Vinyl sleeve designs

The combination of circular and square mosaics in the Caesars Palace idea reminded me of old vinyl designs, seen below. 

This led to searching whether 702 had any records on vinyl.

Being able to find past examples of their vinyl covers sparks the idea to design Steelo as a traditional vinyl cover rather than for CD. 

By typesetting the copy in 12pt with wide tracking, the individual letterforms are emphasised, adding visual texture to the white space. The restrained colour scheme produces a sterile look that is far removed from the emotions in the song. Together with the typesetting, the cover becomes ambiguous to the viewer.

The content on 702's original cover is used in these compositions as they provide content for the cover as well as making seem as though it is an actual record design. 

This composition attempts to add more personality to the cover. As much as ambiguity can generate curiosity, it can also be uninspiring. Using the characteristic Mistral for steelo sets itself as the focal point on the cover design. The rough outlines and joined letterforms evoke someone writing out the word, giving the cover a 'personal' quality. 

However the compositions so far have lacked the boldness to grab the readers attention. In this composition, the typographic elements are visually stronger and the new additions of colour are more aligned to the emotions of the song, with the inside gradient being a reference to the scenes in the official music video of Steelo. 

This is an alternative colour combination of the previous composition. The layering of the grey type on the yellow to red gradient produces an almost metallic quality.  

This final composition is a combination of the two ideas, the Roman aesthetic and the vinyl record. The colours of the cover are replicated through the materials the Romans used in their sculptures, stone and marble. The mosaic flowers in each corner softens the look and adds femininity to the cover, representative of the all female group. The use of Trajan maintains the Roman aesthetic whilst its wide tracking, slows down the reading, giving the cover an element of elegance. Furthermore the stone and marble were the materials of which the Romans would have carved their Trajan typeface into, making the design's elements entirely coherent.