So, the last article was a bit of a ramble aimed at some of the tech/admin steps you go through at a label to take a release from X tracks on a CD-R or Pendrive and getting it out to digital and physical retailers worldwide.
This time, lets talk about something that’s a little more…well, creative!
Next to the music itself, artwork is in my opinion the next more important part of a release. Before streaming music became so incredibly popular, all you had to go on was if you’d heard it on the radio and how awesome the front cover looked!
So, where do you start?
Well, first things first, you need an idea. Whilst it might sound stupid, you can waste a lot of time if you don’t have some direction, because more often than not, the music is more or less done before the artwork starts, and no-one wants to rush. Following that, you need a designer to put it all together. This can take some time too, so make sure you’re looking out for one. Check out other CD designs you like, artwork, even book covers. Students are good, as they are cheap! Friends are even better! Discussions about whether you can gloss finish, matte finish, pantones/fluros (neon colours), metallic effects, how many pages you want in your booklet/inlay, how you want your digipack to fold and open will follow that. Lots of fun!
Then, once you’ve got a designer working on your great idea, you need to work out formats. CD/Limited Edition CD/LP/Digital/Magical Unicorn Edition.
Now, on the surface, a pack shot (Album Cover) is a pack shot, but format changes everything. CD’s are fairly straight forward and versatile. If it’s a jewel case, your inlay/booklet doubles up as your pack shot! Yaaay! All you need after that is your artwork for under the tray (where the CD slots) and artwork for the back of the case, which more often than not has the track listing. Digipacks are slightly different, because it’s all printed onto one piece of card and then folded. It can be gatefold, 2 fold, 3 fold (Rammsteins latest release opened out 5 ways if memory serves!). You need to remember where the slot for your inlay (if you have one) is going if you have one too!
Now, before I go any further, I’ve forgotten to mention one of the most important aspects of artwork. Label Copy. Label copy is essential the bible for the release. It’s a document containing everything about the album/single. Catalogue number, artist, title, track listing, publishers, copyright and publishing rights, collaborators, thank yous, websites and loads more. Most of this will go into your booklet and back cover for legal and information reasons.
Great, that’s the CD covered. Oh…what about the LP? No booklet there (Unless you’re feeling fancy!). So, you’ve not got to go back and ask your designer very nicely if he/she can do you a whole new template. Front and back sleeve (And center if it’s a gatefold) and stickers for the vinyl. This leads me back to my point about making sure you know all your formats before you go to design, otherwise you’ll: A. Irritate your designer or B. End up having to pay more for another format design. LP’s tend to have a far more stripped down label copy on them, purely for the sake of space.
Digitally, its pretty simple. Just a packshot. Bliss. Through iTunes you can also get a digital booklet to go with it if you want, as an added extra.
All of that, when all most people will ever see is the pack shot, when they walk past it in the shops or scroll past online. That’s your one chance to catch their attention and get them interested. The rest, that’s their reward for picking it up.
Always run it past your artist for approval. They don’t need to see it at every stage, just when there is a significant change or update.
Oh, and don’t forget to proof read it. Lots!
by Luke Crook
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