Since moving to Brooklyn from The Bronx in 2006, I became a avid follower of Palms Out. They are a fantastic music website and an up-and-coming record label. I had the pleasure of working with them on music ventures in the past, and on art ventures more recently. One of their artists, Dubbel Dutch, just made a vinyl for his single, "Trollsta". I made the artwork for its digital release a few months back...
Boody B, one of Palms Outs creators, suggested that I make the cover art for each of the 100 pressings of Dubbel Dutch's tune. He and I both agreed that if someone was to buy the record on wax, that person was most likely a true fan and a sincere collector of music. We decided to take it a step further and make each record an individual piece of art. In short, I was handed 100 records and creative control of the project.
Boody B, one of Palms Outs creators, suggested that I make the cover art for each of the 100 pressings of Dubbel Dutch's tune. He and I both agreed that if someone was to buy the record on wax, that person was most likely a true fan and a sincere collector of music. We decided to take it a step further and make each record an individual piece of art. In short, I was handed 100 records and creative control of the project. I approached the project from two angles; the front and the back. For the front, I wanted to create a surface that was visually beautiful, colorful and textured.
Instinctively, I wanted to create four variations of the A side of the records. Perhaps so that once someone buys the record, he/she only owns a quarter of the full art composition. I was also interested in directing a pattern and a rhythm to the sleeves. I would also use four colors that I felt in the music. I started by painting the original grey-colored sleeves four different colors. 25 were blue, 25 bright green, 25 white, and 25 were left grey. I then interchanged some of the colors by splattering the other three paints over each other.
Instinctively, I wanted to create four variations of the A side of the records. Perhaps so that once someone buys the record, he/she only owns a quarter of the full art composition. I was also interested in directing a pattern and a rhythm to the sleeves. I would also use four colors that I felt in the music. I started by painting the original grey-colored sleeves four different colors. 25 were blue, 25 bright green, 25 white, and 25 were left grey. I then interchanged some of the colors by splattering the other three paints over each other.
Next, I took peach house paint and dripped it on the white and the grey sleeves. On the blue and green ones I let the paint free fall onto the sleeves.
Next, I made silk screens of the drawing above. I considered the music and shape of the vinyl, as well as the composition of the record. The record consists of one song and a handful of amazing remixes. I was intrigued by the fact that it was such a unified project. Like hands shaking over and over and over via sound. I made two different screen colors. Lighter green for the dark blue and white background, and deep purple for the grey and green backgrounds.
I have to thank photographer Brock Fetch for taking the time to visit my studio and take the amazing photos in this post and the previous post. This project was very complex and detailed. It integrated music, art, photography, and business in a way I have never before experienced. I enjoyed collaborating with such talented and lateral-thinking people for these records. I will be posting about the B Side of the records soon.
