A selected work from Lars Müller cover design workshops
Concept
ECM的音樂專輯封面，經常是潮濕的地面、模糊不清的景色，不使用能閱讀的具體符號，卻能從「視覺」感受到音樂無形、充滿在空氣中的狀態。像是光影的粒子，微雨時的空氣，或是塵埃，靜謐，卻更加深入而強烈。本書作者提到，這種設計像是對聽眾的一種「拒絕（reject)）」，我覺得這種拒絕，反而是為聽眾製造一個機會，思考自身與音樂的關係。於是我用抽象的手繪素描線條，表現類似雲的陰影、空氣的流動、和隱藏在身體裡的音樂韻律，也將ECM三個字母轉化為可閱讀的訊息，以淺灰藍色作為底色，表現清冷的薄暮微光。
The sleeve design of ECM records often involves wet floor or blurry scenery. Designers usually discard plain words or symbols; instead, they present music visually; as if the music is floating in the air. Music, in the design, is like grains of light and shadow, humid air, or dust. Gentle yet profound. The author of this book mentioned that, in a way, this type of design rejects the audience. I think, however, the design is offering the audience an opportunity to think about their relationship with music. Therefore, I sketched abstract lines that vaguely resemble shadows of a cloud or air flow. The audience can see the sketch as melodies resonating in a human body, or they can recognize the letters ECM in it. I used light blue with a tint of grey in the background to show the chilly, dimmed light in the early morning.
The sleeve design of ECM records often involves wet floor or blurry scenery. Designers usually discard plain words or symbols; instead, they present music visually; as if the music is floating in the air. Music, in the design, is like grains of light and shadow, humid air, or dust. Gentle yet profound. The author of this book mentioned that, in a way, this type of design rejects the audience. I think, however, the design is offering the audience an opportunity to think about their relationship with music. Therefore, I sketched abstract lines that vaguely resemble shadows of a cloud or air flow. The audience can see the sketch as melodies resonating in a human body, or they can recognize the letters ECM in it. I used light blue with a tint of grey in the background to show the chilly, dimmed light in the early morning.
Sketch
Design
Exhibition
Thank you
