![]() ![]() MASTER OF REALITYĭesigned by Bloomsbury Group and art directed by Mike Stanford, the design is based on distorted and emboldened lettering using the font Kabel Ultra. What’s immediately apparent is that the ‘counters’ or ‘apertures’ of the B A and P characters are missing or filled in. Here’s the album logo and the digitised version below for comparison: There is a reasonable version of this that’s downloadable, called “Dark Black”. PARANOIDĪnother Marcus Keef design and featuring lettering that is obviously hand drawn. There is a digitised version of Manuscript Capitals available for download but it is pretty awfully executed and not really worth downloading in my opinion. Sadly, Mr MacMillan ignored my request for an interview on this and his other album sleeve designs. It would seem therefore that Marcus Keef ( aka Keith MacMillan read this article on ) either used the Letraset letter forms for inspiration and redrew it to suit the wording ‘Black Sabbath’ or it’s from an entirely different source altogether. You can see certain similarities, but far too many differences for it to be a close match. Here’s the logo from the album sleeve with the same characters from Letraset’s “Manuscript Capitals” positioned beneath for comparison: Nearly everybody will try and tell you that the debut album sleeve has a logo that is made up of Letraset “Manuscript Capitals”…and they’re wrong! Close, but wrong!. ![]() ![]() AC/DC, IRON MAIDEN).īlack Sabbath were no exception to this lack of brand identity in their early years and their sleeve designers used a myriad of logo styles to identify their latest release, with complete disregard for design continuity! It wasn’t until the late 1970s that bands began to see the power of consistently branding their product with the same logo design (e.g. Few, if any, bands of the late 1960s and early 1970s had a specific ‘brand’ logo that was consistently used throughout their album sleeves and merchandise. ![]()
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