Filtering by Category: Photography,Bum Out

It's been busy here at IC, to say the least, and we haven't been updating the blog as often as we'd like. To make up for lost time, here are a handful of new albums we've been working on over the past 6 months. Enjoy. woven_cover

WovenWar I've been friends with these guys ever since we toured together in 2010, but never had the chance to work with them on a design level. I couldn't be more pleased with how smoothly everything went. We knew we wanted a cover image that centered around an icon, and the WW mark is something that came to mind instantly after our first conversation. As always, I loved working in simple black and white. Each image is comprised of abstract painted shapes to convey a ink-blot/rorschach vibe. Pre-order the physical package here.

tedashii_cover

Tedashii Below Paradise Taking a page from the late, great Storm Thorgerson book of "doing it for real," we ventured out into the high desert of Southern California in early 2014 to create this album cover. Caleb Kuhl did a killer job on the photos, Neil Visel was particularly handy with the forklift, and I put too much lighter fluid on the car and we had to call the fire department. Apparently they saw the smoke from a neighboring county. Oops. Grab the physical album here.

Propaganda Crimson Cord Our pal Prop gave us free reign on his (amazing) new album - we wanted the packaging concept to feel as organic and layered as his music. What may look like paint drips and splatters are (mostly) images of his iconic dreadlocks. Our goal was to blend his soul into the art as much as possible - which was inspired by the album title and album concept. Grab the physical album here.

mmf_cover

Memphis May Fire Unconditional The guys in MMF came to me with this concept, which I thought was great - that of the bond between father and child. Since my dad happened to be coming to town around this time, I thought it would be a great opportunity to photograph his arm for this cover... and I was able to talk one of my brother's children into giving us a "hand" as well. Grab the physical album here.

atlas_before atlas_after

The Atlas Moth The Old Believer I’ve always enjoyed creating imagery that is “more than meets the eye.” I also love concepts that allow for some real hands-on interaction. Ideas like this have kept music packaging exciting for me through the years. When The Atlas Moth came to me with a concept that would change the cover image when wet, I thought there was no way we'd get the necessary approval to make it happen. Thanks to the folks at Profound Lore, who, in rare fashion, believe in going the extra mile in the name of artistic endeavor, this amazing idea is something you can now hold (and drench) for yourself. Above are both "before" and "after" versions of the cover. Grab the physical album here.

Lecrae Anomaly One of our favorite clients, Lecrae (and his label - Reach Records), asked us to work on the follow-up to his last album Gravity, which we had the pleasure of working on in 2012. We enlisted the help of our friends at Shinbone Creative to create Crae's likeness in 3D wireframe (spot gloss varnish!) form for the cover. The physical packaging will def. be worth checking out. Pre-order that here.

kbk_cover

Killer Be Killed Working with an entire band of metal visionaries isn't something I get to do every day. Needless to say, I jumped at the chance. The aesthetic that we really bonded over, and seemed fitting for this project, was that of crusty, gritty, photocopied punk. The real fringe - Discharge, Man Is The Bastard, Doom, Crass, etc. It was a blast getting to work in a style that I love, for awesome guys that totally get it. Grab the physical album here.

grieves_before grieves_after

Grieves Winter & The Wolves Another album cover that's more than meets the eye. We worked with Grieves to create something really special for 2011's Together/Apart, and we knew we wanted to do something amazing for this record as well. The actual cover (top image here) features a die cut hole right in the center, where a standing Grieves shows through. When the cover is opened, we see that he's surrounded by wolves. Careful out there, buddy. Grab the physical album here.

insense_cover_1400px

Insense De:Evolution I had the pleasure of touring with these guys in Europe during the spring of 2012. We spoke a bit on the road about working together for the artwork on their new record, and I'm stoked that we were able to make it happen. Not to worry - no babies were harmed in the making of this cover. Grab the physical album here.

We're excited to reveal our new cover for Minorville, the upcoming album from Nashville's finest: Derek Minor. With the help of Curtis Clark (or 'Dad', as we like to call him), we designed this from the ground up in approx. 2 weeks. With over 100 feet of basswood and baltic birch, Dad took our design and created an entire city in 50 hours. Each structure arrived safely in Seattle, ready to be constructed in the shape of Derek's profile. When we were initially presented with the challenge of creating this album cover, this was the first concept we pitched - Many thanks to Derek and Reach Records for sending us off and running. Stay tuned for a full comprehensive "Making Of" film coming in the next few weeks, but for now - enjoy the teaser (Processed using VSCO film emulation):

Our friend, photographer John Keatley recently commissioned us to create a poster for his upcoming (and aptly titled) Un-Workshop. John is known for thinking outside the box with his high-concept and innovative portraits - so we thought it'd be fun to envision just what is going on inside his head on any given day. Unfortunately you'll need to wait until Feb. 2nd and 3rd to actually find out (sign up here!), but in the meantime we can all just imagine it looks a little something like this. Limited edition, signed and numbered 5 color silk-screened posters printed on French Muscletone available at the workshop. Go!

So it's kind of a long story, but when my buddy Vijay, who owns and operates Artist Series Guitar, mentioned that his good friend, Ryan Hurst, would be doing a photo shoot for his custom Demon Hunter and Throwdown guitars, I had to make sure I was there. For years now, people have said I look like Opie, a character that Hurst plays in the always-enthralling Sons Of Anarchy TV show. All of us in Demon Hunter have become huge fans of the show over the years, so this was a really cool opportunity. Oh, and my wife made the dope leather vest Hurst is wearing in the shoot. Checking off that bucket list, one day at a time.

Here is the cover for an upcoming Demon Hunter release featuring the first 3 albums in one package. The 3 disc set will be available everywhere March 8th. If you've had trouble finding these older releases in a store near you, here's the chance to get them all (and cheaply). As always, the DH demon skull graces the cover, this time made from the trees of my back yard. I gathered up some fallen branches and leaves, constructed the logo on a large sheet of white paper, and Jerad Knudson shot the photo.

In this series I'm going to try my best not to compare apples to oranges. I understand there are vast differences in technology, ideology, legality, etc between designs of the past and designs of the present. However, I believe there was, is, and will always be a way to almost objectively design something properly. To me, this means a design that is well executed, aesthetically pleasing and properly communicative... in relation to whatever is being "sold."

TWIW, V.2 is in regard to travel advertising. In this case, specifically cruises. Here are my thoughts on the ads in question:

1. I don't even know where to start. How about the copy? Clearly one is simply advertising a specific cruise ship, while the other goes into much more detail about the price, locations, discounts, dates, etc., but that in itself says something about modern advertising's problem with forcing too much information into a single ad. Add to that the tragedy of 5+ arbitrarily used fonts and typesetting that seems to make no sense at all. Except of course for the legal line, which is strategically set in black type over a dark portion of the image. Crafty.

2. We used to marvel at things like the massive Cunard cruise ship, shown above. But as technology and engineering progress, we're less interested in how we'll be getting to our destination and more interested in where it's taking us (and how much it will cost). But aren't these ads for the cruise itself? If you just want to go to The Bahamas, you can fly there in a fraction of the time. This is about the experience of the cruise. And as you can see in the more recent ad, the actual cruise ship has become an afterthought; a footnote.

3. As for the imagery, we're faced with the obvious difference between professional designer and someone with a personal computer. Before the computer we relied on professionals to do the job of advertising. They were skilled in their craft. They knew type and composition and cohesion and color. They designed because they were good at it. I know I'm stating the obvious here, (and there's a heaping helping of irony as I sit here and type this) but it's a bit of a bummer that the computer has turned every civilized human into a jack-of-all-trades.

4. In the end, one is clearly worth framing and displaying in your home, and the other is sure to end up in a trash bin. I refuse to believe that we collect things that are "vintage" purely based on nostalgia. The bottom line is that, in most cases, that old stuff is flat out better than the garbage that we see today.

As They Sleep is a new band on Solid State Records, bringing some much needed brutality to the masses. This is the album cover that we recently completed for their upcoming release titled Dynasty. We again enlisted photographic/set design whiz Jerad Knudson to help us see the vision through, and we couldn't be happier with the results. Apparently the model is a homeless man that sells newspapers near Jerad's house in Seattle's Capital Hill neighborhood.

I had the idea a while back to post about the perils of modern design, specifically in regard to rebranding, the evolution of a particular design and things of that nature. I've decided to finally pull the trigger and go for it. As my brother has begun posting a series dedicated to our grandfather, I thought this might be the right time. After all... the time period in which our grandfather was designing will often be the era in which my postings will refer to.

"The Way It Was" will be a study (and occasional pseudo-rant) about a particular design of the past, and a directly (or at least somewhat) related piece from recent years.

TWIW #001 is based on an email conversation I had with a few like-minded friends a couple of years ago. The subject in this case is a box of Trix cereal. Target had announced that it was re-issuing old General Mills cereal box designs for a limited time, (God bless design-savvy corporations) and in being reminded of that classic old box design, I couldn't help but dissect the modern design and suppose what it's trying to tell today's consumer. Here are my thoughts:

1. The logo, once simple and bold, is now 3-dimensional, has a white stroke, yellow bevel, and emboss. ALL of which have gradients. Somehow this "pops" more.

2. Since brand loyalty is dead, the nice big General Mills logo at the top of the box (which I'm sure used to assure people of the reliability and integrity of the product) is replaced by a very small GM logo, overpowered by a "whole grain guarantee" and a list of other nutritional values. Not that nutrition is anything to shrug at, but let's be real- this is Trix.

3. The cereal itself isn't enough anymore, so there has to be added incentive to buy. In this case, there's an ad for "fruitalicious" games on the back of the box.

4. The fun-loving bunny on cute roller skates is replaced by (honestly) what seems to be an INSANE rabbit, literally throwing Trix at you.

5. Lastly, and probably most importantly, the modern box has a disclaimer sentence that reads something like "cereal shown not actual size," because people are so stupid (or assumed to be so stupid) that they can't comprehend that the 1" macro-lens-photographed meteor puffs on the front of the box are bigger than they actually are.

Four guys in outdoor clothing- check. Rocks and various debris- check. 2 staggered pine trees- check. Campfire- check. One guy warming his hands, one guy roasting a marshmallow- check. White seamless backdrop- check. Congrats- you've successfully ripped off our Fair artwork! Your Dave Hill photo treatment needs some work though.