The album cover is the front of the packaged commercial recording products, or albums. This term may refer to the printed cardboard cover which is typically used to pack a set of 10 in (25 cm) and 12 in (30 cm) 78-rpm records, single and set 12 in disc (30 cm), set from 45 rpm recording (either in some connected arm or box), or a front-facing CD packet panel, and, increasingly, the main image accompanying the album's digital downloads, or individual tracks.
In the case of all kinds of real recording, it also serves as part of the protective arm.
Video Album cover
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Around 1910, the 78-rpm record replaced the phonograph cylinder as a medium for recording sound. 78-rpm records are issued both in diameter 10 and 12 inches and are usually sold separately, on brown paper or cardboard sleeves that are sometimes plain and sometimes printed to indicate the manufacturer or the name of the retailer. It is always made of acid paper, limiting preservation. Generally the arm has a circular piece that allows the record label to be seen. Records can be placed on the shelf horizontally or standing on the edge, but because of their fragility, many are broken in storage.
The German record company Odeon pioneered the "album" in 1909 when Tchaikovsky released Temaikovsky's Nutcracker Suite on four two-sided discs in a specially designed package. (This is not indicated what a specially designed package is.) The practice of publishing an album does not seem to have been picked up by other record companies for years.
Beginning in the 1920s, the collection of empty-sleeved hands with plain paperboard or leather covers was sold as a "recording album" (similar to a photo album) that customers could use to store their notes. (The name "recording album" is printed on several covers.) This empty album is sold in sizes 10 and 12 inches. The cover of these bonded books is wider and taller than the record in it, allowing the record album to be placed on an upright shelf, like a book, and suspending fragile notes on the shelf, protecting it.
Beginning in the 1930s, record companies began to publish a collection of 78-rpm recordings by one player or one type of music in a specially assembled collection. These albums from some 78-rpm recordings can include a collection of popular songs related to either the player or the style, or the long classical music, including the full symphony.
In 1938, Columbia Records hired Alex Steinweiss as its first art director. It is credited with creating the concept of album covers and cover art, replacing the plain cover that was used before. After his initial effort at Columbia, other record companies followed suit. In the late 1940s, record albums for all major companies featured their colorful paper covers in both 10 and 12 inch sizes. Some show reproductions of classical art while others use original design.
When a 10- and 12-inch long-play record (phonograph record) came in 1948, and a 45-rpm note record box was soon followed (see the record gramophone), the name "album" was used for the new collection format, and the original album cover creation artistic continues.
Maps Album cover
Format
From the 1950s to the 1980s, the 12 "LP and 45 rpm records became the main format for the distribution of popular music.The LP format is still used for new releases occasionally, although other formats have replaced it.the typical LP cardboard arm cover is 12.375 inches (31, 43 cm) square.
Since the mid-1990s, compact discs (CDs) have become the most common form of physically distributed music products. The packaging format varies, including the jewelry box (which since 1982 is the most popular form of CD packaging), and the combination of cardboard and plastic commonly known as Digipak (which has become a popular form of packaging alternative in recent years, but is still being replaced by a box jewelry due to higher production costs and lower durability). Usually the album cover component of this package is approximately 4.75 inches (12.1 cm) square.
Design
The Album Art Cover with eyecatching illustration, bright colors and letters, generally associated with American designer Alex Steinweiss in the 1950s.
Cover becomes an important part of music culture. Under the influence of designers like Bob Cato, who at various stages in his long music career was vice president of creative services at Columbia Records and United Artists, the album cover became famous for being a marketing tool and artistic expression of intent. Album art has also been discussed as an important postwar cultural expression.
During the early 1960s, The Beatles' With the Beatles , Bob Dylan's The Times You Are-Changin and Rolling Stones self-titled debut album contained a photo cover designed to advance the public image of music artists. Author Peter Doggett also highlighted the cover of Otis Redding Otis Blue, containing a photograph of a young white woman, as a design that "plays a double role: it represents the transcendent power of music, and obscured the race of its creator." Portrait-based LP Cover standard was challenged over 1965-66 by Dylan's Takes It All Back Home , through the inclusion of symbolic artifacts around the singers; the artificially rounded faces of the Beatles are displayed on their Rubber Soul album; and dark colors applied to the Rolling Stones on Aftermath .
The Gatefold cover (folded double cover) and inserts, often with lyric sheets, make this album include the desired work in its own right. An important example is The Beatles' Sgt. Pepper's Lonely Hearts Club Band , which features cut-out inserts, printed lyrics, and gate arms, even though it is a single album; The Rolling Stones' Exile on Main Street , which has a gate and a series of 12 postcard holes like inserts (taken by photographer Norman Seeff); and Pink Floyd's Dark Side of the Moon , which has gates, lyrics, no titles on the sleeves, and posters and stickers inserts. The band's 1970 release Stage Fright , which included photos by Seeff as a poster insert, is an early example of LP artwork that quickly became a collector's item. The shift to a small CD format (less than 1/4 the size of the recording) loses that impact, though efforts have been made to make the packaging more desirable for CD formats, eg reissuing Sgt. Pepper , which has cardboard boxes and booklets, or large packaging usage.
The importance of the design is such that some special artists cover or gain fame through their work. Such people include the Hipgnosis design team, through their work on the Pink Floyd album, among others; Roger Dean, famous for his cover of Yes and Greenslade; Cal Schenkel, to Captain Beefheart Trout Mask Replica and Frank Zappa We Are Only Here For Money .
The talents of many photographers and illustrators both from within and outside the music industry have been used to produce an impressive range of LP/CD coverings. Mick Rock photographers produced some of the most iconographic album covers of the 1970s, including Queen's Queen II (created for their classical Bohemian Rhapsody music video), Syd Barrett The Madcap Laughs , and Lou Reed's Transformer . From 1972 to 1975, photographer Norman Seeff was a Creative Director at United Artists and in addition to many of his cover photos (The Band, Kiss's Hotter from Hell, Joni Mitchell's Hejira, etc.), he directed dozens of album covers including Exile in Main Street , many of whom received Grammy nominations. In addition to the examples mentioned above, a number of world-renowned graphic artists and illustrators such as Ed Repka (Megadeth), Andy Warhol (The Velvet Underground, The Rolling Stones), Dead Klarwein (Santana, Miles Davis), HR Giger (Emerson, Lake & Palmer, Debbie Harry), Frank Frazetta (Molly Hatchet), Derek Riggs (Iron Maiden), Jamie Reid (The Sex Pistols), Howard Finster (REM, Talking Heads), Al Hirschfeld (Aerosmith), Ken Kelly (Kiss, Manowar ), Gottfried Helnwein (Marilyn Manson), Rex Ray (David Bowie), Robert Crumb (Big Brother & The Holding Company), John Van Hamersveld (The Rolling Stones), and Shepard Fairey (Johnny Cash) have all applied their talents to an unforgettable musical package.
A number of record covers have also used licensed images (or borrowed from the public domain) from artists of the past era. Notable examples of this include the cover of Derek and Dominos Layla and Other Love Songs (from the painting "La Fille au Bouquet" by French painter and sculptor ÃÆ' â € ° mi ThÃÆ' Â © odore Frandsen de Schomberg), 'Fall of Icarus' by Genisson on the cover of the first album by the Renaissance; Bosch on the cover of Deep Purple; Breugel on the cover of Fleet Foxes; the cover of Kansas's debut album, adapted from a mural by painter John Steuart Curry, Norman Rockwell's cowboy (Pure Prairie League), and, more recently, Covenplay Viva La Vida, featuring EugÃÆ'¨ne Delacroix < i> Freedom Leading the People (favorites in The Louvre) with the words "VIVA LA VIDA" brushed over it with white paint.
Legenda dari fotografi dan video/film yang juga menghasilkan gambar cover cover termasuk Drew Struzan (Black Sabbath, Alice Cooper, Kupu-kupu Besi, The Beach Boys dan lain-lain), Annie Leibovitz (John Lennon, Bruce Springsteen, Patti Smith), Richard Avedon ( Whitney Houston, Teddy Pendergrass), David LaChappelle (No Doubt, Elton John), Anton Corbijn (U2, The Killers, Depeche Mode), Karl Ferris (Jimi Hendrix, Donovan, The Hollies), Robert Mapplethorpe (Patti Smith, Peter Gabriel) dan Francesco Scavullo (Diana Ross, Edgar Winter), David Michael Kennedy lainnya.
A number of artists and bands feature members who, in their own right, gifted illustrators, designers and photographers and whose talents are exhibited in the artwork they produce for their own recordings. Examples include Jimmy Page (Led Zeppelin IV ), Chris Mars (Replacements' Glad To Meet Me and more), Marilyn Manson ( , Michael Stipe (REM's
The album cover is the subject of the 2013 documentary, The Cover Story: Album Art , by Eric Christensen, a San Francisco Bay Area recording collector.
The album's cover art design has been the subject of creative innovation. Ogden's Nut Gone Flake by Small Faces at first in a circular metal tin, and Pleased to Meet - Sorry for Section by Horslips in the octagonal package. Anyway by the Family originally published in the opaque plastic package through the design (a Leonardo sketch) can be seen. Magical Mystery Tour by The Beatles was first released as a double EP with a booklet in between notes. Sergeant. Pepper contains a piece of cardboard, and The Beatles (often referred to as White Album) contains four large glossy photos of each Beatles along with a poster-size collage. Live in Leeds by The Who also contains many posters and printed materials. Led Zeppelin III has a front cover containing a rotating disk that carries a different image seen through small pieces on the outer arm. The same effect was used for the later album Physical Graffiti band with a cut-out from the brownstone building window. The original problem of Stingy Fingers by the Rolling Stones has real zippers inserted into the groin area image of a pair of jeans. The Velvet Underground and Nico album has a banana cardboard designed by Warhol on a cover that can be peeled back. The Vertigo recording company has a black-and-white design on a center label that produces a hypnotic optical effect when the disk rotates on the turntable.
Packaging
Album art is a component of the album's overall packaging. Particularly in the case of records with cardboard arms, these packets are susceptible to wear and tear, although wear often occurs in certain layers contained in plastic boxes. Various treatments can be applied to improve their appearance and endurance, such as clear plastic wrap. Many products have been available for vinyl album storage, often clear plastic sleeves.
The surface of the vinyl recordings is easily damaged, so apart from the outer cardboard sleeve, there is usually a protective cover inside to protect from dust and handling. These are usually shaped to allow it to easily slide inside the outer cover. The inner sleeve is a thin, plain or printed white paper with information on other recordings available from the same company, or paper sleeves that support thin plastic bags. It quite often has a circular piece so the record label can be read without directly handling the recording, although when the inner arm is printed with the lyrics, which becomes very common, then there is usually no hole. Decca Records uses a color coding system on this arm where blue color signifies stereophonic recordings while red shows monophonic recordings (mono record players of that time are not always compatible with stereo notes). The system began in 1960 to reduce packaging costs.
The packaging format for the compact disc extends the presentation variation, although CD size means the album cover is no longer so large.
In addition to the practicality of identifying a particular recording, the album cover serves to advertise music content in the LP, through the use of graphic design, photography, and/or illustrations. Album art usually has an artist's name, sometimes in the form of a logo; and album title. Sometimes, although more commonly on historical records, the cover may include a reference number; a branding (label), and possibly a playlist. Other information is rarely included on the cover, and usually on the back or inside of the package, such as a shared track list with a more detailed list of those involved in recording, band members, guest stars, engineers and producers. In the spine package, artist, title, and reference number are usually repeated so that the album can be identified when packaged tightly on the shelf.
Album art at download age
With the increasing popularity of digital music downloading services and the cost of inflating to do business, the goals and prevalence of album cover continues to grow. While the music industry tries to keep up with technological and cultural changes, the packing role (and thus the "album cover") will play in consumer music sales in the near future is uncertain, although its role of course changes, and the digital form of packaging will continue to surface, which at some level (and for some consumers) replaces physical packaging. Both MP3 and WMA music files can contain embedded digital album artwork (called cover images or just covers) in jpeg format. Beginning 2008, physical music products, with a physical "album cover", continue to sell digital downloads more.
In August 2008, the album cover artist Peter Saville, who was responsible for cover art on the album by the New Order and Roxy Music, suggested that the album cover was dead.
Alternately, some artists have used Internet technology to produce more cover art. For example, Nine Inch Nails originally released its album The Slip as a free download on the band's website, attaching separate but thematic images linked to each track.
One of the digital solutions is the iTunes LP format for an interactive album artwork introduced by Apple on September 9, 2009.
The art of the album is still considered an important part of the listening experience for many people, and regardless of the nature of the less real digital images, there are still many collectors cover cover art and music.
Banned cover
Some album covers have been banned due to violence, nudity, and other illicit images. Guns N 'Roses 1987 Appetite for Destruction ' album shows a robot rapist who will be punished by a metal prosecutor. Kanye West's 2010 album My Beautiful Dark Twisted Fantasy depicts the West naked being phoenix-strung with bare breasts and bare butt.
See also
- Book cover
- Liner notes
- Controversial album art list
- Record arms
References
External links
- Celant, Germano, et al . Recording as a Work of Art: from Futurism to Conceptual Art, [exemplified by the LP plate at] Germano Celant Collection. . Fort Worth, Tex.: Fort Worth Art Museum, 1977. NB .: This is the catalog of exhibits shown first from 4 December to 15 January 1977 in Fort Worth and later in art. galleries in Philadelphia, Montrà © Å © and Chicago.
- Walker, John. "Stone Art/Stone Design/Stone Mode". Glossary of Art, Architecture & amp; Design since 1945 , 3. ed.
- All iTunes Albums Covers search engines;
- Album Art is NOT DEAD; interview with Ioannis artist
- Borgerson, Janet, and Jonathan Schroeder. Designed for Hi-Fi Living: The Vinyl LP at Midcentury America . Cambridge, MA: MIT Press, 2017
Source of the article : Wikipedia
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