERENCES • Jacobs K. (1994) Loo
Page 71: BIOLIOGRAPHY • Kane A. (2016) M/M

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