BRIEF
To create a consistent and versatile design system for Studio PM, a professional recording studio in Montreal.
RICHARD PRINCE
BOOK DESIGN
BRIEF
To create a consistent and versatile design system for Studio PM, a professional recording studio in Montreal.
CONTEXT
Studio PM is an intimate and carefully designed recording and mixing studio. Their team of experienced engineers and producers have worked alongside numerous renowned Canadian artists, including Sam Roberts and Sarah McLachlan. With their 4 acoustically isolated rooms and wide collection of well-maintained equipment and instruments, this ideal environment has attracted a long list of clients who have sought optimal conditions and professional quality sound.
1 x RCA Type 44-BX
4 x RCA BK-5
2 x Royer R-121
2 x Coles 4038
2 x Shure KSM353
2 x Shure SM7
1 x Shure 520DX
5 x Shure SM58
4 x Shure SM57
1 x Shure Beta 57A
5 x Shure Beta 58A
1 x Shure beta 52A
2 x Beyerdynamic M 88
3 x Sennheiser MD 441
4 x Sennheiser MD 421
1 x Sennheiser e602-ll
APPROACH
The art of recording music is methodical and precise. Engineers need expert knowledge and advanced technical skills to produce records that sound good. There is a lot going on behind the scenes, which drew me to the meticulous side of the industry. An extensive list of equipment and instruments available to resident artists caught my attention.
This repetition of numerical and code-like model names inspired me to transform the name Studio PM into equipment itself. This would immediately resonate with the engineers, familiar with the technology of the business. A logo composed of a dash, slash, letters and numbers, in a monospace typeface reflects the mechanical and mathematical processes involved in recording. By swapping letters for numbers, I created a legible language that would be implemented as a system.
.png)
OUTCOME
Organic and undefined imagery was paired with the technical language developed for contrast. Together, they display both the methodical and creative sides of recording music.
WORKI’m not going to change. I’m not going to ask for permission. I’m not going to do it.
BRIEF
To thoughtfully design the cover and inside spreads of a large format book by accurately reflecting the tone and character of creative artist, Richard Prince.
When I first saw my photograph in Prince’s body of work, I did a double take. The signature picture for his show was this image that I had made in New Mexico. And then I saw it all over town. At every bus stop. Finally I went to the exhibit itself and the first thing I wanted to do was photograph it. The guard said no no no, no photography please. And I said but this is my picture. And he said no it’s not, it’s by Richard Prince.
- Sam Abell
I’m not going to change. I’m not going to ask for permission. I’m not going to do it.
BRIEF
To create a consistent and versatile design system for Studio PM, a professional recording studio in Montreal.
CONTEXT
Studio PM is an intimate and carefully designed recording and mixing studio. Their team of experienced engineers and producers have worked alongside numerous renowned Canadian artists, including Sam Roberts and Sarah McLachlan. With their 4 acoustically isolated rooms and wide collection of well-maintained equipment and instruments, this ideal environment has attracted a long list of clients who have sought optimal conditions and professional quality sound.
CONTEXT
Richard Prince is a controversial contemporary artist who finds success through appropriation. By deliberately stealing and slightly transforming pre-existing works by other artists, Richard is constantly met with indignation, to which he defiantly disregards.
Prince rephotographed Marlboro cigarette ads, deliberately cropping out all text associated with the advertisements. This series of cowboys launched his career, unbeknown to original photographer Sam Abell.
APPROACH
A portrait of Richard Prince had to be on the cover of the book. It shows how transparent and unapologetic he is as an artist. As he stares you in the eye, he is asking you to look at him, for you to see him for who he is, without fear of retribution. The title - I Could Care Less - is Richard’s bold response to how others react to his work, a succinct one-liner that sums up his attitude.
Through extensive research, I found myself drawn to the things Richard would say. He always nonchalantly spoke his mind. An overall typographic approach for the book was a way to emphasize these words. The spine, composed of microtype, is the unique stream-of-consciousness writing style Richard developed. This ‘bird talk’ is comprised of random short sentences, which are absurd yet profound.
The large barcode reflects the exorbitant cost of Prince’s work. His untitled (cowboy) photographs are among the most expensive ever sold, the highest going for $3,749,000.
OUTCOME
Every creative decision I made was deliberate. It was important to present the artist authentically through design. The result is a bold, typographic, in-your-face portrayal of Richard Prince.
APPROACH
The art of recording music is methodical and precise. Engineers need expert knowledge and advanced technical skills to produce records that sound good. There is a lot going on behind the scenes, which drew me to the meticulous side of the industry. An extensive list of equipment and instruments available to resident artists caught my attention.
OUTCOME
Organic and undefined imagery was paired with the technical language developed for contrast. Together, they display both the methodical and creative sides of recording music.
