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Researching print productions
- 1. Researching print productions: Peter Saville
- 2. Peter Saville, graphic designer for factory records Peter Saville is an award winning art director and graphic designer, as well as a pioneer of modern typography. He is a cofounder of factory records and is known for many record sleeves he designed for Factory Records artists, such as post-punk Joy Division, New Order, Orchestral Manoeuvres In The Dark and The Happy Mondays .
- 4. Peter Saville continued Alice Twemlow, Design critic wrote: "... in the 1980s ... he would directly and irreverently "lift" an image from one genreart history for exampleand recontextualize it in another. A Fantin-Latour "Roses" painting in combination with a colour-coded alphabet became the seminal album cover for New Order's Power, Corruption and Lies (1983), for example. (Quote taken from: http://en.wikipedia.org/wiki/Peter_Saville_%28graphic_designer%29) Design has become the cover for unnecessary consumption.- Peter Saville. The more fine tuning design towards a specific audience, the more a manufacturer can charge for whatever they are selling, the better something is designed, the more it is valued. Is the design profession through his eyes, nothing more than a slave to the current economic system, creating products tailored to a specific audience to make them feel they need it as it is important for their identity within a subculture etc. Meanwhile design, which used to be known as a profession, has become a major source of pollution. Jasper Morrison. Every time a new gadget (like another game changing gadget) is introduced, it triggers a massive dump-and-buy reaction all around the world. Great news for the manufacturers of course. Not so good for just about every one else. (Quotes taken from: http://eicolab.com.au/2011/01/design-and-unnecessaryconsumption/)
- 5. Peter Savilles, development of the graphic identity of Joy Division throughout their career Unknown Pleasures Released: June 1979 Label: Factory Formats: LP, cassette This was the first and only time that the band gave me something that theyd like for a cover. I went to see Rob Gretton, who managed them, and he gave me a folder of material, which contained the wave image from the Cambridge Encyclopaedia of Astronomy. They gave me the title too but I didnt hear the album. The wave pattern was so appropriate. It was from CP 1919, the first pulsar, so its likely that the graph emanated from Jodrell Bank, which is local to Manchester and Joy Division. And its both technical and sensual. Its tight, like Stephen Morris drumming, but its also fluid: lots of people think its a heart beat. Having the title on the front just didnt seem necessary. I asked Rob about it and, between us, we felt it wasnt a cool thing to do. It was the post-punk moment and we were against overblown stardom. The band didnt want to be pop stars. ( account copied from: http://www.theguardian.com/music/gallery/2011/may/29/joydivisionneworder)
- 6. Peter Savilles, development of the graphic identity of Joy Division throughout their career Closer Released: July 1980 Label: Factory Formats: LP, cassette Peter Saville: This cover for the bands second album was like a work of antiquity, but inside is a vinyl album, so its a postmodern juxtaposition of a contemporary work housed in the antique. At first, I didnt believe the photo was an actual tomb but its really in a cemetery in Genoa. When Tony Wilson (Factory co-founder) told me Ian Curtis had died I said, Tony, we have a tomb on the cover. There was great deliberation as to whether to continue with it. But the band, Ian included, had chosen the photograph. We did it in good faith and not in any post-tragedy way ( account copied from: http://www.theguardian.com/music/gallery/2011/may/29/joydivisi on-neworder)
- 7. Emphasis on artists identity Released: October 1981 Label: Factory Formats: Double LP, cassette, CD These album covers are very minimal and do little for the promotion of the band, although this is a typical convention within graphic design for music distribution, bands and artists who are well known enough do not need to paste their faces all over the covers in order to sell. For example the initial Beatles albums were colourful and created so as to sell the artists, however when the band had become a pop sensation, when they released their White album which was a blank glossy white background with The Beatles small in the corner. The Beatles at that point did not need to promote themselves and so instead left the case blank, with images of themselves inside Released: July 1988 Label: Factory Not all albums or in complete chronological order
- 8. Repeated convention of logos in order to promote Factory records