Digipak Textual Analysis Research
- 1. Ancillary Task Research – Digipak Textual Analysis Kieran Panchal
- 3. Jungle – Jungle Gradiented colour to create feel of a physical environment Egyptian-style typeface Simple contrasting colour scheme Dust effects giving the artwork texture but also a vintage aesthetic Symmetrical composition, with equal space around the central subject Square border with approximately a 1cm trim Made with a layer-style approach using a design interface such as Photoshop Connotations of gold: class, sophistication and wealth This album artwork is very effective. In my opinion the main selling point is the minimalistic approach taken with the design. The simple yet contrasting colour scheme and composition work synchronously to provide a strong emphasis on the band name ‘Jungle’. Considering this was the debut album for the band and in this temporal context they were trying to establish their selves as artists it was imperative that this was emphasised. The use of layered textures and relfective gradients gives the digital album artwork the appearance of a physical copy, although when this particular album goes into print, a gold foil material is used rather than a simple gold ink print. This imitates a gold leaf texture and creates an impression of wealth and sophistication.
- 4. The Man’s Machine – Jamie T Pop-art style print design, modernist aesthetic (Andy Warhol influence) Capitalised stencil font - creating an impression of aggression and masculinity. Relates to the title – ‘Man’s Machine’ Repetition of the EP title/artist around the central image - symmetry Image with strong implication/ Holding societal controversy Colour differentiation between artist, EP title and form aiding coherence Light coloured border with approximately 2-3 cm trim Simple contrasting CMYK colour scheme - Magenta/Cyan Textures created using Photoshop layers. Creates gritty aesthetic – continuation of the ‘masculine’ theme There are many different factors that make this artwork a very successful as well as contextual piece. Firstly, the title ‘The Man’s Machine’ creates an overall theme of the art, which many of the devices used adhere to. For example, the capitalised stencil typography and extensive use of red carries a connotation of masculinity and aggression. The design of the piece is also particularly effective. The modernist pop-art style used, most likely created with a design interface such as Photoshop allows the audience to create a familiarity with the piece, whilst also opposing trends of the 21st century – connoting rebellion – again continuing the theme of masculinity. The central image used touches on animal testing – a very controversial issue in the modern day. This would catch the attention and create discussion points on opinionated audiences.
- 5. Astro Coast – Surfer Blood Prevalence of red colour, connoting blood and therefore relating to the artist name. Artist name ‘Surfer Blood’ written bigger than album title ‘Astro Coast’ Mix of both capitalised and non-capitalised letters. Suggests spontenaety/a lack of uniformity Checkered grid style template overlay obscures the photographed images Although obscured, we can see that the main photographs show two great white sharks from key features such as the teeth. This relates to the artist name. Rounded sans serif type face – juxtaposing with the theme Non-central composition. The text is slightly left-aligned. Surfer Blood’s album artwork for ‘Astro Coast’ is aesthetically contrasting to many products of similar genres on the market. Firstly, a checkered grid style template has been used to overlay two photographic images of sharks. This obscures an obvious denotation and creates a sense of chaos in the abstract piece. There is also strong juxtaposition within the artwork. Whilst the background images suggest aggression, violence and brutality, the typeface used carries a connotation of softness due to its rounded edges. Interestingly again, the artist’s name ‘Surfer Blood’ is significantly larger than the album name, reflecting that this is not a particularly established band.
- 7. Cover and Spine This cover art is of an abstract form. The central subject is an side-angle impression of an elephants head emerging from a liquid form. The liquid is a dyed marble, with a turquoise blue and white colour palette and is continued across the whole canvas. Although not capitalised, the text used for the artist’s name ‘elefantasy’ is significantly larger than the typeface used for the name of the project ‘Waiting For Nothing’. Assumably, this piece has been photographed – deduced from the shallow depth of field around the central subject – and the text has been overlayed using a design package such as Photoshop or InDesign for example.
- 8. Inside Left Although this page is largely blank, the artist has used it to relay some additional information to the consumer. In this case, the band’s social media links have been placed here, which is very effective in my opinion, as it could generate further interest for the consumer. In addition, consistent typefaces and colour choices have been adopted on this page also, and the left alignment of the text matches that of the back cover.
- 9. Inside Right The inside right cover continues on from the theme of the artwork. Not only is the dyed marble effect printed behind the plastic CD holder, it is also printed on the CD itself. Also on the CD is the track listing, and the band as well as EP name. This can be used as a quick reference point if the digipak is not available when the CD is being used. The words “All rights of the producer and the owner of the works reproduced reserved. Unauthorised copying, hiring, lending, public performance, broadcasting of this record prohibited’ are written around the outside of the CD. This is the generic copyright terminology used across almost all musical publications such as this.
- 10. Back Cover The back cover of this digipack continues on the theme of the main cover artwork, which is typical of many products such as this. This means that it can be viewed holistically, especially when opened up and seen next to the cover art. It is possible that when this was designed, the front image was stretched across the back cover too in the template, making it possible to achieve this accurately. The only other element incorporated in this back cover is the essential information – the tracklisting. Usually, this is placed in the centre of the canvas, however, in this case it appears tucked away in the top left corner. This is likely to be because this is where the text would contrast most against its background. If it was placed in the centre, the colour similarities with the background could mean that it wouldn’t stand out entirely. However, this design looks particularly neat and tidy and adds an element of symmetry to the back cover art.