collect.apply: Making Record Covers (And More) In Japan

4 Feb 2008 Category: Graphics, Worldwide

collect.apply: Making Record Covers (And More) In Japan

collect.apply's lovely CD book design for artist Max de Wardener's "Where I Am Today," done in 2004 for Accidental Records, London, carefully bound with cloth and foil blocking.

Hal Udell co-founded Clear records in Britain (and Subtle Rukus afterwards), a label famous and essential in the mid to late 90s for their tasteful electronica, such as Matthew Herbert, Mike Paradinas, Metamatics or Morgan Geist - and their equally essential cover art works. Much later after moving to Japan, Hal founded collect.apply with James Gibson (of IAMAS art school.) Meaning two more pros in town, both in Kyoto! PingMag wanted to know all about making record covers from Hal.

Written by Verena

For the intro, how long have you been living in Japan?

First, I’m a graphic designer and art director from London, but now living in Kyoto. I moved here nearly two years ago after living too long in London, and started the collect.apply design company with another friend and designer from London, James Gibson. We design a lot for music as well as product and book design, art and photography.

We bet you remember this! Limited box set for Innerzone Orchestra’s album “Programmed” from 1999 for Talkin’ Loud Records, London / Planet e, Detroit.

To come to the point: why is designing a record - nowadays more a CD - cover, so challenging for designers? Because of the space limitations…?

It’s a great question. I am not sure if it’s the same situation in Japan, but certainly many of my favourite designers in UK started their careers designing record and CD covers. For myself, it’s something very personal - I remember buying my first record when I was eleven years old and studying every detail of the sleeve design while I listened to the music. There is such a strong link between design and music! The challenge for me is to create something immersive, tactile; something to be enjoyed as much as the music. Of course we have other challenges, like budgets to consider, but I have never thought of a 12″ sleeve or CD case having limited space. We can do so much with so little, that is the beauty of it.


Hand-cut rubber stamps…

…for cute flower patterns, to be applied on…

Finished! Cover art work for J-Wave ‘Rendez-Vous’ - “Musique Aromatique: Jasmin” for Columbia Music Entertainment, 2006.

Being in Japan, do you think Japanese CD and record covers look somehow different compared to international ones?

In some ways: yes. When I first came to Japan ten years ago, I was running a record label, and DJing, so I spent a lot of time in record shops. I was amazed at the quality of packaging and experimental formats! But as time goes on, I really see there are good and bad examples of design in Japan just as in any country. Of course in Japan, we have the J-pop phenomenon, and for such commercial design, there are many great cover designs as well as bad ones. I think so much depends on the art direction and the record label themselves taking some risks…

Mysterious “Minotaur Cubes!” Inspired by the Minotaur’s labyrinth, collect.apply created a wooden cube set with sixteen pieces as part of a package with a T-shirt for Japanese Minotaur fashion company in 2005.

Minotaur Cubes: The blocks are laser cut in Kyushu by a wooden toy maker…

…using Japanese maple and white ash.

Very true! Then let’s be more general: regarding graphic design, what would be a remarkable difference of Japanese graphics compared to the British?

It’s funny because when I was in London, a lot of designers were fascinated by Japanese graphic design, which is perceived in a certain way. And now being here, I see the popularity of European design. I feel so lucky to have been able to see things from both sides, and have a great appreciation of the similarities as well as the differences.
I have felt sometimes in Japan that design becomes more and more noisy as it competes for attention - but I am sure it’s the same everywhere, it just shouts in a different visual language. I prefer much more simple designs, and when I look at the work of Hidetoshi Mito, for example, I see something very pure, sincere and beautiful, and very much with a Japanese heart! But it’s not so different from some ECM Records sleeves which are certainly very European.

“Defying Gravity” for PlayStation2: moulded plastic case and booklet with a paper spaceship model kit! For Sony Computer Entertainment Europe in 2006.

And you personally, can you make out a different approach from Japanese designers?

I really think it’s down to individuals, regardless of nationality. Having talked to designers here, we seem to share the same passions and approaches - and also the same problems and challenges.

In terms of music and label works, how would you compare the Japanese music scene to the British one? What works differently, like networking, approaches, attitudes…?

I have been lucky enough both in UK and Japan to have a wide circle of friends making music, so thankfully I have stayed well away from networking on that level. Because designing has always been so personal to me, I have always worked with people who share the same vision. I think it would be a very different approach to be involved in much more commercial work, and I am sure I’d see the ugly side to the music scene.
There is something pretty vulgar about the way music is ‘sold’ to people, like those big advertising trucks which drive around Tokyo blasting out music. Whenever I see those trucks, I never think about the music, just the pollution they cause. I also worry about the manufactured girl groups here - they seem too young… There are of course girl/boy bands in UK, but in Japan they seem a lot younger and I’m not sure this would be accepted in the UK.

Logo Design for Wonderful Noise Productions in Osaka…

…and the same logo as applied on a record cover for Wonderful Noise. On display at last year’s “Music Graffiti” record cover exhibition at Omotesando Hills, Tokyo.

Getting back to your Clear record label in England in the 90s, I always wanted to ask… why did you stop it? [See all of the Clear label art work here.]

That’s a very long story. Unfortunately, it was purely financial.

How sad! Tell us an anecdote. How come that musician Matthew Herbert mentioned your small bathroom in the now defunct EAR magazine? What’s the story behind that - if there is one…

Matthew and I spent a lot of time together in those days, often travelling and DJing together, and inevitably staying in the same places together. My flat in London was a hub of activity during the ‘Clear’ days, and my bathroom clearly had quite an effect on young Mr. Herbert.

Delicious packaging design for Alton Miller’s “Selected Works” and “Souls Like Mine” for Japanese label Ultra-Vybe in 2006.

Ah! Tell me more! And I’d also love to hear about your cover for British artist Brooks’ album Red Tape that came out in 2004, please? [See the cover over here.]

Ah, yes. Brooks is an artist on Matthew Herbert’s Soundslike label. All the artwork for that was made by Rieko Akatsuka - her father is famous manga artist Fujio Akatsuka. Rieko is a good friend and her artwork was the perfect accompaniment to Brooks’ music. It was great having the chance to work with her.


A new work just done for Carl Craig’s Planet e: 12″ design for Tribe’s Livin’ in a New Day,” 2007.

To come now to collect.apply today in Japan: What are your next projects?

We just had four pages in the Logo A Lot book published by BNN and will be featured as one of eight designers in another BNN publication, tentatively titled ‘The Neon Colour Book.’ Also, we are working on packaging for a famous tea company in Kyoto - the owner was an avid collector of my old ‘Clear’ records and CDs! Then, we are going into production with our wooden cubes for a shop and gallery in Osaka. And we have two lines of ceramics designs which will be produced this year, one for ourselves, and one for an established ceramics company in Kyushu. Lastly, we are working towards a new exhibition at Artzone in Kyoto this spring, in conjunction with Kyoto University of Art & Design and IAMAS where my partner James is based.

Now, that is quite a lot on your list! Thank you, Hal Udell of collect.apply! We want to see more of your record art works for Japanese labels, please.

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