Dissertation

Client: Self–initiated/University
Process: Digitally printed, 4 Colour.
Size & Output: 176 x 250 mm (B5). 60pp.
Materials: IPS 300gms & IPS 120gsm.

With the death of the album cover and the invisible cloud that is digital distribution, music fans have been left with the need to have something tangible to connect them to musicians; and gig posters are now filling this gap.  The focus of this dissertation was to explore how the gig poster industry has evolved from its so-called 'hay-day' in the 1960s through to the present day, how the Internet has enabled instant communication throughout the world between designers, clients, fans and also inter-communication between gig poster artists themselves; as well as how it has changed the music industry and made it more digital.  Furthermore, it focused on the newly formed relationship between designers, clients and customers that has never before existed and how all of this has played a role in the resurgence and popularity of gig posters.

The design of the book is based around vinyl covers; as along side gig posters, vinyl sales have sky-rocketed.  French fold techniques have been used for the inners to reflect that tangible connection with gig posters. In every second centre spread of the fold, there is a secret gig poster to intrigue the reader, and a reflective A1 poster was also created to review what I had achieved in the dissertation.