Twelve Inches of Pleasure
I'm currently writing a new course for Lynda.com, Fundamentals of Graphic Design History. You'd think this would be easy. I know the history, have the images, and am so old I knew Guttenberg personally. But condensing all of the Bauhaus into a three-minute format and making sure it doesn't sound like, "Bueller, Bueller, anyone?" is tricky. It's a great challenge and fun.
When I started writing about design in the 1970s, I kept circling around album covers. The emotional impact of these artifacts is extraordinary. Sure, there was great corporate identity and typography at the time and more than enough to discuss with those alone. But when I mention a specific album, people light up. "Oh, I stared at The Tubes cover for hours trying to figure out how it worked." or "I kept the Frampton cover on the top of my pile of records just to see it when I woke up every morning.
When I went to college, Roland Young was one of my teachers. I was 19 and knew everything. On the first day, when I realized that Roland was responsible for a big part of the record covers I loved, I was impressed. And that's not easy for an asshole 19 year-old. Today, Roland is a good friend. I took over his Communication Design 1 class at Art Center and still hear from almuni, "Wow, when I had Roland for that class my life changed." My students say, "You were funny."
I recently discovered his cover for Joan Baez, Where are you now, my son?. This cover may seem unassuming and quiet, but it's masterful. The sharp typography with the confidence to be just what it is and the texture of the grainy image is contrast at its best. The image of Baez that speaks to the object of a printed photograph is about a moment in time and intimacy. The Smiths tried this later with some covers, but the original is still my favorite.
Roland's body of work and career, from working with Lou Danziger to art director to teacher, is immense and impossible to show without a major book. Publishers, publishers, anyone?.