• _cloud-logotext

    Palmist

  • Img_2878

    Palmist

  • Img_2867

    Palmist

  • Img_2879

    Palmist

  • Numbers

    Palmist

  • Img_2883

    Palmist

  • Img_2888

    Palmist

  • Tumblr_lmey96onj91qgqaq8o1_1280

    Palmist

  • Palmistemblem

    Palmist

Graphic Design

Palmist

Posted by Bryony Quinn,

Very excited about the excellent looking series of limited run 12" vinyls from the FatCat sister label, Palmist. Each record supports two complimenting musical artists (e.g. Lotus Plaza & Odonis Odonis) to every disc and the duality provides an interesting aesthetic crux to the all-things-considered, “democratic” music package – art-worked by London-based illustrator, James Cartwright. The label is independently run from Brighton by Dan Falvey with collaborative music-sourcing efforts from Edward Parkinson. We threw a few questions their way and here’s what we got back…

The identity and the artwork is clearly influenced by the twin nature of the releases – what can you tell us about the making-of and why it’s better than band-by-band artwork?

James: The sleeve design is essentially a stylised version of the logo. As a brand new label producing limited runs of records it would have been really easy for us to get lost on store shelves, so it was important that the label have its own strong identity. Keeping the same design across the split series means that we, rather than the bands, have control over the look and feel of the label. It was also really important that both artists were presented on an equal platform, so the design can be rotated, which keeps things democratic. Down the line we’ll be putting out albums and I’ll be working with the artists to ensure that they get artwork that reflects their personality but is also recognisably Palmist.

The label dedicates itself to “artists we love and think more people should hear about”, so why is vinyl the best vehicle for that?

Dan: I think one of the artists we have worked with (Meg from U.S. Girls) said it best – “I don’t know anything about lasers.” I just like the fact that fundamentally I understand roughly how vinyl works that, despite all of our lasers and technology, it hasn’t been bettered. CD’s are obsolete. I have a degree of affection for them as the medium I most bought music in in my teens, but ultimately they are horrible looking chunks of plastic that sit on shelves now. If nothing else a 12" provides a canvas for an artists to do something beautiful with and I’ve always thought artwork is important to a release, however shallow that might be. We provide download codes so that people can put the release on their ipod anyway, but we want to give people something to hold and cherish. Something that, ultimately, they might sit down with, put the needle to the record and genuinely listen to – rather than lost amongst a shuffle function and a pressing game of Angry Birds.

How do you go about finding the musician/artists and what’s the reason for teaming them up on releases?

Ed: From the very beginning when Dan asked me to become involved with the label, the core idea was to produce a split series. It’s a format that we love, and a chance to pair two bands that we think work well together on the same record – there’s something in that unity that I find very satisfying. Also, it’s a cost-efficient way of releasing as much music as possible.

In terms of finding the artists that we end up working with, it’s as mixed a process as you’d expect. Dan and I listen to all demos that are sent to the label and spend unhealthy amounts of time clicking around on the internet discovering whatever we can. Aside from outside direction and getting to shows, we basically try our luck. It’s a massive thrill to get the OK from an artist that you’ve listened to on the bus 100 times, and kind of surreal.

Portrait9

Posted by Bryony Quinn

Bryony was It’s Nice That’s first ever intern and worked her way up to assistant online editor before moving on to pursue other interests in the summer of 2012.

Most Recent: Graphic Design View Archive

  1. List

    It’s little surprise that Mike Lemanski’s graphic design work has been something of an It’s Nice That favourite, and since we last posted about him in 2013 he’s not let his style slip. Mike’s site boasts some beautiful, mature designs for Feuilleton magazine, which takes articles from various international publications such as The New York Times, translates them into French and publishes issues every quarter.

  2. Hardyseiler-hannover-list-int

    When Hanover-based designers Bureau Hardy Seiler and web design agency Created by Monkeys decided to pitch to design the identity for the Freies Theater Hannover, they found themselves faced with a dilemma. The theatre hosts every flavour of live performance going, from puppetry and musical shows to experimental dance, and all in one flexible and family-friendly space. How could they create a graphic language to match that?

  3. Charlottedelarue-list-3-int

    Illustrator and art director Charlotte Delarue’s varied work shows her to be an uncommonly talented illustrator, conjuring incredibly realistic portraits out of paper and pencil safe in the knowledge that she doesn’t need to do anything more to make them impressive. Her art direction is of another ilk entirely, however – she works with the likes of electro acts Chromeo, Justice and Kavinsky to draw up impactful logotypes and album artwork concepts that can be spotted from miles away, from the golden legs which reappear on almost every Chromeo album cover to Kavinsky’s mysterious blue-tinged scenes.

  4. Parades-artdillier-sale-int-1

    When you’ve got a load of Christmas stock to flog at the start of the new year there’s only one way to go; have a big sale. But everyone else has had that exact same idea, and it’s a pain in the arse to make a sale look good right? Wrong! If you’re smart you’ll hire Bordeaux’s Bureau Parade to come up with a bespoke solution to communicate your low, low prices. Geometric shapes, bold colours and a playful use of typography meant that everyone knew about the sweet deals at Bordeaux’s most high-end shoe retailer, Michard Ardillier, without the store having to Xerox a bunch of giant red signs à la Tie Rack. Nice solution to an often overlooked problem if you ask us.

  5. Cometsubstance-sleeve-1-int

    We’re big fans of Comet Substance, graphic designer Ronny Hunger’s poster-producing alter-ego. Since we last featured him back at the tail end of 2013 Ronny has shifted from the Xerox collage aesthetic to slicker lines and high production values, without losing any of the depth or attention to idiosyncratic details of his earlier work.

  6. Oyalstudio-dishonestmanifest-int-list

    Portugal’s Royal Studio are not just winningly adept at creating bold, interesting and creatively ambitious visual treatments – they’re also terrific at writing the most intriguing project summaries I think I’ve ever seen. There’s a fine line between being weird and funny on the one hand, and gratuitously wacky on the other but these guys manage to pull off descriptions that mirror the invention, and occasional iconoclasm, in their work. Take The Dishonest Manifest, a series which seems to be ridiculing the preoccupation with how posters look as opposed to how well they do their job. The clearest indication of this is a long, thin creation with the phrase “Don’t give a fuck about content” repeated over and over again.

  7. Bonhams-auction-catalogue-int-4

    The idea of London’s auction houses, all stuffed to bursting with hushed voices, incredible art, taut-faced women and a nonchalant yet overpowering scent of money (I’ve never been to one, if you hadn’t guessed) make them feel like something of an alien concept. A place not for the likes of me, and one happy to remain in its exclusive bubble. But recently a series of innovative redesigns have suggested that perhaps a new aesthetic sensibility seems to be settling into the high-end fabrics of these places. There’s a sense they’re working to rethink their approach to their brand and how it looks.

  8. Mobydigg-aaberaward-1-int

    How many design studios can you think of who are named after a mis-pronounced classic novel? Because Munich-based design studio Moby Digg is, and that fact, coupled with their fun, bright site, propels them above most straight-laced studios in our book.

  9. Aaronvinton-kidsong-1-int_copy

    Aaron Vinton graduated from CalArts in 2009 and has since been producing idiosyncratic, skilled and occasionally creepy graphic design. Clearly influenced by the working processes of the days of yore, the thematic span and style gauge in his work are reminiscent of studios like Push Pin, whose work would adapt to context seamlessly.

  10. List

    Designed by Minna Sakaria, Carolina Dahl and Maria Ines Gul, this great identity for the upcoming Royal College of Art’s School of Communication Work-in-Progress show is a modular representation of the works in progress that’ll be exhibited. Made up of a set of parts, the typeface allows for each element to contribute to any number of letterforms or abstract shapes. As well as existing online and in print, the specially-designed typeface has been printed on stickers with the intention of interrupting the RCA’s corporate identity in a playful and productive way.

  11. 1.-of_drippy_donut_copy

    “Designing for Odd Future was a little bit like working for a bunch of slightly familiar homies, who have ridiculously awesome ideas for apparel and a lot more money than you,” says Chris Burnett, a Portland, Oregon-based designer who got in touch recently to show off his rather awesome site.

  12. List-retor

    Without wishing to sound like a pretentious little shit, when a book arrived entitled Greetings from Retro Design, I have to say I did a pretentious little internal sigh. Perhaps rather unfairly, “retro” has become something of a dirty word, connoting brands or enterprises desperately clawing at a carefully identified young “target market” that appears to have a penchant for buying overpriced second hand clothes in Brick Lane and fetishising ephemera from a youth they probably never lived through.

  13. Corinne_gisel3

    Corinne Gisel is a graphic designer and writer with a self-appointed “special knack for editorial design.” Deserving of this accolade, Corinne is a graduate of the Gerrit Rietveld Academie and describes her working process as: “always aim[ing] for flawless typesetting,” with a balanced focus on “content and language… sender and receiver.”