Explore the Evocative Nature of Vinyl by Jasmine Hotham

COntents

Introduction 2 Development of Research

Reflection of Visual Outcome

Conclusion

List of Figures 40 Bibliography 42 Appendices 46

Introduction Of late, there has been much

According to Thompson, D, the

traders in record shops around

discussion of the recent resurgence

senior editor of The Atlantic

Portsmouth and Brighton, as

(in the last ten years), of the vinyl

Magazine, digital track sales are

well as individuals who listen

record after a decline over the last

falling at nearly the same rate

to vinyl; reading books and

few decades. The topic is rather

as CD sales, as music fans are

articles as sources of secondary

interesting as to why the format

turning to streaming—on iTunes,

information are other methods

has stayed strong within both the

SoundCloud, Spotify, Pandora,

of researching this topic. A few

design and the music industries.

iHeartRadio, and music blogs.

practitioners to look at that will

We are currently in the “Digital

(Thompson, 2015)

be useful to understand the

Age” wherea the mp3 and digital

design of album covers are Alex

streaming has rivalled that of the

The aim of this report is to

Steinweiss the father of the

Compact Disk; certain terminologies

discover why the LP Record

album cover, Storm Thorgerson

used such as “Compact Disk”

had remained in the shadows,

the designer of the Pink Floyd

and, “Long Playing Record” will be

but recently returned. Some

album covers and Sherry

abbreviated to “CD” and “LP”, due

methodologies which shall

Turkle’s book on Evocative

to ease of use and understanding.

inform the research will take

Objects which will elaborate on

the form of constructing

the evocative natures of records,

interview questions to ask

as objects. This deconstruction

Development of research will allow ideas to form and transform

This reinstates the value of the LP

into a visual outcome. This research is

record as a process of discovering

relevant because of the evidence of

something with cultural significance,

young adults discovering and listening

as well as teaching the market about

to vinyl records. A quote pulled from

the history of design in the music

the article, “Vinyl Revolution: In a

industry. Another aim of this report

Digital Age, The LP Record Makes a

is to answer the question with: why

Comeback”, relays this information.

and how vinyl records are evocative

As the research around this topic began the discovery of one of the first inventions to record and playback sound had been invented by Thomas Edison famous for inventing the lightbulb, who designed the Phonograph; which played

and deconstructing aspects of the “ ‘People have gotten bored of

aesthetics behind them. Is it the

downloading all of a sudden,’ Chris

tactile nature of the record itself or the

Summers, Manager of London's

artwork that makes it so appealing?

Rough Trade Records. ‘Young

Is it in fact both of these which make

listeners crave something new.

the whole experience of listening

To them Vinyl is new.’ ”

evocative? These questions arise as

(Winneker, 2008)

the research begins to take shape.

round, grooved cylinders in the late Nineteenth Century, Figure 1. Endorsement of Thomas Edison’s Phonograph. (2015, July 19).

1877 ('History', n.d.) aptly named“Phonograph Cylinders”.

Figure 2. Captain Scott’s Gramophone. (2014, January 1).

The first design of the Long Playing Record, emerged ten years later along with the Gramophone which was invented by Emile.

It was originally designed

thought of as materialising a

out of a piece of packaging,

The LP record we know today emerged as

“Album cover design offers us pictorial

to play cylinders, influenced

sonic narrative that reaches

followed by placing the

vinyl in the standard form of the 33 rpm

representations of the self-consciously

by the Phonograph, a year

the public in the form of an

medium onto an elaborate

double – sided LP, by Columbia Records

adopted aesthetic values and worldly

later Emile changed the idea

artistic object. Bartmanski

piece of technology, that

in 1948. (Bartmanski and Woodward,

interests of specific, identifiable

and, instead allowed the

goes on to express the

has the ability to playback

2013, p.3) It dominated the trade during

lifestyles, subcultures, urban tribes and

possibility to play flat grooved

artistic and commercial

the sound for entertainment

the 1960s and 70s, that sadly declined in

other self-determined communities”

disks that later evolved into

success of albums and

purposes.

the 80s where the CD took over industry

(Deville, 2003, p.8)

the LP record we know of

suggests the cultural values

standards. Then years later the mp3

today. (History of Recording,

of crafting and receiving the

format dominated the scene with easy

To rephrase, the album cover is a specific

2014). As explained in the

music. He says “It invites one

access to music downloads, with the

aspect in visual form that encourages the

Journal of Consumer Culture,

to ritualise and celebrate

development of the mp3 player and the

identification of a genre, band, group and

(Woodard and Bartmanski,

the act of listening”, which

Apple iPod. However, this being the case

sub cultural styles. It allows us to receive

2013, p.6) the materiality is

suggests that listening to

there is one aspect of the music industry

the character of the music before we

designed for the idea of

records is a ritual. If we think

that has travelled and grown throughout

even hear it. It is like a book cover that

the album as a listening

about it in this sense, it is

the twentieth century which not only

we explore vigorously to determine the

experience; the LP was

the act of taking an object

affected sales of records but also became

themes before we dive into the pages of

an art form itself, the album cover.

imaginative words. It becomes a powerful object, a sign or signifier as De Ville notes

in “Album: Style and Image in

The defacing of Her Majesty,

“Punk is all about speed, that’s why

Sleeve Design” (2003), that the

The Queen of England, is

it is like it is.”

album sleeves focus is on

unthinkable in an Upper Class

(Manager at Dress Code, Albert

the power – and the power to

and sometimes Middle Class

Road Southsea, 2015)

provoke – of startling images.

society. She is a respectful

For example, if we take “The

monarch who has been at the

This conversation with the

Sex Pistols God Save The

head of state since 1952. In 1977

manager at Dress Code, was

Queen” single; immediately

the manager of the Sex Pistols

enlightening as she is a fan of the

the cover evokes a startling

released the single to coincide

Sex Pistols. She also explained

reaction of shock at first then

with the Silver Jubilee. This

that the covers reflected the

perhaps amusement. To the

statement is clearly a rebellion

movement and period of time in

more sophisticated listener,

against the monarchy and

the 1970s.

it may also evoke disgust

politics in Britain. Jamie Reid,

as well as the possibility of

the designer of this cover, and

The connotations that begin to

anger towards the nature of

the majority of the Sex Pistols’

form, elaborate with rebellion but

the design.

album covers, reflect the punk

also reflect a strong statement

era in design style.

in which the term “Anarchy” can

Figure 3. Sex pistols - God Save the Queen Single Cover (1977)

Another example of covers that are well remembered be used; it is the absence of

In the first few pages in his

in popular culture, are

government and absolute

book (Deville, 2003), he explains

the albums designed

freedom of the individual. It

that album sleeve designers

by the designer Storm

could be that this is a political

focussed on using the image

Thorgerson; some of the

statement against politics. So,

as the message and as a

most invigorating of which

this power that Deville speaks

powerful focus. As a result, the

are his Pink Floyd album

of is how a single message

album cover is more powerfully

covers. He uses the image

can change ideas and evoke

inscribed in the memory of

as the source of focus which

a reaction provided that the

popular culture than any other

is memorable to the design

outcome, is used how the

image . Thus, in relation to this

and the music, which the

designer intends.

design, the message is both

cover reflects.

about a rebellion against the monarchy and the government

In figure 4, which has been

as well as configuring a

sourced for this particular

memorable subject.

example, is Pink Floydâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Division Bellâ&#x20AC;? in which, immediately, the mind Figure 4. The Division Bell (Floyd, 2014)

receives an impressive

connotation within the style

it evokes the generalised

changed the experiences

fashions of the day such as war,

Music records started out

of image. The two faces in

feeling of wanting to know

and perceptions of the

dancing, singing and national

in the 1920s that were

the middle of a field appear

more, because the image is

album cover. As mentioned

events etc. All of these had

sold in plain paper sleeves

to be eating the horizon,

so abstract. It is this notion

in the introduction another

covers to reflect and illustrate

with the centre label on

yet they also appear to

which excites the user into

practitioner worth exploring

the scores as well as intensify

the record, being the only

be looking straight at the

listening to the music.

is the inventor of the modern

the experiences. This, in effect,

evident artwork. (DiFonzo,

album cover, Alex Steinweiss,

has a quality that is explored

2004, p.4) Often collections

audience. Their appearance is similar to that of megaliths

The fact that album sleeves

who changed the way

within this topic. De Ville explains

of disks were sold in books.

in Easter Island, known as

and covers are a popular,

we have perceived album

that record companies which

In 1939 Alex Steinweiss, the

Moai (‘Easter Island facts &

evocative piece of design

covers. Although, before

sold and marketed records were

art director of for Columbia

info’, n.d.). The cover is odd,

remains an evident aspect

he re-designed the album

a completely separate business

Records became convinced

strange and abnormal. This

to albums, even with the

cover, sheet music was

from music publishing..

that sales could be improved

could suggest that the music

digital MP3 format and online

published which also had

by adding colour and

is also. These connotations

streaming. This journey

elaborate covers to attract

design to the packaging.

begin to structure the

from the 12” record sleeve

the “music shop browser”

natures of the cover and the

to the 200 pixel by 200 pixel

(Deville, 2003 p.16). The sheet

listening experience. Thus

square on screen has also

music reflected the changing

The article ‘Alex Steinweiss |

Below are sourced examples of his work

greatalbumcovers’ reported

in the form of a case study. As you can

that Steinweiss, revolutionised

see, the chosen images are a combination

how vinyl records were

of typography and colour that represent

packaged and marketed to the

the genre of music. They are vibrant with

public. Not only were Steinweiss'

some dynamic structures that generate

covers genre defining in design,

the concept of excitement through shape

which increased sales, but this

and hierarchical positioning.

revolution spawned an entire

Figure 6 tells a story with the illustrations. It is also quite haunting yet intriguing, acting similar to a book cover. The ghostly figures and the muted colours

new field of illustration and

of the illustrations

graphic design.

emanate the themes of the music. This in

He perfected the styles and

effect suggests that the

techniques used to create

music is haunting, slow,

them, which is a fantastic feat.

moody and possibly emotive. Perhaps something that tells a

Figure 5. Case Study of Alex Steinweiss’ Album Covers [Primary Source]

Figure 6. Peer Gynt Album Cover (‘Alex Steinweiss’, n.d.)

story about love, death

connotations relating

and heartbreak? The

to the style of music

muted colours also

suggesting slow and

perceive a slow calming

long notes that evoke

feel which enables the

emotional feelings.

Record companies

for the artwork to expand

record plays.

“ ‘Perhaps we've come around, [after]

“We find it familiar to consider

realised that the cover

for the artists. This then

This layer of information

getting robbed of that artwork by

objects as useful or aesthetic, as

design could make or

began to create the

is something that you

having it that small on CDs, or buying

necessities or vain indulgences. We

break the sales of an

“experience of looking

cannot gain from the

the iTunes version and just getting

are on less familiar ground when we

album (DiFonzo, 2004, p.5)

and listening that you

mp3 format. The levels of

a little picture of it.... What people are

consider objects as companions to

they became an art form

can't really get from an

information are not there,

saying is, that's not good enough,

our emotional lives or as provocation

in their own right by the

mp3 download” (Dawood,

in comparison. While

that experience is not enough’ – David

for thought. The notion of evocative

1940s. By the 50s and 60s

2015) Michael C. Place,

you do have the artwork,

Jones” (Meuse, 2013).

objects brings together these two

more genres allowed the

commented in Design

which is simple and tells

album cover to define the

Week, that the record

you name of the band, it is

However, the mp3 format is weightless and

inseparability of thought and feeling

differentiations of music

sleeve is a reminder of

not the same experience.

doesn't clutter up your shelves because it

in our relationship to things.” (Beinart,

genres. In the 70s the

the physicality of music.

doesn’t require physical storage. Sites like

Belmonte, & Cevetello, 2007, p.5)

album cover grew into

He also says that it is all

ITunes where you can store the music you

a package, with some

about the ritual of taking

purchase, with the collection becoming a

What this passage, from Sherry Turkle,

form of interactivity that

out the record from the

gallery of visual aesthetics that represent

relates to within this report is the aesthetic

was defined by rock ‘n’ roll

sleeve and placing it on

the band or artist you are listening to.

qualities of the album cover, which became

in the 60s. The gatefold

the turntable, while looking

a necessity within the design and music

became an innovation

over the sleeve as the

industry before the mp3 took over. Even

less familiar ideas, underscoring the

though the designs got smaller with the

The vinyl disk itself has grooves that are read compact disk and the tape, still

This in context explains the vibrant

by the record player

artists and designers followed

colours and psychedelic natures

needle, in order to play

through with certain styles which

that drugs, such as LSD, created and

back sound. The stylus,

defined a band as a brand as well

transformed into the covers and

or needle, is vibrated by

as something iconic which sits in

music genre of “Psychedelia”. Thus

the grooves in the LP

the mind as part of the relationship

spurring another art and design

which in turn moves

to the music. A t-shirt trader in the

movement. Even though this

magnets placed near

streets of Brighton, told me that you

relation is usually directed towards

a coil. The coil in turn

can tell the style of music from the

the cover, it can also be directed to

generates electricity,

cover;

the actual record itself.

which gets amplified

“You can tell the genre of music

into an audio signal.

immediately from the cover, for

(‘Electron Microscope

example when you look at the

Shows How Vinyl LP’s

covers from the 60s, you can tell

Are Played’, 2015) Most

they were on something”

Figure 7 Vinyl Record [Primary Source]

collectors would say that vinyl has

resistant to warping. (Bartmanski

“That combination of the

This relates back to the

will be an interview with

a warmer tone and better sound

and Woodward, 2013, p.7) This two

physical artefact, the music

question of the evocative

a fellow course member,

quality (‘Vinyl records sustain

recorded sides, allow the songs to

and the artwork means

nature and the experience

Dan Bass, who owns a few

cultural significance in digital age’,

carry on to the other side, with the act

that a record just occupies

one can gain with a vinyl

records. The methods that

2013). There are many ranges of

of taking the needle off and flipping

a bigger piece of your

record. It sums up exactly

will be used to produce

vinyl, ranging in RPM (rotations per

the record over enabling one to

memory and experience

what has been discussed

this are using letterpress

minute) and weight (140 grams and

continue playing. It creates a different

than digital music –

in this report and will

experiments and

180 grams). You also have the sizes

atmosphere in comparison to a digital

whether it is the memories

continue to inspire the

photography to integrate

such as 7” and 8” singles, all the way

album. It commands attention and

associated with an old

visual outcome. The visual

and explore the evocative

to 10” and 12” albums. The 33 rpm

sensitises listeners to both the overall

record or the excitement of

outcome in question, needs

natures of vinyl. The target

or 45 rpm record both have two

structure and detail of the record.

playing something brand

to reflect the findings within

audience chosen is record

sides, A and B. (‘Vinyl records sustain

me(Bartmanski and Woodward, 2013,

new.” (Stuart Hammersley,

the report in a justifiable

collectors, listeners and

cultural significance in digital age’,

6). The term “Warping” is when the

creative director, Give Up Art,

way, so for this reason

those just getting started

2013).

record bends or melts out of shape.

Design Week, 2015)

the outcome will take the

with collecting.

Standard pressings are 140 gram,

You can play a mildly warped album

form of a book with self-

yet the heavier pressings such as

and it will just sound a little odd.

produced photography

the 180 gram or 200 and 220 gram

(Perpetua, 2013)

and certain quotes from

records, are more durable and

the research; also included

refLection of the Visual Outcome

As stated previously the use of

This way of working is useful to see

photography will be the main

ideas forming as well as knowing

feature within this outcome. The

where to start in documenting

aim is to capture the details of

them. The annotations surrounding

records in a way that relates back to

the sketches are my ideas that

the exploration of the evocative side

could possibly be developed into a

of them. So the design decisions

visual outcome.

Figure 8

Figure 9

Figure 10

Figure 11

will have to relay this as part of the process of experimentation.

The process began with sketching out possible layouts and titles for the book, as well as working out specific dimensions that could work as possible formats.

Figures 12 and 13 show

I also chose to use “Going Round

exploration with image and

in Circles” as my title, which

typography; the typeface is

was influenced from one of my

to simulate the effects of

meetings with my personal tutor.

woodblock printing. I also

This I thought would allow both

played with the use of a

humour and literal meaning to

curved path, for the typography

the design and content focus.

to focus around the image itself. The format being experimented here is of the 8” x 8” dimensions( the size of a

Figure 12

single). I had the idea to use a 7” format for the content pages inside, so the cover could act as a sleeve.

Figure 13

Figure 15

Figures 14, 15, 16 and 17 are some of the pages from this experiment. I used the same typeface as the cover to see how it would impact on the design. When I discussed this with my supervisor, the feedback became apparent that the format was too small in his opinion, and maybe I should experiment with

Figure 17

the larger format of 12” x 12” (the length of a standard Figure 16

30cm ruler and the size of an LP). I agreed that perhaps it was

Figure 14

restrictive to use the smaller format. Other feedback related to the typeface that was big and clunky and perhaps wasn’t the right choice to use in this situation.

So, with this in mind I chose a different image that depicted the message I wanted to perceive. I also chose a round ended sans serif called â&#x20AC;&#x153;Runawayâ&#x20AC;? which was a free typeface to use. Itâ&#x20AC;&#x2122;s modern and worked seemingly

Figure 19

well for this purpose, compared to other typefaces, which I failed to document in this process. I wanted to use an image that captured the impressive design of the vinyl record. In which I managed to capture this one, while

I asked a two groups I

to think of three words

Figure 19 is derived from

it was playing. I feel it evoked the

am part of on the social

related to Vinyl Records.

a collection of letterpress

movement of rotation with the

media site, Facebook (see

This was really helpful

letters from a workshop I took

gleam of the light on the surface.

appendix A for the full list

in identifying terms

part in for my college course

The grooves were also captured in

of words and screenshots

that I could use within a

in 2012. Having ownership of

a detailed aesthetic, which I thought

of the conversations)

letterpress experiment.

a copy I used these to test

would pose as a suitable cover for

where I asked them

Figure 18

the outcome of a properly

the outcome.

executed experiment.

Figure 22

Figures 20, 21, 22 and 23 Figure 20

are examples of spreads from the mock-up I produced, to see how large the format was. I was impressed with how the images could scale up to allow for more detail to be perceived. I also used the previous experiment of Figure 13, in a couple of these spreads to see Figure 21

placement and how they

Figure 23

could sit in comparison to the image.

At this point, I lost motivation

Figure 27

to design a book. I felt that I didnâ&#x20AC;&#x2122;t have enough content to use and could not see where I could go in terms of direction. I knew I wanted to include the interview I had constructed with my fellow course mate, as well as include quotes and images from Figure 25

my research in the book. Figure 26

This led me away from the computer to compile more letterpress experiments for a series of posters, which showed the details of vinyl and the evocative natures surrounding them. This

Figure 28

process allowed the creative block to dissipate. Figure 24

I gained valuable feedback in a seminar

The following figures are spreads from the

where the use of the poster and the smaller

final design of the book and interview format

format could be used with the larger design.

(see Appendix B for the full interview). The

Therefore using the playful aspects of

book is an edit of that interview in relation

discovery and hidden secrets with vinyl.

to the images used. Using the letterpress

The favour towards Figure 25 was deemed

experiments and blocks of colour to elaborate

positive and I will use this design in my

the vintage nature and to also create

outcome. I think it captures the details of a

meaning to the word. I feel as though my

turntable in incredible detail. I also discovered

design decisions have relayed that, with

that I am capturing the vintage aesthetics of

modern typefaces for the quotes and self-

vinyl records. Which was a happy accident

produced photography.

Figure 31

that I am proud to continue.

Figure 32

Figure 29

Figure 30

Figure 35

Figure 33

Figure 36

The next step is to produce covers for both books as well

Figure 34

as deciding on the packaging for the entire project. I feel as though this aspect should be simple and pay a homage to vinyl records in a way that takes an aesthetic from them. In this case, the gatefold and an ordinary sleeve should be deemed necessary.

Conclusion The process of talking to record shop owners, Dan Bass, researching around the subject and taking photographs of vinyl records has been enlightening. For example: I underestimated the size of a record in comparison to that of a CD. It is so much more impressive. I feel that the research has allowed my outcome to progress in a homage to vinyl; to showcase the beauty of it. The findings with my research of understanding why vinyl has remained popular have also given me more knowledge in this subject. I think the main thing with vinyl is that it is something that has remained successful because of the warmth and tactile design. The materiality of the record is also something to behold. The sheer detail that one can design into the

cover and use the whole format

function in more strenuous detail. With

including the disk itself has also

the time restrictions I felt more pressure

been a main feature of records since

in designing something quickly while

Alex Steinweiss designed the first

also continuing the research. This to me

album cover. It is from this method

is a valuable skill which I have learnt in

of using a format which I have come

continuing to progress with my time

to the conclusion that Vinyl Records

management skills alongside other units.

are incredibly evocative and the that

I have enjoyed the journey from start to

listening experience is something

finish and incredibly pleased with what

which you cannot gain from any

I have managed to produce in the time

other format in music technology.

frame. It is something worth putting in

Thus If more time was allocated I

my portfolio and also a talking point with

believe I could have produced more

everything I have found out. Perhaps one

content and developed the outcome

day Iâ&#x20AC;&#x2122;ll start my own record collection?

further than it is already, perhaps relaying this aspect of format and

List of Figures 5

Figure 1

Endorsement of Thomas Edison’s ‘Phonograph’. (2015). Retrieved 8 October 2015, from http://en.tchaikovsky-research.net/pages/ Endorsement_of_Thomas_Edison’s_%22Phonograph%22

Figure 2

Captain Scott’s Gramophone. (2014). Retrieved 8 October 2015, from http://www.emiarchivetrust.org/captain-scotts-gramophone/

Figure 3

Sex pistols - god save the queen. (1977). Retrieved 1 December 2015, from http://www.discogs.com/Sex-Pistols-God-Save-The-Queen/ release/371676

Figure 4

Floyd, P. (2014). The division bell. Amazon.co.uk: CDs & Vinyl. Retrieved 1 December 2015, from http://www.amazon.co.uk/The-Division-BellPink-Floyd/dp/B000025G7A

Figure 5

Hotham. J. (2015) Case Study of Alex Steinweiss’ Album Covers [Primary Source]

Figure 6

Alex Steinweiss. Retrieved October 13, 2015, from http://www. alexsteinweiss.com/as_index.html

Figure 7

Hotham. J. (2015) Vinyl Record [primary source]

Figures 8 – 11