Artist records - Contemporary Design

Research into existing artist records gave me further insight into a contemporary design. Below are some examples with strong type graphics and shapes as approaches to contemporary record design.

This research has encouraged me to experiment creating my own type. The type will be inspired by the style and background of the pop reggaeton genre.

Jacques Attali

In Context "Jacques Attali's essential argument in Noise: The Political Economy of Music is that music, as a cultural  form, is intimately tied up in the mode of production in  any given society. Attali believes that music has gone through four distinct  cultural stages in its history: Sacrificing, Representing,  Repeating, and a fourth cultural stage which could  roughly be called Post-Repeating. These stages are each linked to a certain "mode of production"; that is to say, each of these stages carries with it a certain set  of technologies for producing,  recording and disseminating music, and also  concomitant cultural structures that allow for music's  transmission and reception. Attali's notion of the Repeating stage  (1900 to 1970s when he wrote the book) is based on his ideas of exchange-time and use-time within music. Attali defines exchange-time as the time spent towards  earning the money needed to purchase a recording,  whereas use time involves he time spent listening to  recordings by the purchaser.  In a society made up of recording labels and radio stations, far more recordings are produced than an  individual can listen to in a lifetime, and in an effort to spend more time in use-time than in exchange-time  people begin to stockpile recordings of what they want to hear. Attali, states that this stockpiling has become the main method of use by consumers, and in doing so, shorter  musical works have been valorised. More importantly, according to Attali, this process of stockpiling removes the social and political power from music (Attali, p.101). In the age of Spotify, Soulseek, torrents and other  digital platforms, in what sense is Attali's judgement true?" Attali's judgement is true to some extent although the stages of production will continue to change and  develop. As technology develops the likes of  Spotify and other music streaming sites and apps reduce the costs and dated need or production.  CD's are dated in modern day and have lost  their appeal when most music now can be  streamed either free or at a lesser cost.

NTS Radio

Research into NTS Radio encouraged me to look into alternative forms of merchandise that can be used to promote music such as, T-shirts and scarfs. Alternative forms of merchandise can work as more effective promotional material. 

NTS radio has a high contrast design concept that works effectively to promote different music genres and upcoming artists. NTS Radio style can be seen to use contrast colour and strong typography.

The basic theme of NTS Radio uses a high contrast monochrome colour scheme. Although some of NTS Radio design use bright colours to create an impact or statement. With grunge style or manipulated graphics. 

Posh Isolation

Posh Isolation encouraged research into independent record labels and have both physical and digital work. Posh Isolation use methods such as collage and photography often with bold type or colour. 

Their designs are abstract and often use shape to visualise the style or concept behind a record or music. Using shape and single colour creates a focal point to the viewer and can be seen as more engaging. 

I will consider how I could experiment with these elements within my own design. It is important to consider the best way to visualise the style and concept behind my chosen genre. 

Physical Releases

Digital Releases

Goaty Tapes

Initially as part of my research I looked at existing cassette and record cover design by Goaty Tapes. Their approach to practical design methods combining print methods with illustration produced some interesting outcomes. 

Combining both practical methods of illustration and print is an approach I'd like to consider using for my own cassette design. The use of single colour and collage techniques are also evident in some of their designs  These other approaches I'd like to experiment with in relation to the theme and style of my selected micro genre Pop Reggaeton. 

Below are some existing Goaty Tape designs which began to spark and generate ideas. The style of Goaty Tapes designs, inspired an alternative mixed media approach to my own working practice. This will be shown through experimentation of my own design process. 

Intentions of Graphic Design Practice

Design can be used to influence users’ behaviour.

Our everyday lives are full of examples of Graphically designed products, systems and environments which have been designed to shape, guide or control and influence our behaviour, using a wide range of techniques: technological, physical or psychological.

Intended commercial benefit is a major reason behind this; intended social benefit can be too. Sometimes the behaviour-shaping is helpful to the user; sometimes it’s serving someone else against the user’s best interests. Sometimes it’s trying to get the user to do something; sometimes it’s trying to stop the user doing something.

The common factor to all of this is intent on the part of the designer involves creating design that’s intended to influence or result in certain user behaviour.

It's Nice That : Despite Intentions Exhibition 

'Despite Intensions is an exhibition documenting the architectural landscape of southern California. The work has been carried out by John Divola and Amir Zaki, colleagues and contemporaries, separated by a generation but both intent on timely excavation of their surroundings. Divola, whose Collapsed Structures have a romantic sort of entropy, presents time as a fictive thing. Zaki, in turn presents so much visual information in one image as to render them too real, symbolic of time as an idea of something more then we’ll ever be able to comprehend, as fiction or otherwise. It runs until October 29 at the Angles Gallery in Los Angeles.'

Formal Language, Visual Communication & Problem Solving

Formal Language 

In Graphic Design there must be a good foundation in two-dimensional design and colour. The formal elements used as building blocks of two-dimensional design are:

SHAPE

The general outline of something is a shape, also defined as closed form or a closed path.

Typically defined by line, but can be defined by other formal elements.

Very important when working in Adobe Illustrator.

VALUE

Describes the lightness or darkness of a visual element.

The difference in value between two or more elements is call visual contrast. Visual contrast helps with text being read. Visual contrast can be high or low.

COLOUR

Hue: The name of the colour.

Value: The lightness or darkness of a colour.

Saturation: Brightness or dullness of a colour.

LINE

A line is a mark made by a tool as it is drawn across surface.

The line type or attributes refers to the way it moves from beginning to end. (Straight, curving, or angular.)

Line direction describes a line's relationship to the page. (Horizontal, vertical, or diagonal.)

Line quality refers to how the line is drawn. (Broken, thick, or thin.)
Line 
Shape
Value
Colour
Texture
Space
Format

TEXTURE

The tactile quality of a surface or the representation of such a surface quality is a texture.

Examples:
Business Card
Brochure
Poster
Billboard
Information gathered from:

Positive Space: The area filled by the elements.
Negative Space: The empty area.

Visual Communication

Visual communication focuses on a large number of different methods to get a point across such as Photography, digital design, unique illustrations, presentations, and even animations. Visual communicators are more broadly trained, Graphic designers are not.

Graphic design is limited to the design and development of key graphics for insertion into digital and print media, websites, mobile apps, and more. Together, however, these two types of professionals make it easier to communicate a company’s key points and marketing efforts in a way that is bright, vivid, and graphically appealing, no matter the type of media or context to which design is being used. 

Problem Solving

Designers are creative problem solvers.

As a designer I believe that it’s important to understand that design and problem solving go hand in hand. Graphic design is about addressing a client’s unique problem with a very specific and effective solution. It’s an iterative process; the result of information gathering, research, strategy, conceptualisation, revision and implementation.

It’s about more than just making it looking good.

Design is not only about producing beautiful work as there is more to it than the visual aesthetics. Designers have a desire to provide a solution to a need, a problem. They’re also curious, observant, willing to listen and continually learn.

There needs to be a rationality behind each design.

Decisions as to design direction must be the result of due diligence on both the part of a designer and client. Recall that design is a process of which a considerable portion is information gathering and research. Therefore, an effective solution requires that significant time be spent attaining as complete an understanding as possible of the client’s aspirations for the project.

Crafting effective, project specific solutions.

Once equipped with the proper information a designer can begin the process of crafting effective, project specific solutions that embrace ideation and innovation.

Current Graphic Design Practices

1. Power of typography.The typography used should emphasise the text and highlight the most important ideas and concepts. Using creative fonts can bring the subject matter to life and increase learner comprehension, but only if it is legible and used in moderation. Consider not using more than two typefaces. Including a wide range of typefaces will only clutter the design, rather than adding to its visual appeal. Make sure the type is kept the size fitting to the body of the text. Headers and sub-headers can be slightly larger to capture attention. Use typefaces that are legible in context. For example, an Arial font is more mobile-friendly than a more elegant font that may not be as legible on a smaller screen.
2. Use colour with caution.Colour has the rare ability to evoke certain emotions and make the reader feel more connected to the subject matter. It is essential to use colour with caution to achieve the desired effect. For instance, if you want to relax your learners before an important exam you would opt for blue instead of red to calm their nerves. Perhaps consider sticking with a colour scheme that involves 2 to 3 colours, any more than that and design can start to look chaotic. In addition, if you are using coloured fonts, try to stick with the same shade for the body text all throughout. Choosing one colour for the headers and another for the sub-headers can help them standout. Last, opt for colours that contrast. For example, you can use a more subdued colour, like soft yellow, and pair it with a dark blue to add depth to design.
3. Successful layout.Though the layout may not be one of the design elements that immediately stands out, it does have a direct impact upon knowledge comprehension and retention. A viewer's eye is naturally going to scan the page from top to bottom and left to right. Therefore, you should place the most important information, such as the key elements near the top and the right-hand side. Placing similar objects or concepts next to one another to emphasise a connection. Using different colours can highlight each group. Important information should never be hidden on the page. Drawing the viewer's eye to the key concepts or ideas can make them the focal point of a design.  
4. Opt for cohesiveness over clutter when choosing visuals.Visuals, such as image, icons, and graphics, boost engagement and make the design more dynamic and exciting. They can also help to illustrate the most important subject matter. When integrating visuals into design, you should always use high quality images. In addition, the images you chosen should relate to the subject matter. If they are only there for their aesthetic value and don’t serve objectives, then it’s best to just omit them entirely. 
5. Leave Negative Space.
   Not every square inch of the page needs to be filled with graphics, text, and buttons. In fact, leaving some white space can actually prevent cognitive overload and improve the visual appeal. When you leave blank space around text or graphic elements a viewer's eye will automatically drift to the information they need to retain. White space works as a frame that draws their attention to the key pieces of knowledge.
6. Know your audience.Every element should cater to the needs of an audience. There should be a keen understanding of who you are designing for. Every image, block of text, and colour you choose for design must benefit the audience. Helping to acquire the information, or else it doesn’t hold a place in design layout.

Blank Tape : Electronic Cassette Culture

Experimental avant garde music has always wanted to experiment through alternative mediums such as through peripheral channels. Where in the past often hand painted records where handed out at concerts. Independent labels with creativity instead of money to burn used cassettes as an available alternative which was more affordable and a more immediate medium to release music on. 
In the past DIY cassette culture was originally more centrally based on punk and hip hop culture, electronic music producers are now exploiting the analogue texture of tape for its sonic qualities too. 


- As a format cheap to produce 

- Very popular in experimental music 

- Encourages DIY approach 

- First brought electronic music out in this form 

- As many people buying cassettes now as in 1987

- The system and mechanical aspect has it's own sound 

- Gives a muddiness atmosphere and sense of distortion

- Sounds appreciated more than if it was playing through a computer 

- Tape has a history of interesting packaging 

- Tapes can be turned into small artificials 

- The artwork and printing and production is experimental - great crossover within art forms 

OUGD404 End of Module Evaluation

I enjoyed this module it really helped me gain insight into different approaches within book cover design. It also enabled me to explore new techniques. It also enabled me to research and explore important elements such as grids and colour recorded through a publication. I do believe this module has enabled me to develop and progress through my own work there is notable progress in my design boards and research work. This module also encouraged to exploration of different media approaches through my own image generation using excel and word. 

The briefs set out were relevant and appropriate to develop my skills and improve my design work. I did  well to balance my workload and manage my time, regularly updating my blog with research and reflection on my work. I also had time to design a cover for the Penguin competition.  Although I would of preferred to spend more time on this if it hadn't been for ongoing modules. I was pretty pleased with the end design due to the short time constraints, I think it was successful. Having mini informal crits with my peers really helped my work develop. 

I also think I have fulfilled a good learning potential as I feel my work really progressed during this module. The new image generation and research skills have really helped me to progress on the course. The tutors again gave me great support during this module and couldn’t have been any more helpful. The assessment criteria were clearly explained and explained closer to submission which was a good reminder. The Library and Print resources were very helpful especially during production and printing of the coves. I was able to print the cover spreads on a fibre based paper which was similar to buckram. I thought this material would give a more finished aesthetic rather than matt or silk finished paper. As the fibre textured paper is similar to the material used in bookbinding or buckram. This materials common use is for bookbinding or covers, so gave a nice finish to my designs. This could be put into context by covering copies of the book I have at home with my own designs. 

I spent quite a bit more on printing and materials for this module but found this essential to develop and progress my ideas further. I was pleased with the outcomes for this module as the designs challenge basic book conventions with the visual poetry style consistently across the design. This made the blurb more interesting whilst challenging basic layout conventions. 

Publications Final Critique

Final feedback received acknowledged small improvements I knew I should try and make given I had more time to add final refinements to the finished publication. The feedback highlighted to experiment with a different joining method or if the publication could be made without any joining method at all. 

This was the goal however it did not work with the size and format of the publication. The length of the publication meant it could not be created on a bigger scale meaning there would be no need to join the publication. However, due to the publication being double sided and the concept being a pocket sized map meant a larger scale would not work for this publication. 

It was also noted the relatable objects captured using photography were not well explained in the rationale so this was tweaked and altered. Other positive feedback acknowledged how the map and personal thoughts gave the publication an engaging interaction through narrative and a sense of personality. 

The type kerning was also varied to visualise the distorted range of emotion people experience while lost. The idea of type following a path also works well to harmonise with the rest of the design keeping it consistent, whilst also visualising a journey through the element of type. 

Feedback discussed how the choice of colour created from colour swatches of the original photography also worked well to create consistency within the design. With both some refinements and positive feedback received I have acknowledged how to improve the publication. 

To further improve the publication I will see if I can shrink the map to reduce the size of the publication to avoid joins taking away from the aesthetic of the publication. 

OUGD405 End of Module Evaluation

I enjoyed this module it really helped me gain insight into different approaches within design. It also enabled me to learn new techniques important to consider within production. I do believe this module has enabled me to develop and progress through my own work there is notable progress in my design boards and research work.

The briefs set out were relevant and appropriate to develop my skills and improve my design work. I did reasonably well to balance my workload and manage my time, regularly updating my blog with research and reflection on my work which I aim to maintain throughout all my modules. Although I found the workload and time spent on my work challenging and need to be able to take more breaks between work. Sometimes I push myself too hard because I want to improve and do well. 

I also think I have fulfilled a good learning potential but not necessarily my highest, I still think my work can progress. But my overall learning throughout this module has helped my progression on the course. This includes the new skills I have acquired such as book binding techniques.Feedback I was given was mixed but helpful and really helped my work to progress throughout the module. 

The tutors gave me great support during this module and couldn’t have been any more helpful. The assessment criteria were clearly explained and explained again closer to submission which was helpful. The Library and Print resources were very helpful due to the resources equipment and workshops.

I spent quite a bit more on printing and materials for this module but found this essential to develop and progress my ideas further. The final outcomes for this module ideally I would love to push even further. However, I was reasonably happy with the current outcomes produced.

Publications Critique

Generally before the Crit I knew which publication was strongest in terms of both aesthetic quality and layout. Publication 2 using a concertina layout was more interesting and worked better visually to lay out the idea. Adding a collection of small type describing my thoughts during the journey engages the reader through a sense of narrative and adds an element of humour. The map also works to visualise the journey. 

The handwritten type and small illustrations add to the handmade personal style I wanted the publication to display. The colour choice also harmonises well with the photography as colour swatches where taken from one of my objects (Gromit) this created a harmonious style by creating a sense of consistency.  

Overall the development of this publication showed a huge improvement due to a few minor refinements. This was mainly due to the publication being more engaging, with a stronger narrative and the added sense of humour. 

Further Development since the critique: 

Production - Double sided print template 

Uncomfortable Images Publication Development: 

After feedback I decided the idea of the uncomfortable images publication could also be developed further by pushing the original silhouette concept. Using this broader more subtle approach which creates a sense of intrigue and could be used to provoke more thought. 

Therefore, I created digital silhouettes from the selection of uncomfortable images and took away the original contrast between a comfortable and an uncomfortable comparison. 

This subtle link encouraged the inclusion of type in the form of facts to make an obvious link with more interest and engagement. This meant the idea could be related in context and could be understood in contrast to the abstract approach of the silhouettes. 

Before development:

Digital silhouette template 

Using mixed media approach with coloured paper stock and alternative image transfer techniques using the Photocopier. 

Red coloured back creates a block colour silhouette on better quality paper stock.