Research (3)

Looking at the sales in albums in recent years shows a defined trend in streaming music rather than owning it. With platforms such as Spotify, Apple Music and Google Play,
streaming services have taken hold of the industry once ruled by digital download and physical formats. The graph below shows this increase in streaming, as physical and
downloads decrease. Both these are on the decline, however specific formats such as vinyl have gained popularity in recent years. A 2017 article from The Guardian stated
that vinyl record sales reached a 25-year high the previous year, with LP sales up by 53%. This is believed to have been the result of stores such as HMV taking larger stocks
of vinyls and events such as ‘record store day.’ The death of David Bowie in 2016 appeared to spark sales of his records, making him the most popular vinyl artist of that
year.
The article also stated that there were 45bn audio streams in 2016. Streaming allows for a greater discovery in music which people tend to buy later as to own a physical
and tangible copy. This view is shared by the BPI, which released an article in January 2019 stating that streaming along with physical copy sales were on the rise. An
interview from Ginny Cooper, Co-Chair of BPI’s Classical Committee, reveals: “It is encouraging to see CDs and streams thrive alongside each other…” This may seem
contradictory to the delcining market of physical formats, as shown in the first graph, however they have not dropped as drastically as digital downloads. The BPI also
mentioned, ’collectible CDs and box sets continue to appeal to passionate classical buyers.’ This is backed up with an increase in stores such as VinylMePlease and Rough
Trade, which have begun monthly services that provide the customer with records.
A 2018 article from Vinyl Factory underlines a change in the digital download industry. They analyse music sales in the USA from 2017, where vinyl records and CDs sold
more than digital downloads. According to the Recording Industry Association of America, 65% of the US market was owed to streaming services, being the most popular.
The next most popular was physical format, with a lower yet impressive 17%; it was just above downloads which were 15%. More interestingly were that statistics of the
physical formats. That years vinyl records were on a 10% increase and CDs had actually dropped by 6%.
ALBUM SALES
STREAMING INCREASING

The increase of streaming is also recognised by Music Business Worldwide which, in a 2019 article, it was revealed that
UK consumers spent £1.33bn on recorded music in 2018. These figures mean that there has been an annual increase of
£100m, for the second year in a row. These are from streaming services as statistics from the BPI show the continuous
fall in album sales from physical and digital platforms.
Looking at the biggest selling albums of 2018 it is clear that this desire for tangible items is on the rise. Three of the top
ten albums were movie soundtracks of that year, 'The Greatest Showman', 'Mamma Mia: Here We Go Again' and 'A
Star is Born.' The majority of these albums were also purchased as physical formats rather than digital downloads,
which is the current favourite method.
Currently there is a great market for tangible music records which can be collected and displayed in ways that digital or
streamed music cannot. These digital formats can be shown through user's playlists on platforms such as Spotify,
however there is a greater desire to own something that can be touched, held and arranged on a shelf.
ALBUM SALES
TANGIBLE ITEMS

Album Cover Album Name Year of Release Worldwide Sales UK Sales
Parachutes 2000 8,500,000 2,713,711
A Rush of Blood to the
Head
2002 15,000,000 2,960,000
X&Y 2005 13,000,000 2,790,000

Viva La Vida or Death
and All His Friends
2008 10,000,000 1,500,000
Mylo Xyloto 2011 8,000,000 1,500,000
Ghost Stories 2014 3,700,000 700,000
A Head Full of Dreams 2015 6,000,000 1,200,000

Album Cover Album Name Year of Release Worldwide Sales UK Sales
xx 2009 n/a 565,934
Coexist 2012 n/a 268,381
I See You 2017 n/a 52,148

RECORD SALES
CORRELATION BETWEEN COVER AND SALES
As my project was inspired by the works of Coldplay it would make sense to look at their sales figures and their chart records. Being a very successful band these numbers
will be high but it will help to conclude which albums were more successful and determine if their marketing and therefore their covers had any part of it. I have also
looked at a smaller British band, The xx. Their sales do not extend to overseas as widely as Coldplay so I have excluded them.
Coldplay’s career began in the early 2000s when their debut album reached fame with songs such as ‘Yellow’ and ‘Trouble’, which were released as singles prior. Their
album cover depicts a luminescent globe surrounded in a void of darkness, a fitting image with their mysterious and gentle stripped back sound. It was their musical talent,
however, which lead them to the success of their first album. Come their second album I think this changes. With the band in the public eye expectations for their second
album were going to be high however their art has a part to play. Unlike the first cover which was developed by Tappin Gofton, this one comes from an existing photograph
that had already gained notice when first published in its fashion magazine. AROBTTH gained almost double the sales of Parachutes. If their cover was not a major part of
marketing it was at least a brilliant piece of album art. It is still regarded as one of the greatest contemporary pieces of album art.
Alternatively their album cover may have had the reverse effect with the album Mylo Xyloto. Regarded by critics as more ‘poppy’ than their previous work their cover may
have reflected this and driven away fans of the band. The bright colours had not been seen on this level before on one of their albums, often dark and mysterious, which I
believe to have had a major impact. The new direction of the music is clear when listening, and what with the artwork being made simultaneously with the music in the
studio it has a direct correlation.
I conclude that this is why their sixth album Ghost Stories was such a decline, in terms of sales. Those accustomed to the bright and energetic direction of the previous
album may have felt a step backwards with this album, just when they thought the band weren’t looking back. The album art is brilliant in its own right however it too takes
influences from Coldplay’s previous work which isn’t where the fans expect them to be going. The cover does match the music perfectly, unfortunately this is dark, moody
and sometimes a little dull.
When it came to their latest album, AHFOD, their effort was directed towards brightness and colour. The kaleidoscope of colours refers back to MX which is why I believe
that the numbers start to increase. Obviously this is majorly down to the music, a much more inviting tone and theme. From a marketing view, the cover would stand out
much better than the previous on shelves and digital platforms; attracting the eye immediately. The sales rise back to regular figures for the band: a more noticeable
product sells more.
I have also included The xx because they do not fit this trend. However, their target a very niche audience and clearly they have a set standard of album cover. This does
not differentiate greatly from a large X. By their third album sales have dropped to less than 10% of sales of their debut. I believe that this is because the audience is small
as stated before but one that has been targeted by larger, more successful bands. This is not to say that they are comparable by Coldplay but over a twenty year period
indie music has grown substantially. At the time of their debut album, The xx hit the correct audience at the correct time to gain a wide reception and buried underneath, a
small following.

DEMOGRAPHIC
EXISITNG BANDS
To find a demographic for my project I have looked at existing bands that are successful in either the genre of choice or have directly inspired me. In order to make my
product as successful as possible I must target a specific demographic and implement traits appreciated by them. I have chosen four artists in the indie music genre to give
an overall idea of the product. All these artists began their work within the turn of the century which would give them enough time to produce multiple albums, enough to
create a special anniversary box set, which is what my fictional band will be releasing.
The YouGov profiler provides a detailed overview of the demographics of the bands while enabling me to see related artists and brands. This will give me a detailed insight
into what is needed to produce my work effectively. By first looking at Coldplay their popularity can be seen as 57%, meaning more than half like their work and music. This
is high due to the fame and success as a long-standing band. Evidence of this is seen as the statistics show that 96% of users have heard of them, compared to The xx (at
28%) this is very high. Their demographic seems to be primarily Millennials, just tipping the balance and again women being the primary audience. This would make sense
due to the ‘recent’ formation as a band, within the last twenty years; their success being gained at the beginning of the millennia.
The xx is shadowed by Coldplay, instead of being the second most famous band, they are the 100th. Despite this they are generally liked by those who do know them. With
their debut album being released in 2009, their primary demographic is Millennials. Unlike Coldplay, they are liked equally both male and female listeners. This surprises as
I believe their music would appeal to a primarily female audience. This interests me as I would have expected the reverse from both The xx and Coldplay, a mixed audience
from the widely known indie pop group and a primarily following from the not-as-well-known indie band. This is one of the things that I should keep in mind when
production arrives, that the demographic may not always fit expectations. This thought will need to be relied upon during the designing stage of the album covers.
I then looked at two titans in the indie genre, the Arctic Monkeys and Florence and the Machine. The popularity rates at 93% and 85% which is high amongst artists. Unlike
Coldplay, they both have received lower positive opinion ratings, both lower than 50%, however the genre has a niche following and the music can vary between tastes;
with pop artists this would be much higher. Both with beginnings in the 2000s their audience comprises of Millennials. The Arctic Monkeys have an equal following of male
and female listeners which is understandable regarding their music. Florence and the Machine naturally has a higher female following, being a female artist. This is also
something to consider as bands with female artists may lead to a female following, meaning that the cover art may have to adapt to this.
To conclude I believe that the audience I need to target is undoubtedly Millennials. However, I would argue that I could produce the work for an audience of both female
and male listeners. This would give me plenty of options to explore but would mean that I am not limiting myself to either audience by only using imagery appreciated by
them. Looking at The xx their work is gender neutral, Coldplay also as most of their work is surreal and without context. The Arctic Monkeys primarily use imagery targeted
towards a male audience, a man smoking, the band sitting together in a room. The argument could be made this attracts a female following through a boy-band appeal but
I disagree and remain with my thoughts that this appeals to an indie male audience.

HISTORY OF ALBUM ART
SOMETHING HERE
Cover art as we know it began in 1938 when Columbia Records hired art director Alex Steinweiss. It was only several years prior that records containing artists music were
sold, prior to this records were primarily blank. By the late 40s Steinwiess’ innovation developed into the covers that we see today, colourful paper was being used while
other implemented both existing and original artwork onto their designs.
Owing to this the album cover became a major part of the culture of music, displaying the general ideals, themes, tones and even members of the band. It also became a
major marketing tool. With the introduction of gatefold covers the album became a desirable object as much a book or (although not then) DVD. These were popularised
by The Beatles and The Rolling Stones with their albums, Sgt. Pepper’s Lonely Hearts Club Band and Exile on Main Street. These featured photographs, artwork and lyrics,
something which has been continued today.
12.375in (31.43cm)
12.375in(31.43cm)

ARTWORK COMPARISON
DEBUT ALBUMS
Whatever People Say I Am, That's
What I'm Not
by Arctic Monkeys
1st studio album, released 2006
Definitely Maybe by Oasis
Parachutes by Coldplay
These are completely different albums from different bands. Though they are different in every way to each other they are all debut albums which I believe hold certain characteristics. All
three include the band name which is not normally shown. The Arctic Monkeys album shows a man smoking a cigarette as he looks directly into the camera. This is not member of the band,
but a producer which the band members coaxed into modelling for a photograph. The album is given a grounded and casual appearance. It is a far cry from the work of Pink Floyd, however
this seems to be the message of the image: it is above all that. This suggests, ‘we just make music and this is the image we’re using, we don’t care about fancy covers’ which gives the album a
casual air.
The Oasis cover shows all the band members in various positions around a room, a room filled with random items; a globe lamp shade, a curved mirror, a photo of George Best. According to
the band the room was filled with items significant to each of them. It has a very 'boy band' feel to it that is present in the Arctic Monkey's cover but in a different way. Oasis show a very
Beatles theme, what with everyone standing around with their own personality.
Parachutes shows a spinning globe in a darkened, wooden panelled room. It is an unrelated image but it is one that I feel fits with the style of music, gentle, calming and somewhat
mysterious.

ARTWORK COMPARISON
SIMPLISTIC DESIGN
X & Y by Coldplay
3rd studio album, released 2005
xx by The xx
AM by Arctic Monkeys
5th studio album, released 2013
Despite being their own individual designs, each with their own meanings and signatures of the band, there are some similarities between each of the album covers. The main one is the use
of very few colours, with the exception of the Coldplay album, only two tone are used. This said, even X & Y uses dark colours that resemble the other works.
Another aspect that unites the covers is their unusual designs and visual choices. They may appear a little dull at first but the meaning behind them reveals a deep level of thought. X & Y's
cover actually depicts a code-like language invented for the release of the album and actually blazons the name of the album in the cryptic font. The xx's debut album sports a letter x which
relates to the band name in a similar way that that many debut albums include their band name to gain notoriety. The black and white design can be a little overlooked but it relates to the
style of music which has become a unique sound. Interestingly, Radio X magazine picked up on this and listed their cover in their article, 'Most boring album covers of all time.'
AM is a thought-through name which has several meanings. The first is the initials of the band, Arctic Monkeys. The second refers to radio frequencies which is what the cover appears to tie
into. The pattern is a wave-like shape, though I see this as a pair of eyes or perhaps sunglasses. The latter would tie into their perception of 'coolness' as shown in their debut album's cover
on which a man smokes a cigarette. This wave design is used again in a music video from one of the album's songs.

ARTWORK COMPARISON
COLLAGE/COLOUR
Coexist by The xx
2nd studio album, released 2012
Dig Out Your Soul by Oasis
A Head Full of Dreams by Coldplay
The correlation between these album colours is their use of colour and collage. Interestingly these albums’ predecessors are with little or no colour. The xx and Oasis’ albums both come after
albums which featured black and white cover artwork. The Coldplay album cover did feature colour but it was dull and dark, primarily using cold colours.
The xx have kept their theme of the 'X' however thy have reverted the colour scheme, using white instead of black and a background. In addition to this they have used a spectrum of colour
that streaks across the gap. The pattern resembled the appearance of oil. Upon further notice the colours get darker toward the right side of the image until they fade into black.
The collage design from Oasis and Coldplay give the albums an indie feel to them. They also insight collaboration which appears several times during the Coldplay album. The colours used by
both suggest a psychedelic theme if they don't portray entirely accurate colours. The controlled chaos of the designs make the artwork appear dreamlike, as though dreamt up by the
designer.

ARTWORK COMPARISON
PHOTOGRAPHY
A Rush of Blood to the Head by
Coldplay
2nd studio album, released 2002
Standing on the Shoulders of Giants
by Oasis
Tranquillity Base Hotel & Casino by
Arctic Monkeys
The correlation between each of these album covers is photography. Each of them have stunning photographs that inspire intrigue. Oasis have used New York City as the subject of their
photograph. The point of interest comes from the lighting which blends from daylight to night in a left to right gradient. Photography took place throughout the day at regular intervals to
achieve this, the images blended together later. The effect gives a sense of a state of limbo which the city appears to be in.
The Coldplay album covers comes from a photograph seen in a magazine by the band’s lead singer. The image came from a 3D scan of a face which was thrown into confusion by the model’s
painted face. It produced this distorted reading of a human torso and head, which is partially missing. Upon a white background the piece looks very solitary and unusual.
The third cover is one that is inspired by designs such as the hotel from 2001: A Space Odyssey. It sits upon a tape machine containing an early version of the Arctic Monkeys album.

ARTWORK COMPARISON
PHOTOGRAPHY
Original Pirate Material by The
Streets
How Dare You! by 10cc
Plastic Beach by Gorillaz
3rd studio album, released 2010
Although they are not necessarily related these album covers are some of my favourites. For their visual interest and framing I have chosen these three. The first, the 10cc album is a very
striking album cover which I find fascinating. There is so much being told by the photography, so much for the eye to see at once. This is what makes it so interesting. The framing of the two
people is also significant and the two perspectives is essential to the success of this image.
The Streets' album is also one of my favourite as again it is visual striking. The framing of the image has a major part of it. The way in which the flats border the image perfectly creates an
unnaturally asymmetric image. The soft, warm colours of the oranges and yellows gives it a comforting and inviting appearance. The title of the album and the artist name also sits towards
the bottom left of the page. The album name does not stay within the border and therefore bridges the two elements together.
Plastic Beach uses a similar colour scheme but to create a warm and idyllic environment. The photograph, from low aimed high allows the title to sit on the calm waters. The subject of the
photo appears sculpture-like which adds to the interest. The colours are solid and striking. The darker tones of the sea allow for a contrast with the white text.
All three albums are photography based however I would like to recreate something similar or equally interesting.

ARTWORK COMPARISON
PHOTOGRAPHY
The Stone Roses by Stone Roses
Wish You Were Here by Pink Floyd
Simulation Theory by Muse
These albums are not as visually interesting as the previous they all employ techniques that I would like to include in my own work. The first, Wish You Were Here frames the photograph by a
white border. It entirely surrounds the image except for the top right where charred remains of the border allows for more of the photograph to show through. This addition to the artwork
finishes the album cover for me; it is a small detail that bears a lot of impact, extending the subject from within the frame to outside, bridging the gap between the photo and the border as
Original Pirate Material does with its album title.
The Stone Roses' album uses an artwork made the band's bassist. Jackson Pollock's action painting style is used to create the artwork which is something that I would like to attempt myself,
what with the combination of the physical painting and the digital font this method is very appealing. I also find the painting's meaning appealing, the historic significance is something that
resonates with me and I would very much like to produce a work that is iconic and recognisable, in the same way that Viva La Vida, for example, uses Delacroix's painting.
The Muse album uses a colour scheme which I would like to replicate. The theme is a classic yet futuristic that was popular in the 80s. This style has been resurrected and modernised and
applied to many brands, logos and products. Films such as the 'Blade Runner' franchise have a major part to play in this resurgence.

Something that has also taken my interest is the possibility of a novelty release for my album collection. To promote the release of their album some bands will
present select few, or in some cases their only, recordings via a novelty method. For the OST of Ghostbusters this special edition was released in the style of the
Marshmallow Man from the film. The gatefold sleeve included several stills of the character from the film as well larger versions. The sleeve was also scented with a
marshmallow smell.
Records have also been released in different formats and packaging. Chilly Gonzales released their 2008 album on chocolate. The record ceases to work approximately
after ten spins however the release gained significant notoriety for obvious reasons. Fat Boys released their album in a novelty cardboard pizza box complete with a
pepperoni pizza vinyl record. This special edition release related to the original album cover depicting the trio eating pizza.
Wu-Tang Clan took this a step further with the release of The Wu – Once Upon A Time In Shaolin by releasing only one copy and in a hand-sculpted silver case. This album
went for auction and was bought for $2 million.
In 2013 the Great Gatsby OST was released with a single special edition. This edition came with two vinyl records, one coated in gold and the other in platinum. In the
image the albums can be seen resting upon its wooden sleeve, laser cut with the pattern seen on the discs. The grandness of course relates to the lifestyle lead by the
character of the film. This particular album would appeal greatly to a collector or someone with a tendency to display their music collection. Interestingly this is another
OST for a film, a genre that was popular in the album sales of 2018: those who liked the film tend to buy the album.
EXISTING PRODUCTS
NOVELTY RELEASES

EXISTING PRODUCT
MYLO XYLOTO
With the release of Coldplay's 2011 album, Mylo Xyloto, a special edition was produced. This included several novelty items, one of them a book containing the artwork
produced for and during the album. This book comes with its own sleeve which can be seen standing behind it. Inside its hardback covers are photographs of the band, the
artwork being produced, lyrics and concept artwork by the designers Tappin Gofton.
A feature of this booklet is the pop-up images as seen in the image below. This book is a record of the production processes and creative decisions made by the band and
graphic designers throughout the making of the album. It is a record of all the work gone into the album which is why it has been released in such a prestigious way. The
level of quality in the book is reflected in the work of the band.
The cover of the book bears the same cover as the album: the stencilled 'MX.' This design has been chosen instead of the album's second cover as it is more fitting with the
design of the booklet. The bright patches of colour which contrasts with the metallic greys displays the theme of the concept album. The pop-up segment also fits with
lyrics from the songs, depicting colour sprouting from the cracks of the bleakness like a weed. This feature is something only used in books aimed at children but I think that
it helps to represent the band's (and the album's) tame nature.
Producing something like this would not be unrealistic as printing services that would perform this task exist. It is something worth considering adding to production.

EXISTING PRODUCT
RIPPLES
This special release of Ian Brown's Ripples can be seen to include the album in three different formats, vinyl, CD and cassette as well as an A3 poster. The inclusion of the
cassette tape is an unusual choice as players have not had as strong revival as record players have had. It may be an artists choice, releasing it on a format that was popular
during the earlier years of their career.
Instead of a plain white background a grey transition has been selected as though the product has had a shadow cast over it. This may have been done to exaggerate the
brightness of the album art; a bright background may also detract from the shine of the golden pattern. This is something that I will consider doing myself.
The image has also been artificially constructed. The exiting image contained only the vinyl record as the shadow is behind it and matches with the light source. The poster
however has a shadow directly underneath it as though added in post-production. The CD and cassette case have no shadows at all which means they were added in post-
production as well.
Despite this the layout works very well as the different items are all shown clearly and in a relatively confined space. In addition to this the title of the album is visible
across all different formats. It is also worth noting that the vinyl record alone can be seen. This may be because it sits inside a sleeve and can be easily slipped out, however
it could suggest that the vinyl is primary item in this bundle, that people purchase this solely for the vinyl record.

EXISTING PRODUCT
A MOON SHAPED POOL
A Moon Shaped Pool Special Edition by Radiohead contains two vinyl discs on which the album is spread across and two CDs, all housed inside a bound book. This book also
includes the many artworks produced in coordination with the album. Radiohead singer Thom Yorke collaborated with artist Stanley Donwood to produce the many pieces.
They were painted with acrylic on canvas and later edited digitally to create the finished product.
The artwork is varied and does not follow a visible theme apart from the medium used to create the pieces. Looking at the motion of the art I originally thought inks were
used to create the work, however upon research I discovered that acrylic paints were used.
The way in which this is photographed allows for the records, the CDs and the book to be viewed, though the angle of this is from the side rather than the front.
Again, though, it is set upon a white background.
Unlike other album sets this one does not feature an vinyl sleeve for the albums to be stored in. The photo does not suggest anything of the sort, however upon research
the records actually fit into sleeves at the front and rear of the booklet. Although not as common, books are included in special editions. Much like the Mylo Xyloto release,
this contains artwork from the production of the album in addition to lyrics from the included songs.
Inside the book additional pieces can be seen as well as those used on the cover of the sleeve. This can be seen on the front cover of the book, however the colour has
been changed as part of a stylistic choice.

EXISTING PRODUCT
A MOON SHAPED POOL
More artwork shows figures and people in still-like fashions, meaning that they are posed as though for photographs but their outlines are only visible due to their bodies
being painted. Bands like to include photos of the members either as part of their image or due to promotion of their work, however Radiohead have seemed to replace
these images with more ink-like acrylic paintings. This is something that appeals to me as it means that I can implement my own images of the band, but being inks and
sketches I will not have to have any real members. It will help keep appearances up without having to leave out images and promotions used by countless bands.
The art style could then continue the theme with the sketches and illustrations I intend to use for the album covers and artworks.
A Moon Shaped Pool Special Edition by Radiohead contains two vinyl discs on which the album is spread across and two CDs, all housed inside a bound book. This book is
made from high quality materials, the cover appears to be faux leather or a similar textile and the pages are not printed on average paper. The lyrics sheets are printed
upon texture black paper, an almost cloth like material with visible perforations. A close up image below shows this. Not only does this match the old-style computer
aesthetic (what with the formatting of green text) but it presents the consumer with a high level of quality. A tangible item they can proudly display.

A MOON SHAPED POOL
EXISTING PRODUCT
The front cover of the book uses the same image as the album cover however a blue
hue has been used to give variation. This transforms the piece and allows it to be viewed
from another perspective.
The name of the album subtly sits in the bottom right corner of the cover, barely visible
in its grey font.
The novelty binding that comes with the book is taken from the tape that the album
was originally recorded on. Protected by a plastic cover it fits around the book as a
decorative piece. This adds to the value of the book, not only a limited edition item but
one that includes a tangible part of Radiohead's history.
The texture of the front cover can also be seen in the close up image.

A MOON SHAPED POOL
EXISTING PRODUCT
The insides of both the front and rear cover display similar ink-like patterns though this
time in a contrasting yellow colour. The front inside bears the album and artist name
upon a black square in the centre of the page. The rear inside cover holds the two CDs
that were shown on the collection's overview photograph. These are held by slits in the
paper with visible indents so they can be easily removed. This is a subtle and efficient
way of storing the discs.
This double page inside the book holds one of the two vinyl records. On the left is
more artwork, unlike the cover art this is coloured in a similar yellow as the artwork
featured on the first pages.
The record sits inside a green sleeve attached to the spine of the book as though
another page. Made from high quality card it is much thicker than a regular page,
however the bulkiness of the spine hides this from the exterior.

EXISTING PRODUCT
A MOON SHAPED POOL

EXISTING PRODUCT
REQUIEM
Although the design to this Goat album may be simple I think they work well together to create a good product. This is not a special edition however the sleeve design is
noteworthy. Unlike many of the albums I have looked at this one uses a matte finish rather than a glossy finish. This works with the cover art. The combination of the
photograph and illustrative work is one that works very well. The warm reds and orange that bleed into the white act as a base for the desaturated image which has been
projected upon it.
The costume design also adds a lot of intrigue which further adds to the cover. Behind the characters is a glowing sun with rays that stretch into the remaining space upon
and behind these people. These rays are cut into the cover of the album, allowing the sleeve beneath this to show through. This is a very attractive feature which adds to
the overall aesthetic. This could be personally achieved with the use of a craft knife or laser cutter for this effect. The sleeve underneath can be see with a similarly
patterned artwork.
The rear cover uses the shape and texture of the sun seen on the front though with the colours reversed. Instead of a white background with dark particles, bright white,
blue and red particles escape into a dark void. Although the cover and inner sleeve is primarily white the colour scheme is one set by the darker tones of the photography
and the rear cover. This is something to consider for my own work; that the front cover may display certain colours and tones but it does not set the scheme for the rest of
the work.

EXISTING PRODUCT
THE KING OF LIMBS
This special edition release of Radiohead's The King of Limbs uses a unique theme to its novelty items. The package all fits inside a thin plastic sleeve which bears the album
cover upon it. Inside it a cardboard record sleeve which sports the album title along with a different graphic. This is entirely black and white. The reverse also has the same
style, with the band name printed mirrored along with the track list.
This cardboard theme is intriguing but it is entirely fitting with the main novelty piece, the stylised broadsheet. This uses the same title as the sleeve and includes artwork
from the album. From cover to cover there are articles which are constructed from lyrics. The newspaper is printed upon authentic paper and inside are realistic looking
columns. This is a very unique novelty item.
Inside the sleeve is second, one used to protect the vinyl. This bears additional artwork from the album. The vinyl itself is coated in orange acrylic for additional prestige.
To create a set such as this wouldn't be too difficult and the results would be very effective. A stylised newspaper is a tangible item that a collector would love to display,
either framed or part of the collection. The whole package fits within the size of the vinyl sleeve so is compact.
The artwork is also varied. There is a theme of abnormally shaped creatures but the art style varies which is something to note when production arrives. The art can be
different and not necessarily entirely relevant as long as it carries some traditions.

Released in 2011, this is the fifth Coldplay album, featuring synthesized sounds it took the band in a new direction. It also contained a continuous theme, making it a
concept album. Based upon a tale of two people living in an Orwellian society, it tells a story of a war against colour and sound. Inspired by 70s New York graffiti and the
White Rose movement the theme shows the historic pattern of people turning to art during turmoil. Coincidently this is similar to Coldplay’s prior album artwork which
uses Delacroix’s Liberty Leading the People, famously saying, “And if I haven’t fought for my country at least I’ll paint for her.” Members of the White Rose would distribute
pamphlets and spray messages during the reign of Nazis. This was the aim of art directors, Tappin Gofton and street artist, Paris: to replicate these themes in order to tell
the story of the concept album.
To create the piece a studio wall was painted using spray paints, guided by Paris. The process was closely documented with photographs taken at the end of each day. The
finished piece was then photographed in full and in sections for different uses. Different pieces were used for the two variations of the album cover. Both of these feature
of the front and back covers of the accompanying booklet that comes with the CD version. These were swapped in a 50/50 ratio, meaning that the album had two
appearances. In the centre is the full wall, spread across the double page. The wall features psychedelic colours, fitting of the revolutionary/resistance theme, along with
lyrics and references to the songs. The font is also completely original, designed specifically for the album. It is large, almost bubble-writing, characters resemble fonts used
by street artists as they paint with largely inaccurate spray paints.
MYLO XYLOTO
ARTWORK

The two variations of the album have different meanings. The one shown on the right has a much clearer meaning; the bright colours are encased in a dull sheet of metal
which represents the oppression of all sound and colour by the fictional leader, Major Minus. The contrast is blatant, the industrial looking sheet of metal with its rigid
edges and machine cut holes, which tries its best to enclose the bright, cheery, free-flowing colours and shapes of the artwork underneath. The graffiti actually shows
through holes in the grey page, the page can be turned to reveal the full image underneath, symbolic of the characters attempts to uproot the Orwellian society and
restore freedom; the turning of the page means the next chapter, a chapter without Minus. I believe it could also reference illegal warehouse raves, such as acid house,
which originated from a need of freedom in music. Deterred by club’s music and dress rules, people used warehouses to stage illegal raves where bright clothing were all
the fashion. Enhanced by club drugs such as MDMA and acid, these became popular and associated the neon colours with the psychedelia experienced.
The booklet cover on the left uses the full section of wall and the full album name, in its original font. Although correctly spelled with a space between the two words, this
negates that and the words have no break. It is also presented in a curious way, with comparisons to Japanese poems, known as haikus. These consist of three lines, the
first with only five letters, the second with seven and the third with five. Similarities can be seen between the cover and the poem style, though it may not be necessarily
intended to appear like this format as no other references are made to it. Given that they are not words and have no meaning it would not matter too much to present
them in this way. Many albums do not feature the album name at all, so it does not matter to title the product, or title it concisely. It also creates another visual element,
with the shape of the words forming a hexagonal shape.
The colour of font is also chosen to contrast with the background, however the characters are not filled as they are with the stencilled version. This is presumably to allow
the painted wall to show through. The font was added in post-production and was not part of the wall art.
MYLO XYLOTO
ALBUM COVER

A special edition release of the album depicts a similar product that I am looking to create for my final product. The image shows the album in vinyl and CD format, with
their respective sleeves, stencils of each album cover as well as for every character in the Xyloto font, a pop-up book, a sheet of stickers and a larger image of the painted
wall art. All of this is fits into a stencilled MX sleeve which appears to be a larger version of the CD case. The art style is prevalent throughout the items in the package,
everything down to the disk design uses the colour palette. Grey only appears on the sleeve and on the pages of the book, showing how the colour bursts from the seam of
the page, like weeds growing through the cracks of the pavement. The rest, bar the stencils, carry the spray painted design.
Although the stencils may seem an odd choice to include, it is symbolic of the album’s message. The concept album refers to a group of youths who take it upon
themselves to introduce colour back into a regime which forbids it. The band is almost saying that if life becomes similar to this, the stencils will provide you with the
means to reintroduce it.
Taking a look at the CD disk it is clear that the colours are the same but the design is slightly different. Gone is the art of the wall and a new, radial pattern has been
introduced. It resembles slightly a colour wheel, as most colours in the spectrum are present but also because of the layout. Looking at the texture, the paint has clearly
been sprayed onto a concrete surface. This invokes a similar feeling to the larger piece of wall art seen in the other parts of the album’s artwork. The main focus, however,
is the spiral that begins off the edge of the disk, winds around and concludes in the centre. Not only is this an entrancing design but also will create an illusion when spun,
the same applying to the vinyl record which also bears the same design. Around the spiral is the song list, the coloured background showing through the black. I believe the
meaning behind the disk cover is the same as the album cover (the stencilled MX version). In the same way, this depicts a domineering regime, suggested by the black; it is
a complete contrast to the rest of the palette in the same way that the metal MX logo is. In addition to this the spiral symbolises hypnosis, brainwashing, as an oppressive
government would through the fear and chaos incited through its propaganda. The spiral lays on top of colours in attempt to block their message, as the MX stencil does.
MYLO XYLOTO
SPECIAL EDITIONS

MYLO XYLOTO
CD CASE
1.
CD case closed. This version
has the MX stencil as the
cover. In the top left a
sticker lists the singles
featured in the album. The
case hinge bears the legend,
Mylo Xyloto, upon a
colourful background.
2.
The reverse of the case shows the song list against a
painted background. This appears to be a different
part of the spray painted wall. During the
production, photographs would be taken at the end
of each day. Sections of the wall were repainted, so
the way evolved during the process. Through the
accumulation of the photos, the band could choose
between hundreds for the album.
Judging by the close spray patterns of the paint, this
appears to be a relatively small section of wall
which gives the artwork variation.
The songs are listed in the original typeface created
for the album. Underneath are a number of symbols
which are thought to relate to the lyrics of the
songs.
3.
With the case open we can see the disc on the right and on the left, the booklet. Unique to MX,
Coldplay have given the album a reversible cover. Half of the albums were produced with the
stencil version and half with the cover seen inside. I personally prefer the first as the contrast
between the grey shell and the colour underneath has more meaning. The other version has its
merits as the artwork is shown in full.
The disk sits upon a background of graffiti and the difference in both the art style and colour
palette can be appreciated. Looking at the texture of the paint it would appear that the photo
has been taken on a smaller scale. Similar to the back cover of the case, this gives variation to
the artwork. The colours also draw the eye immediately to that area. I believe that the aesthetic
would not be the same had the disk followed the same art style.

MYLO XYLOTO
CD BOOKLET
1.
Taking the booklet out of the case shows the full effect on the cover’s paper. A metallic print is given to
the paper which gives it a slight shine, not enough to produce a reflection but enough to carry light
across its surface. Not only does this give it an aesthetically pleasing quality to it but it also appears very
industrial, as though serving a purpose than to look attractive: function over fashion. This conveys the
meaning of the concept album as actually bright and cheerful colours are breaking through the
monotony.
The inside shows that the characters on the cover have been stencilled out, which adds to the industrial
theme; it has been cut through like steel on a production line. The artwork is revealed to spread across
the entire page and can be recognised as the centre piece of the wall painted by the band members. On
the reverse of the cover is a different piece of artwork. Like the reverse of the case this appears to be at a
much smaller scale, owing to the larger strokes of the spray paint. It is an interesting choice to break up
the pages with two images as the photograph on the right is only a section of a larger piece. It does add,
however, variation to the layout and keeps the main image ‘fresh’ and not overused.
2.
The next page is a photograph of the band performing over a double page spread. This shows the members upon a stage
using similar light work and pyrotechnics to their later 2012 tour. This predates their tour so the stage design is different.
Visible are a number of spiral designs both on the floor and backdrop which are seen emitting the colour scheme.
The movement in the photo and the camera’s position suggests that this is a still from a video. The fish-eye lens also
suggests that this is an action camera which has been positioned to capture the band from a secondary angle. An
interesting feature of this is that it appears that everywhere but the centre of the photograph is in focus, due the motion
of the foreground singer.
The photograph has also been given a vignette-style border which is noticeable in the top corners.

MYLO XYLOTO
CD BOOKLET
3.
The next page is a tri-fold spread of the full artwork, with the outside page a flipped image of two of the band members.
This is because of the reversible cover which can be flipped to the preferred side. The full wall shows the lengths to
which the band went in order to create the cover art. Seen amongst the streaks of colour are lyrics and messages. This
page adds a nice feature to the booklet as it showcases the artwork behind the album. It also adds authenticity, I believe,
as it presents the physical work and shows that it was not digitally produced.
To view the portrait the booklet must be flipped. Two members are seen wearing clothes were appear similar to the tour
costumes, casual clothes but adapted with bright highlights. Behind them is a clear sky which has been pierced by a tall
chimney. It juxtaposes the peace shown in the sky, with the dull and imposing industrial society.
4.
This page shows the other band members in a photograph and
also the album credits. This portrait is staged in another
location, in front of a sprayed wall which gives a similar
industrial theme. The paint seems to be of the same style as
the rest of the artwork. The next page uses the artwork as
background so it unofficially transitions from the joining page.
5.
On the very last (or first) page of the booklet the spaces are dedicated to
more artwork. The reverse of this is the photograph of the band
performing, which suggests that these pages are generally used to space
out the centre piece. These two photos appear to be close-up shots of
the wall art. The left photo shows lyrics from one of the songs,
underneath the word ‘Xyloto.’
The booklet finishes with the alternative cover, as shown in the middle of
the page.

It is curious how the art style has changed for the live performances of the album. Live 2012 is a collection of songs recorded from locations that the band toured the album
in, featuring not only songs from Mylo Xyloto but from previous albums as well. As MX is a concept album the band have opted to continue the theme in their tour, but the
art direction has been altered slightly.
First looking at images from the tour we can see that the stage has been decorated in similar graffiti artwork and that message have been sprayed across the walls as they
were in the original album artwork. The medium has changed slightly, instead of bright, psychedelic colours, the palette has been changed to more luminescent, neon
colours. Looking at live performances from the DVD shows that the reason behind this; the band plays in almost darkness and is only illuminated by lasers and florescent
lights that pick up the paint. This gives the band a grimier, more underground look that focuses more on the acid house theme that I mentioned previously. It is fitting with
the concept album: a story about two people fighting against a regime restricting colour and sound, so enhancing the colours (and sound) puts the band members in the
place of the characters. In addition to this the stage design closely followed the theme. In some performances where two stages were provided (a main and smaller stage),
an ‘X’ shaped bridge was used to connect them together.
The band’s instruments have also been painted in this style and each of the members have introduced the colour palette into their outfits. The piano has been decorated
appropriately with the art style present throughout the concept album. Similarly the band wear shirts and trousers featuring bright colour similar to the ones used in the
artwork, further building upon their concept album.
MYLO XYLOTO
LIVE PERFORMANCES

The album cover for the tour uses art style of the tour rather than revering back to the original. I like this, however, as it separates the two into different products, which
they are. The live tour includes songs from previous albums. It therefore strays away from the title Mylo Xyloto, though the symbol can be seen on the front, slightly off
centre. Primarily, the cover is blue however this gives a good background colour for the green, pink and orange. In a different approach, lyrics form the majority of the
shapes and ‘foreground’ of the art, unlike the wall art which only featured it. It is has not been sprayed painted as the original artwork was, but drawn in inks. A reactive
light has been pointed at the work giving it an ultra-violet appearance, similar to lighting effects that may be found at underground rave scenes, referring to the concept of
the album.
The font is the same as used in the studio recorded LP, however the band’s name is present. This is because without the name Live 2012 could relate to any album
performed during that year. I also believe it to be a marketing strategy as the cover does not speak for the album the same way that the Mylo Xyloto artwork does. The
opaque ’Live’ also gives the title variation, in the same way that the haiku-looking format was previously employed.
Also captured was footage of the band playing, which was edited into a DVD. The cover of the case sports the same artwork as the album, however due to the difference in
length we can see more of the artwork. The reverse contains the list of songs played on the tour, the text uses colours from the scheme though a new font is introduced.
Instead of the refined, stencil-like appearance of the MX font, this appears rough and hastily drawn. It bears a likeness, as though a copy of the font. Looking closer it
becomes apparent that the font has been spray painted and reduced in size to fit on the back of the cover. This is evident from the size of the characters but also from the
feathered edges of each of the letters.
MYLO XYLOTO
LIVE ALBUM

A HEAD FULL OF DREAMS
COLDPLAY
2015

Art production began when Phil Harvey, manager of Coldplay, became aware of Pilar Zeta’s work. The band met and began to create work. In an interview she explains,
"…there was this big canvas – it was three metres by one and a half metres – and we had all this material to use. I was like, “Woah! Where to start?!” They began to create
a collage from old magazines and photographs from the band. The inspiration was dreams and memories, fitting with the themes of the songs. The canvas was never
intended as the cover, merely as art for the inside, however the results exceeded expectations. Coldplay asked Zeta to then translate into an album cover. The Flower of
Life was added to a reflected version of the collage that incorporated the designs created by the band.
I particularly like the transformation between the landscape canvas collage into the album cover. It shows the creativity and skill of the artist to be able to confine all the
ideas and themes into a asymmetrical yet stunning design.
During my context research I found 10cc’s How Dare You? which I commented on how it was the most visually interesting I had seen. I believe that this is why this cover,
and most of Pilar Zeta’s work, is so successful. It is visually interesting and the eyes never stop looking at things. This is down to the striking colours and patterns but
primarily because of the surreal world being shown: people sitting on clouds and hanging from planets. Things such as the layers of mountains cause intrigue which gives it
such a visual richness.
The finished piece was a combination of physical art and digital refining. The canvas was scanned and adjusted to create a kaleidoscope effect, which is why the piece
features the symmetry. Using both these types of art is something that I want to do myself as it will grant me a much wider range of tools to produce the work.
A HEAD FULL OF DREAMS
ARTWORK

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