Music Covers as a Cult: The History of Design Bureau Hipgnosis

Contents:

• The Beginning of Hipgnosis — Friendship with Pink Floyd and a Creative Crowd
• Rock 'n' Roll, Private Jets, and 370+ Covers in the Portfolio
• The Stories Behind 17 Covers

The Beginning of Hipgnosis – Friendship with Pink Floyd and a Creative Crowd

Storm Thorgerson and Aubrey Powell met while studying at the Royal College of Art in the UK. Thorgerson was studying film, while Powell was interested in experimental photography, despite having no formal training in the field. At night, they secretly processed film in the student lab and in the bathroom of their bohemian London communal apartment, unaware of the creative heights to which their passion for art would lead. These early experiments formed the foundation of their subsequent careers and led to the creation of a unique visual language that would later make them famous in the worlds of art and music.

The creative pair's first client was a publishing house, for which they designed eight new book covers. At the same time, Pink Floyd, with whose members they maintained a close friendship, was preparing to release their new album, A Saucerful of Secrets, and was seeking creative inspiration for the cover design. Thorgerson came up with some ideas and included himself and Powell in the project, which marked the beginning of a successful collaboration and a milestone in music design.

The Pink Floyd album cover was a success, leading to an invitation from the band's manager, Brian Morrison, to design artwork for other bands. Thorgerson and Powell accepted the offer, although they acknowledged that one of the reasons was the low cost of their services. Nevertheless, this collaboration allowed them to define their niche in the world of music design.

In 1969, Thorgerson completed his studies, after which student offices were no longer available to designers. They acquired the necessary equipment and rented a studio, marking the beginning of the Hipgnosis era. Pink Floyd also participated in this process: the name of the agency was accidentally coined by one of the band's founders, Syd Barrett. At a party, he wrote the name on a clean white wall in a communal apartment with a ballpoint pen, delighting Thorgerson and Powell. Hipgnosis subsequently became known for its unique album covers, which defined the visual aesthetic of the music industry at the time.

The number of clients continued to grow, but the designers' income remained low. To improve their financial situation, they were forced to accept various projects, including creating illustrations for British Airways and designing posters for local events. Seeking to change this situation, they decided to take a risk: they stopped listing their prices and encouraged clients to set their own prices. This was a bold decision, as the risk of losing money remained high. Nevertheless, this approach proved successful: one of the clients paid 800 pounds, although the designers were ready to complete the project for 200. From that moment on, they no longer worked at a loss, and their income began to grow.

Rock and roll, private jets and 370+ covers in the portfolio

Hipgnosis achieved success thanks to their innovative approach and rebellious spirit. During the period of the highest popularity, they traveled to foreign shoots on musicians' private jets and, like true experts, agreed on any budget for creative experiments. Their unique style and boldness in their work made them iconic figures in the music industry.

The popularity of album covers of the 1960s can be explained not only by the charisma of the performers. Typically, such covers feature studio portraits of musicians on a neutral background, sometimes designed using an original font. However, Hipgnosis approached music cover art differently. They viewed cover art as an essential element of interaction between musician and listener, as well as an effective tool for album promotion and sales. This approach allowed them to create memorable and conceptually rich covers that became an integral part of the musical work.

Marketing and design have become integral parts of modern art, where designers use psychology to create unique visual solutions. They tell musicians' stories using unconventional metaphors and vivid imagery. In their work, the designers actively experiment with photography and graphics. They use film equipment, create collages, manipulate lighting, distort images, and break traditional photography rules. While portraits remain a staple of their repertoire, they approach them with a creative approach, allowing them to create unique visual narratives. Thanks to this approach, their covers stand out from the crowd of standard offerings, captivating customers even on the most boring shelves.

The bureau's creative process was significantly different from the usual approaches. Designers creating album covers for music labels often had no opportunity to meet the musicians or listen to their music. However, Powell and Thorgerson approached the task differently. They actively interacted with the artists, listened to their albums, visited their studios, and spent time in informal settings, allowing them to better understand their clients' creative processes. Their goal was to reveal unexpected sides of the artists. In some cases, they acted as psychologists, helping musicians overcome creative and personal crises, which were reflected in their work. This approach contributed to the creation of unique and memorable visual images that became iconic in the music industry.

In the mid-1970s, designer Peter Christopherson joined the creative team and quickly became a full-fledged partner, having worked his way up from assistant. He acted as a referee between Thorgerson and Powell, who, despite their creative synergy and close relationship, often encountered conflicts. Their arguments reached extremes: they would throw expensive cameras at walls and destroy final models. This period marked a significant milestone in the development of their work together, highlighting both the creative clashes and the lofty ambitions that defined their careers.

The co-founders' fiery nature became one of The reasons for the dissolution of Hipgnosis in 1982 were numerous. The advent of compact disc packaging and the launch of MTV also contributed. Music videos became a new platform for interaction between musicians and listeners. The partners took a break, and although they continued their careers in the music industry, the design studio's career ended, marking the end of an era in visual music culture.

The Stories Behind 17 Album Covers

This Pink Floyd album cover, created by Hipgnosis, was one of the band's first works. The shoot took place not in a studio, but in the backyard of the house where Thorgerson's girlfriend lived. Instead of complex graphics, the band's name was used, cut out of scrap materials and placed on the floor of the room. The set design was random: the designers later admitted that the soundtrack to the American musical "Gigi" simply filled the empty space in the frame. Despite the simplicity of the concept, the label was pleased with the result, as Pink Floyd disliked photo shoots and preferred graphics. This cover has become an iconic element in the band's history and a testament to their unusual approach to musical art.

The photographs were taken using a vintage Rolleiflex camera using 6x6 color negative film. This classic camera captures unique moments with outstanding image quality and a distinctive color depth that makes the photographs particularly captivating. Using 6x6 film offers ample creative scope and allows for expressive shots that capture the atmosphere of the time.

The Droste technique takes its name from a Dutch chocolate factory, which first used the effect on its cocoa packaging around 1900. This style has become a significant element of commercial design. Despite its popularity in modern times, the Droste effect has been known since ancient times and can be found in medieval paintings.

At the end of September 1972, the Hipgnosis team visited Led Zeppelin's London office to discuss design for the new album cover. They didn't have a single sketch with them, just a pen and a pack of cigarettes. Nevertheless, their concept was verbally approved, and the group was given an unlimited budget to implement the project.

Hipgnosis decided to create a visualization of the final scene of Arthur C. Clarke's science fiction novel Childhood's End. According to the plot, the children of the planet leave Earth, heading into a shimmering light. For this idea, they chose the Giant's Causeway in Northern Ireland - a unique nature reserve consisting of 40,000 basalt columns formed by the eruption of an underwater volcano millions of years ago. This natural beauty is perfect for conveying the atmosphere and depth of Clarke's work.

Powell aimed to capture the frame in the soft light of the golden hour, which occurs in the first minutes after sunrise or before sunset. However, capturing this perfect light in November proved too challenging: it rained every day. Five days passed, and the child models began to get cold and tired of waiting. The makeup that had been originally prepared ran out, so they had to use spray paint for cars instead.

The photographer decided to create a collage using several images and captured the children from different angles on black and white film. This approach allows us to highlight the uniqueness of each moment and create an expressive work of art that captures the atmosphere and mood.

The cover was created in several stages. First, a photograph of the Minack Theatre, perched on a cliff overlooking the Atlantic Ocean, was taken. Lighting was then applied to this shot, enhancing the uniqueness and beauty of this architectural wonder.

A model was photographed in the studio. The robe was secured with fishing twine to create movement. Lighting was adjusted to highlight the reflections in the fabric in the right places.

Both photographs were printed, and the backs were sanded to the thickness of Rizla rolling paper. The image outlines were outlined with thin black ink. The photographs were collaged together, and even lighting was directed to each side to blur the edges. The shooting was done on a Hasselblad camera with a 120 mm lens.

The cover of Pink Floyd's ninth album symbolizes a protest against the hypocrisy and alienation of the show business industry of that time. Record companies signed contracts with artists without paying attention to their musical content. The musicians themselves experienced deep emotions over the loss of their colleague Syd Barrett, who could not adapt to this environment due to addictions and a vulnerable nature. This album became a reflection of the artists' internal struggle and their desire for sincerity in their work.

Hipgnosis used the image of two businessmen against the backdrop of a film studio as a metaphor for alienation in modern society. In the frame, they shake hands, but one of them begins to burn, symbolizing how the falseness of their relationship leads to internal conflict. Filming took place on the sterile soundstages of Warner Bros. in California, which emphasizes the artificiality of the created world and strengthens the overall impression of the theme of alienation.

At a meeting with the band, Powell fell asleep and woke up while they were actively discussing the proposal to place a black object on the cover. He decided not to interfere in the discussion and not to ask questions. The idea was approved, and the members agreed to finalize it after reviewing the layouts.

The outsourced black object was designed by graphic designer George Hardy using felt and cardboard. Thorgerson selected a series of photographs from National Geographic magazine to represent the black object schematically. Powell traveled to Munich to present the results of this creative work to a group of specialists.

On a hotel nightstand, in the dim light, the mystical "obelisk" caught the attention of Robert Plant and Jimmy Page. The musicians abandoned their plans and began questioning Powell about the object's significance. Powell found himself in a difficult position: he had lost focus during the kickoff meeting and hadn't discussed the concept with his partner before the trip. However, Led Zeppelin's interest in the "obelisk" allowed the musicians to share their interpretations, which they found to their liking. Page even suggested changes to the design, adding a curve and an uneven base. Although Hipgnosis was initially reluctant, they were ultimately pleased with the final result. An extensive marketing campaign was planned before the product's launch, including the installation of larger-than-life replicas of the black object at famous landmarks like the Eiffel Tower and the White House. However, this initiative was unsuccessful: information leaked to the media before the official announcement, leading to a loss of management interest in the campaign. The need to maintain confidentiality in marketing is critical to successful promotion, and a leak can significantly affect the perception of a brand and its strategy.

The album title, which translates as "deceptive curves," served as the basis for inspiration. A road sign on the way to the band's studio also played a role. The designers, overcoming winding roads among dense trees, immersed themselves in an atmosphere that inspired them to create a unique storytelling. This journey was not just a physical movement, but an important stage in the creative process, reflecting the complexity and multilayered nature of the musical work.

The protagonist of the story is a diver who makes a bold move, rescuing a girl from mysterious waters. He awaits not only the satisfaction of a noble deed, but also unexpected dangers that can change his life. This story immerses the reader in a world of underwater adventures, exploring not only physical challenges but also the hero's internal conflicts. Themes of courage, sacrifice, and human nature are explored against a backdrop of gripping events. What are the consequences of this rescue for the diver and the girl? What secrets does the abyss conceal? The reader will find themselves drawn into a tense plot full of unexpected twists.

XTC decided to avoid using surrealism and special effects in their album cover design so as not to distract listeners from the content. In response, Thorgerson created a manifesto on vinyl record cover design, which appeared on both the front and back of the album. This decision emphasizes the group's desire for purity of artistic expression and deep perception of music.

The cover art is inspired by the final scene of the film The List of Adrian Messenger, starring Kirk Douglas. In the film, he played a killer who hides his true identity throughout the plot, but eventually reveals his true self. The genuine tension and intrigue inherent in the film became the basis for the creation of a unique visual image that emphasizes the theme of hidden motives and unexpected twists.

Make-up artist Tom Smith created a unique latex mask, taking a mold of the model’s face and following his sketch. The mask was carefully crafted: it fits tightly to the inside of the face, and has a slight stretch on the outside. The design of the mask included holes for the nostrils, and glass eyes were sewn onto it. On the day of shooting, Smith securely attached the mask to the model's forehead and eye area using liquid latex, ensuring perfect fit and comfort during filming.

The album "Ashra" features melodic guitar parts that create a unique atmosphere. Water flowing from a drinking fountain is chosen as a metaphor for this music. To achieve the desired visual effect in the photo, Powell intentionally deviated from the camera manufacturer's guidelines. This approach emphasizes the experimental spirit of the album and its desire for originality.

The cover was shot using a Swedish Hasselblad camera and 6x6 color transparency film. After the photo shoot, the image was placed in an oven preheated to 180 degrees for ten minutes. The high temperature contributed to the spectacular melting and sealing of the photograph, creating a unique visual effect.

The cover, created by Hipgnosis studio, was inspired by the work of conceptual American photographer Les Krims. He discovered a unique feature of the Polaroid SX-70 camera: film can be moved while under a protective plastic case during drying. This process leads to a spectacular migration of light-sensitive emulsion across the surface of the film, creating interesting distortions in the developing photograph. Thus, Krims's work became an important element in the development of the cover's visual style.

During the shoot, the designers noted that the atmosphere was cheerful. Each of them took several dozen photographs. The musician himself actively participated in the process. The result had an effect reminiscent of melted wax, creating the illusion that Gabriel was melting like a wax figure. The entire filming process lasted three hours.

Powell went to Hawaii to shoot the cover, where his task was to capture a sheep on a therapist's couch with the ocean in the background. This choice of the islands was not random, as the most attractive waves for surfing are located here. Hawaii is renowned for its unique landscapes and ideal surfing conditions, making it a popular destination for photo shoots and creative projects.

Preparations for the shoot began well in advance. In Los Angeles, we contacted the Department of Agriculture to reserve the sheep needed for the shoot. Despite some difficulties, we managed to find suitable animals at an experimental farm at a local university. Powell went to the site.

In Hawaii, once on the islands, I discovered that there wasn't a single couch available. I had to order one and wait for delivery. In his memoir, Powell describes this time as pleasant: the sun, the ocean, and the parties created an atmosphere of carefree joy. The anticipation became part of the unforgettable experience, allowing me to savor the beauty of the surrounding world and the atmosphere of Hawaii.

The day of filming arrived. The sheep was sheared, washed with a special shampoo, and given a pedicure. As expected, she was afraid of water. To calm the animal, we had to consult a veterinarian and administer a sedative. In the presence of a couple of shepherd dogs, the sheep became calmer, which significantly facilitated the process of preparing for the shoot.

Queen considered the ideas of Hipgnosis too avant-garde. Despite the band's refusal to collaborate with this renowned design firm, drummer Roger Taylor decided to hire them to create the cover for his solo album.

The creative concept was inspired by space themes. The front features an image of Taylor, while the back features an alien. The characters hold magazines with each other's images on the covers, creating an interesting visual dialogue between them. This design emphasizes the uniqueness and originality of the project, drawing attention to its cosmic context.

Torgerson discovered the props for the shoot in a bookstore near his home. He was drawn to the cheerful alien on the cover of Creepy magazine, which immediately captivated him. The designers traveled to New York to acquire the rights to use the image from the publisher and illustrator. As a result, they received consent.

Hipgnosis approached Japanese singer Yumi Matsutoya with a cover concept that harmoniously combines elements of a sunny and rainy day. This visual contrast symbolizes a variety of emotions and moods, making the cover especially appealing to listeners.

We chose Iceland for the shoot. Matsutoya aimed to convey the clouds with a dramatic effect, as in his sketch. However, the weather conditions during the shoot did not meet our expectations. Powell took several shots and used hydrotype printing to achieve accurate color reproduction.

The designers went to Paris to discuss the cover idea with virtuoso guitarist John McLaughlin. The British musician, who lives in the French capital with his wife, was striving to build a career in the local music scene. He had a difficult time, as he performed jazz fusion in an unusual style and was a foreigner.

The members of Hipgnosis and the musician spent the whole day in fascinating conversations, listening to his new album, and enjoying wine. The album cover featured a photo of him trying to fit a square peg into a round hole. This image symbolizes creative efforts and a unique approach to music, which emphasizes the individuality of the artist and the originality of his work.

One of the latest works by the Hipgnosis design bureau is the cover for the second solo album by Robert Plant, the famous lead singer of Led Zeppelin. Robert developed the concept for the album's design himself. The cover features a distorted image of Plant weaving patterns with thread, symbolizing his creative process and individuality. This work highlights the unique style and creative approach of both the artist himself and the design bureau, which has become known for its memorable and original graphic solutions.

At that time, Hipgnosis was fascinated by the blur effect in photography. To create a unique image of Plant, it was decided to use daylight and a slow shutter speed. The mystical distortion was achieved with the help of a photo lab assistant, adding originality and depth to each frame. This approach allowed them to experiment with visual effects and create memorable images that have become iconic in the world of music photography.

When this photo was placed on the cover of a music album, the design bureau had already ceased to exist. However, it waited for its time and found new life in the music industry.

The image shows a tribute to taxidermied wild ducks, designed by Arthur Gredlington. In 1938, these pieces reached their peak popularity and became a striking feature of living room decor. Three taxidermy ducks were hung on the walls, creating the illusion of flying above the fireplace. These unique pieces not only added style and elegance to the room but also emphasized a love of nature and hunting. Gredlington's creations remain relevant today, attracting the attention of collectors and design connoisseurs.

In 1973, ducks continued to appear in some homes, but were already perceived as kitsch. The design group Hipgnosis purchased three duck carcasses from a butcher and used them to recreate a familiar, yet outdated, interior design style in their studio. This approach highlights the interest in eclecticism and the fusion of design styles of the time.

Many of the design firm's clients were negatively affected by the photograph. However, in 1994, an indie label acquired the rights to use the photo for the cover of their compilation, which became a turning point in its perception.