Some cool Tattoo Lettering Design Ideas images:
Best Album Art of All Time – Exile on Main Street
Image by brizzle born and bred
The Rolling Stones’ "Exile on Main Street", with artwork by John Van Hamersveld.
Exile on Main St. is a double album by English rock band The Rolling Stones. It was released on 12 May 1972 by Rolling Stones Records. The album’s music incorporates rock and roll, blues, soul, country, and gospel genres.
Although it originally received mixed reviews, Exile on Main St. has been ranked on various lists as one of the greatest albums of all time.
The 2010 remastered version of the album was released in Europe on 17 May 2010 and in the United States on 18 May 2010, featuring a bonus disc with 10 new tracks.
Van Hamersveld was working on a songbook with the Stones at a Los Angeles mansion where they were staying when legendary photographer Robert Frank walked in the room; he was quickly recruited for the cover of the band’s upcoming album.
The cover shot, assorted pictures of circus freaks, is not a collage but a photo Frank took in 1950 of the wall of a tattoo parlor somewhere on Route 66. The comparison to the notorious Stones — jet-setting tax exiles, cocaine-fueled satyrs and perpetual outsiders — is clear. To drive the point home, an identical layout on the back cover features Frank’s photos of the Stones themselves, shot on L.A.’s seedy Main Street. (Frank’s 1972 film documentary of the Stones, the unreleased Cocksucker Blues, would explicitly portray them as freaks.) The inner sleeves were even more casually slapped together, with titles and credits hand-lettered by Jagger himself. The layout perfectly complements the sprawling, ramshackle sound of Exile itself.
Perhaps the most memorable photograph on the cover is one of a guy holding three balls in his mouth. Marshall Chess, who was then the Stones’ manager, needed an image for billboards and other advertising; Van Hamersveld had a great idea. "Lookit," he said, "why don’t we take the guy with the balls in his mouth. That is the most amazing photograph I’ve ever seen. And doesn’t it look like Charlie!"
When the buying public took their first look at the design and imagery of the sprawling record cover, most people admitted that they didn’t “get it”. Having just soaked in Warhol’s ultimately-iconic "cover with a zipper" for Sticky Fingers, fans should have been ready for anything, but John Van Hamersveld’s designs seemed to confound them, asking them to digest a rough, anti-establishment, punk-before-there-was-punk collage of images that may have, initially, combined with the unfamiliar musical stylings to impact sales.
And so when Van Hamersveld, who’d established his industry cred via his poster and package designs for Hendrix, The Beatles (Magical Mystery Tour), Jefferson Airplane (Crown of Creation) and others, was approached by the Rolling Stones (who were in a studio in LA putting the finishing touches on this new album) to work on the graphics and packaging for a songbook project the band wanted to release, he joined in on an interesting series of events on the day of their initial meeting had a profound impact on the course of album art history.
Image by www.samshennan.com
Drawings in my design cookbook for UD3 related stuff. It’s pretty weird what comes out of my head.