It feels a little silly to paint a picture I already painted a few years ago, but the Waschmann caught my attention again recently. I was thinking about how my attempt at contrasting a matte space sky with a glossy robot body didn’t really work on the canvas surface. I decided I’d give it another go on a harder surface, and it would be a good excuse to have another go with Stuart Semple’s Black 2.0 paint (and by funny coincidence I then heard it featured on 99 Percent Invisible recently too). I’ve got to say – the Black 2.0 paint is super disappointing. The best thing about it is how it photographs, as it’s very easy to blow it out to 100% black when post-processing, but in person it’s laughably not-black. Even regular old System 3 process black is dramatically darker to the human eye, even with a gloss glaze over it. I hope Semple’s Black 3.0 paint is an improvement, but I’m less inclined to try it considering how disappointed I am by the 2.0.
My painting is a little better anyway – it’s a lot more subtle without the thick black outlines.
Behold my latest record cover! Long-time collaborator Logistics has a habit of kindling inspiration in me, usually by bringing his music with some kind of twentieth-century art or design reference point that is totally in my wheelhouse.
For this EP, Logistics gave me some images of library music sleeves, so I took these reference points and set about creating a unique piece of artwork that (hopefully) feels like it could be part of the same niche. I came up with a scheme to do a spin painting for the artwork. The technique is wildly unpredictable, and (as is the way in the topsy-turvy world of independent music) the constraints didn’t afford the luxury of creating an entire spin-painting turntable, but I managed to cobble together a setup using my power drill, some scraps of wood, and my communal back-garden on a sunny day.
The trial-and-error began. I discovered that acrylic paint was too thick and ink was too thin, but paint from a spray-can was just about the right consistency to drift with the centrifugal forces, but still stay opaque. A few attempts later I was starting to get results I was happy with.
A little colour-shifting later, the results pleased the label and Logistics himself, so it was on to the packaging details. The cover design was divided into thirds, so I found a slightly abstract way to divide the centre labels into thirds too.
Because this is a cover for Hospital’s most-prolific musician and the reference point for the artwork was library music, I also went to the effort of presenting the inner sleeve as a library of Logistics’ music in itself. I combed through the entire back catalogue, fought it into a sensible (again thirds-based) layout, and after a bit of to-and-fro over what should and shouldn’t be included where, we have another satisfying detail for the project!
The record is available on Hospital Records now.
Catching up a little on this one: Last autumn I had a fun extra-project for an album I worked on. Med School came to me with Whiney’s second album, and the title for it was ‘Waystone’. I really liked the title, and it made me think of the Giant’s Causeway, which was the main inspiration for the artwork. To make it a bit more interesting, I had an idea of using rotational symmetry to ‘break’ the faux-3D graphics, making it feel like it bent around the other way.
The idea was a sell, but as this is Drum and Bass, Whiney wanted my original version to be grimier. I obliged, and although it wouldn’t have been my choice, it ended up opening up an interesting opportunity further down the album’s development run. The label wanted some extra video content and asked me if there was some way I could do a live painting of the artwork – I thought a stencil would suit the more roughed-up design very well.
Conveniently, the label had recently moved into a new office featuring some dead space waiting to be converted into a new studio. The back wall of this space was offered to me to fill with spray fumes, and I was glad I brought a new respirator with me (Don’t spray-paint indoors without one, kids)! I spent a dark winter afternoon down south of the river laying down a bit of colour:
It made for a good backdrop for a live-streamed DJ set before it was entombed behind the new Hospital Records studio this winter. And it gave me a good excuse to do a bit of artwork on a different scale to what I usually do!
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