Initial print production ideas and sketches

After considering both our music video feedback, and the analysis of 3 acoustic album covers, I began sketching my initial ideas for a 4 panelled, cardboard 'fold out' case, with a sleeve on the right hand side to hold the CD secure.

Why this template?
I decided on this format/template as a result of my research; many acoustic artists (pictured below), have used this style for their own music. However, I also feel that the material of the cardboard template reflects the 'organic' style of acoustic music; somewhat understated but still thoughtful and creative. This creativity is expressed through the use of a sleeve. I feel that a sleeve on an inner panel connotes a sense of romance, as the CD (or booklet) is beautifully and delicately 'hidden' away, to which the audience find it, portraying quite a personal and intimate experience, further supporting the genre.

These album packs also tend to have between 4 and 6 panels. Whilst 4 panels re-creates book or diary- like structure, 6 panels are reminiscent of a scrap book; either number portraying an evident sense of creativity that is associated with the acoustic genre. 

Jack Johnson
'To The Sea'

Gabrielle Aplin
'English Rain'

A combination of card and jewel casing from Jack Johnson's 'In between Dreams'. The sleeve works particularly well as the slight cut off intrigues the audience as to what is inside the sleeve and as a result, the booklet.

Initial Sketches:

These initial, rough sketches all include images that shots from within the music video; leaves, plates, mirror, woods, flowers and birdcage. I chose to explore images that are only briefly shown within the music video so the audience can instantly make a link between the cover and video, but without feeling that there is nothing 'new' about the presentation. 

When considering the plastic orange flowers in particular (top left), although they are briefly shown in the music video, they clearly carry the motif of nature and beauty, flowers being stereotypically 'delicate', as well as enabling me the chance to experiment with focus pulls; a stereotypical camera technique used in our music video.

The sketch marked with an asterisk is one of particular importance. This is due to the woods; being the primary location within the music video, is seemed only appropriate to present it on the album cover. I had also started to experiment with the positioning of font and protagonist within this sketch, which I was keen to develop further.

Whilst researching album covers similar to my choice of a 4 panels, I found the album 'The Letting Go' by Bonnie 'Prince' Billy. I particularly liked the positioning of the font due to several reasons. First of all, supported  by my previous research such as Gabrielle Aplin's 'Panic Cord', centred fonts can imply a sense of musical stability, which I would very much like to portray for 'Like the Dawn'. This is because the acoustic music itself is of the up most importance, rather than an image of the artist. However, the artist's name and song title within centre frame (together) gives credit to both the song and artist. Because of this, I very much like the division line as clearly distinguishes the artist from the song title, yet credits both equally, as well as stopping the audience's eye from 'wandering'. 

The natural imagery has also given me particular inspiration, as it define the beauty and aesthetics that we have explored within our  own music video.

In these sketches above, I have started to develop the idea of a sleeve. I decided that the shape of the CD could be reflected by an object, for example the round flower or plates which are featured within our music video. This would give a sense continuity between the panels, as well as evident visual appeal.

Final Ideas:

Above is a sketch for the final  front and back cover design. There is a strong motif of nature, which is expressed within our music video and also highlighted within our feedback. The images for the front and back cover will be taken in the same location for continuity. 

The woods are the primary location within our music video and will therefore be instantly recognisable with the audience members who have watched the music video. Developing the sketch marked with an asterisk further, I have included some flowers which will be on the forest floor. Whilst the flowers are visually appealing, strengthening our motif, I have taken into consideration that these may have to be digitally inserted onto the image. This is purely down to logistical reasons such as the current season, and no flowers in the woods.

The protagonist form the music video will be slightly off- centre, and somewhat overcome by the nature. This is taking inspiration from Ben Howards 'Old Pine' to which the artist was present but not the main focus. This sense of over-whelming nature is quite a romantic portrayal, coinciding with our 'love story', as well as our intertextual reference of fairy tales, where woods and forests are frequently used locations.

The back  cover will include a vanishing point which somewhat signifies that it is the back of the album. However, it could be argued that a vanishing point is also intriguing and ambiguous; where do the woods lead to? In turn, this reflects the genres stereotypical presentation of exploration; of self or adventure. 

The inside panels will consist of two arguably simple close ups. However, it is their detail which is appealing. This is because both objects have either beautiful textures or patterns, as well as the colours of burned oranges, pale pinks and greens reflecting the colour scheme of the music video. I decided to follow through with the idea of round objects, appealing in terms of continuity, as well as the CD fitting nicely behind the round plate; thoughtfully and creatively 'hidden' from the audience.

Also,  placing these images upon the inside panels seems appropriate because they are relatively quick shots within the music video itself,.

Photo Mood Board:
(all primary photographs)

Album Cover Photos