Originally, I intended to use a typical square layout like many designers and brands. I think this is beneficial for easy presentation in mainstream retailers like HMV and Virgin.
As a genre-blending band, As. focuses on a niche market and draws inspiration from various genres like experimental, folk, country, and electronica. Consequently, it was decided that their music would primarily be distributed through independent retailers like The Chain With No Name. To complement this decision, I chose to design the packaging in a more daring way by using a gatefold rectangle rather than the conventional square. To kickstart my research, I embarked on a thorough exploration of album designs spanning a wide range of genres.
The purpose of this research was to explore the wide range of design options available and examine possible connections between designs, musical content, and target a
...udience. I also conducted additional research by examining the shelves of HMV, perusing websites like Amazon.com, and reading books such as '100 Greatest Album Covers' by Storm Thorgsen and 'Greatest Album Covers of All Time' by Grant Scott. Two designers that stood out to me were Hipgnosis and Andy Warhol. I particularly admired the Velvet Underground 'Banana' design created by Warhol, as it effectively combined humor, ambiguity, sexiness, style, and a punk attitude.
The music cover design in the sleeve incorporates a simple and pleasing style that aligns with the target audience's preferences. The production process started with brainstorming ideas for the cover. The band's target audience includes students from year 11 onwards and older buyers of 'Uncut'/'Mojo' magazine who are interested in non-mainstream music not commonly found on charts. Similar demographic bands include Led Zeppelin,
Beck, Wilco, Neil Young, and Four Tet. Analyzing these artists' album covers revealed that featuring their portraits on the cover was not necessary. This may be because they don't rely on their appearance to sell records but it can create an air of mystery which can be a unique selling point. Building on this finding, it was decided to use images resembling those used by Warhol for our cover as it would resonate most with our target audience.
The project made use of a variety of images, such as teddy bears, toothbrushes, fruit, cans of soup/beans, MP3 players, and more. Adobe Photoshop 7 was utilized to manipulate these images. In order to achieve a screen-print appearance similar to Warhol's style, filters were applied to the images. After experimenting with different render, artistic, and blur filters, I ultimately chose the 'color halftone' filter. This particular filter is commonly employed in mass-media printing and imparts a rough yet stylish look to the selected image (a pear).
Originally intending for a gatefold rectangle layout for the project, changes in style during production led me to opt for a square gatefold design instead. The previous design may potentially be released as a special 'digipak' edition in the future.
I believed that creating a distinct product would reduce dependence on mainstream displays for an effective promotional campaign. Throughout the production process, I remained confident that the chosen images would resonate with our target audience and align seamlessly with our band's identity.
After reflecting and discussing with colleagues, I have come to realize that there are a few changes that could be made during the production process. One suggestion is to include the band's name
on the cover. However, given the band's cult status, it was deemed unnecessary as word of mouth and magazine reviews would suffice for advertising the CD. Additionally, I feel that adding a gatefold image of the original on the cover might make it appear cluttered and detract from its impact. Moreover, I strongly believe that producing the 'Pear' illustration in color halftone with low relief would enhance the product's prestige during full production.
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