- Paperback: 144 pages
- Publisher: Laurence King Publishing (17 May 1999)
- Language English
- ISBN-10: 1856691640
- ISBN-13: 978-1856691642
- Product Dimensions: 28 x 24 x 1.8 cm
- Average Customer Review: 4.3 out of 5 stars See all reviews (3 customer reviews)
- Amazon Bestsellers Rank: 1,031,916 in Books (See Top 100 in Books)
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Product Description
Product Description
"Sampler" documents the best graphic design from the contemporary music scene, one of the principal arenas of experimental graphic design. Designers working in music packaging have a freedom rarely found elsewhere: they are the shock troops of modern graphic design. Presenting work produced by the most innovatory of designers, this volume shows how the record industry frequently acts as a conduit for radical visual experimentation. In addition to recent CD covers from leading record labels, the book shows packaging that rarely travels beyond the confines of the record industry: the deluxe promo formats intended only for radio stations, journalists and the music industry elite; the limited edition hyper-fan-only formats; and the Japanese versions. It argues that the 12-inch vinyl record is far from dead. In contrast to the diminished space of the five-inch CD cover, the large canvas of the 12-inch record sleeve remains an outlet for visual experimentation. Alternatives to the ubiquitous perspex CD case are shown, including work of cult labels who produce mini-LP sleeves stuffed with posters and lavishly designed inserts.
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback
This well-designed paperback provides an overview of the latest in CD design and packaging, with an emphasis on work on English labels. Shaughnessy's introduction provides a brief, but cogent overview of the history of record sleeve design and its various influences. He views music packaging as the only area where graphic arts can flourish and be highly visible, while retaining their artistic integrity (ie. not being subject to the dictates of the product). Similarly, he finds sleeve design to be one of the few areas where graphic designers have traditionally had great freedom of expression--although he notes this is increasingly less the case, with the emergence of multinational media conglomerates and their slavish devotion to the bottom line. Unsurprisingly, he locates the best contemporary work in the realm of independent record labels. Indeed, only the most music-obsessive (think Dick in High Fidelity) will recognize 90% of the pieces collected for display. Personally, the style reflected in the CD sleeve selections is not generally to my liking (with a few big exceptions, such as the Massive Attack items on page 95). The packaging tends to be far more innovative, for example, the Pan-Sonic Arctic Rangers "Self-Assembly Soundscape Set" (pp. 75-76) is a work of genius. All in all, it's definitely worth a look, and the bibliography is especially useful.
Format:Paperback
Who better to talk about contemporary music graphics than Adrian Shaughnessy. He's had articles in Creative Review, Design Week and Eye magazine, and is the creative director at Intro UK. Who produce designs for albums and videos for bands such as Primal Scream, Luke Slater and the Doves.
This book looks at covers that not only serve a purpose, but are original in idea and stimulate the eye. The book also looks at sleeve designs that use the radical freedom of graphic design to the maximum.
This book looks at covers that not only serve a purpose, but are original in idea and stimulate the eye. The book also looks at sleeve designs that use the radical freedom of graphic design to the maximum.
Handy book for designers needing inspiration and for students who want to be the next Peter Saville or Vaughn Oliver.
0 of 1 people found the following review helpful
Format:Paperback
Some months ago in the "Graphics International" the discussion forum, a number of art directors were asked to comment if illustration is declining. One person agreed saying photo is taking the place of illustration. This book is quite an example. Personally I am not that satisfied with the work chosen. They are not that at the graphic edge. I wonder why the editor didn't include more works by the Designers Republic. And the work chosen here are definitely not their best. In the latest issue of the "IDEA"(a Japanese design magazine which I have been subscribed to for some time), there is also a review on the latest experiment on record graphics. Designer Republics' works are included and they are much much much better. However, I have to say the printing of the book is excellent. The photos are very well printed which is not common in graphic design books(except Japanese ones). Very neat book design.
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