Monday 30 March At the end of my teaching sessions today I escaped up to the Printroom and got set up to monoprint a couple of sample for Jon. (I was rushing so didn’t photograph the process, but I will do something more in-depth if we continue with this approach) I made six images based on three of the photos from the shoot. Four were reasonably good. As I said, these are roughs, but give a good indication of the kind of qualities the process creates, levels of detail etc. The prints were made in black – any imagery made this way will be further modified on screen, especially colour.
Wednesday 1 April I met with John and showed the prints, along with one or two other alternative approaches (as I said, I wasn’t sure that Jon was sold on this idea so I needed to be prepared). As it was, he gave a very positive response and agreeing that (1) and (3) were good possibilities, and that it was worth pursuing this approach.
The other approaches were the ‘old distressed photo(a)’, and the ‘fake monoprint (b)’ that holds a little more detail. These were summarily dismissed.
So examining each of prints closer, I decided to use part of print 4 to improve print 3 on the head of the guitar. Each was scanned at 300dpi at 100%. A soft selection of the area was made and transferred to print 3, where I spent a little time blending the two for a seamless join:
I’ll be adding new layers, textures and colours over the next few days, and will be meeting Jon again to discuss colours, and the eventual format of the design. I now have the lyrics and sleevenotes from Jon and will do some basic layouts to calculate how much space is needed – I always like to know my minimum areas early in order to plan properly. These will be added shortly.
This is a multi-layered image using scanned monoprint textures (which are available for copyright-free use from my own Flickr photostream) A denser monoprint texture background was added to which small areas were erased, creating a little depth through minimal highlights. A second texture layer was added and edited to create the shadow area at the right. To acheive the tranparency of the colours, the blending mode on each of the layers was set to multiply. The colours at this point are still arbitrary and used to demonstrate effects only.
Friday 3 April Jon was quite pleased with this image and we discussed how it might be used in the design. We discussed colours (earthtones to acid colours!) and typographic treatments, where I suggested some classic Blue Note Jazz covers might offer some good stylistic cues, which didn’t go down too well! I sketched out one or two ideas that I had already had and made some general notes about some of the things Jon had said. I’ll scan this in and add it to the next instalment…