The Journey of the Digipak - Digipak Designs

The Journey of the Digipak - Digipak Designs 

Digipak Moodboard

Digipak Moodboard

To come up with some ideas about how I wanted my digipak to look, I made a moodboard to collect and present some ideas that appealed to me. Making the moodboard helped me to gather some ideas about what my digipak should look like in relation to my music video's genre and theme, and helped me to understand what makes a digipak successful and professional. 

1. The first digipak design which caught my eye was this because I like how one picture spans across both inside panel of the digipak. I also like how the CD, when it is in the case, also acts as part of the background image. This aspect of the design is aesthetically satisfying and is much like a jigsaw puzzle. 

2. I like this second design because I feel that the theme of the digipak matches the theme of my own music video: a natural theme can be see throughout the design, with trees and leaves as the prominent symbol. Every panel corresponds with the theme, however colour consistency is something which the design clearly lacks (and this is noticeable in a way that does not appeal to me).

3. My favourite thing about this digipak design is the way the disc design matches the cover design of the digipak. I realise that this could have some practical uses - for example, the disc itself is less likely to be misplaced when its CD so clearly corresponds with the front of its digipak. Aesthetically, the colour palette is soft and easy to look out, with consistency throughout the design. It is not overwhelming to look at.

4. In a similar way to the digipak 1, I like how one image spans across the inside of the six-panel digipak. The design 'flows' from one side to the other and encapsulates a more artistic element to the design; something which I would like to have feature in my own digipak. 

5. Although this is only the back panel of a digipak, I like the usage of space in this design. I feel that the use of the simple colours combined with the simple font makes the product a lot easier and clearer to read. The names of the tracks which are featured on the album are naturally important to the consumer of the product, therefore clarity is a key aspect to the back panel of the digipak, as displayed here.

6. This design is similar to examples 1 and 4, however there is more writing on top of the design which spans the inside length of the digipak. The colour of the writing matches the colour scheme, however I think that its presence disrupts the artistic element to the design, so it is something which I would not like to include on my own design. 

7. Number 7 drew my attention due to the vast amount of writing which is displayed on the inside, on the panel next to the disc. Although information is important for the consumer of the product, I believe that in this situation the amount of information is overwhelming. A digipak could be regarded as a collectible item, and the writing here makes the artistic element of a collector's item less valuable. 

8. This digipak design also appears to encompass the natural theme which I would like to display in my digipak too. However, the main element of this design which stood out to me was the two distinct colour themes - green and orange. They almost clash, but the green theme remains on the inside of the digipak whereas the orange theme remains only on the outside. I like this idea of two sides to one product. In template form, the use of colour looks slightly overwhelming but as the final product it seems to have a 'reversible' design - two pieces of artwork in one. I think this approach is creative and unique. 

9. Number nine is simply the template which I like the most and want to use for my own; it is a six-sided digipak with the CD panel in the centre. I like the idea of folding open the product to get to the centre, like a slow revelation of the inside material. 

10. This digipak design is inspiring not only because of the edgy, modern design which experiments with so many colours, but also because of the pocket which the inside of the design features. This would be a good solution to some of the dislikes which I have had about previous digipak designs (such as 7, which I feel has too much information of the inside of the pack). Having a separate information booklet also makes the product more valuable as a collectible item, since the consumer may think that they have got bonus material from the information in the booklet. 

11. I like Rihanna's album digipak because once more, the background is an image (this time featuring the artiste/character) which stretches across the length of the inside. A natural theme of roses has been used and is consistent throughout the design, including on the CD, and the colour pallet remains consistent too. 

12. I like design 12 because it features the band/characters and I think that this adds more personality to the design, and provides a relatable element to the product. I like how the CD design matches the background of the pallet which it belongs in because it is practical in the same way as digipak 3. The writing is minimal but the way the image of the band is cut short makes the design look partially unprofessional in my opinion.

For the background of my moodboard, I have chosen a colour palette which I feel is attractive and desirable for my own product. 

Digipak Analysis - 1989, Taylor Swift

Digipak Analysis - 1989, Taylor Swift

The album name is simply '1989', reflecting the year the artiste is born. This album name is short and easy to remember, not to mention that fact that marketing is made easier thanks to the basic design which makes it adaptable and more memorable. The name of the album is also personal to the artiste who, like most other artistes in the pop genre, values their image as a method of marketing and popularity. This personal aspect would be particularly attractive to fans, who are likely to know (and want to know) a lot about the artiste. 

The album cover is designed around the retro polaroid photograph, which were an extremely popular part of pop culture in the 1980s - and more relevantly 1989. This retro homemade theme can be seen throughout the front cover with the use of the faded and discoloured effect on the photograph, as well as the font itself which resembles the classic homemade personal labelling of the polaroid photographs. The artiste is also featured on the front of the album, which is common for pop artistes on their album covers in order to advertise their brand. The idea that her whole face cannot be seen draws more attention to the outfit that she is wearing. This is especially effective at enforcing the 'retro' theme, since it is reflective of the era focused on in the album design. 

The CD artwork, if you look closely, matches the jumper worn by the artiste on the front of the album. In this way, the theme is continued within the digipak. The name of the album in the same style and font is written across the centre of the disc, and font style allows the album name to be read despite the hole of the disc.   

The back of the digipak features the same theme of the rest of the digipak (polaroid photograph), making the whole thing consistent and therefore more aesthetically pleasing. The shape and design of the polaroid photo has been used creatively in order to fit in the standard information such as the barcode and record company information at the bottom. The artiste's face is not on the front, but it is shown on the back, which is unusual and connotes that personal image not the most important aspect of music-making for the artiste, unlike the traditional pop artiste. The handwritten style font of the track numbers and subheadings is consistent to the main font use on the front of the digipak. The layout of the song names and numbers is clear and simple to read. 

The use of the retro polaroid photograph for the pull-out booklet not only sustains the theme of the entire digipak, but also allows for an authentic-looking souvenir to be kept by the fans of Taylor Swift. This concept is taken even further with the mixture of bonus photos that come as an extra for the fans in the digipak, as well as a scrapbook-like designed information pack. Not only is this aspect quirky and unique, it could also be a marketing device. Since photographs of this kind are typically personal, the photos have been used as a way of connecting the artiste with her fans and help them feel like they have got to know her on a more personal level (which, one may argue, is the desire of most pop fans). 

To conclude, this digipak design is both fun and unique. When the album was released in 2014, 'retro' was (and continues to be) a quirky and popular trend which mainly younger people, and Taylor Swift's main demographic, chose to follow. This makes the design relevant to the time, ironically keeping it current for years to come too. The theming and the fonts are simple and consistent throughout the design and the bonus materials are exciting and an interesting approach to marketing the product. For these reasons, it is a successful and imaginative digipak in my opinion.  

Digipak Analysis - Prism, Katy Perry

Digipak Analysis - Prism, Katy Perry

The most noticeable element of this digipak is the hologram effect used for the cardboard. The choice to use this effect is unique and interesting and has multiple advantages. Being holographic means that it reflects different colours of light, which is particularly useful at making it stand out on shelves in stores and at home. It also makes it seem more artistic and collectible as a digipak. The hologram effect is also relevant to the branding of the album, Prism being the title, because scientifically prisms are able to split light into its different colours; the hologram effect produces a similar multicoloured light illusion. 

The font used for the name of the album is simple and bold, and it has a prominent, central position on the front of the packaging. The font used is also very unique and reflective of the album name as well - the misaligned lines which make up the album name could connote what happens to a single beam of light if it were to be shined onto a prism: it is refracted. The unique design of the album name is important in order for the buyers to identify the album as the one they wish to buy. 

The image on the front of the album is the artiste - this is a typical feature of the pop genre, since this genre often focuses on selling the artiste to the audience even more so than their music; it is the tours which make the most money. Since Katy Perry is an artiste whose demographic includes a younger audience, it is appropriate that the album cover contains nothing explicit such as extreme violence or nudity. In this situation, it is arguable that the artiste has reached the other end of their demographic spectrum by appearing naked, yet still covered, on the front of the album. This voyeuristic element suggests that while the artiste's songs may be mostly clean and appropriate for younger audiences, she is not innocent or immature and therefore still relevant to older audiences too. 

In the background of the digipak front cover, there are flowers and plants. This natural imagery is also effective at portraying a natural theme, matching the prism and its ability to refract natural light.

The digipak used is a standard four-panel digipak which opens up like a book. Inside, the holographic-effect cardboard is continued ensuring the productt looks high quality and well finished. A further two images of the artiste are displayed, one of which is displayed behind the plastic disc holder (making use of all space on the digipak; an economic and environmental benefit). The photos reflect the same natural theme as seen on the front cover. It is worth noting here that there is no text on the inside of the casing. 

The CD itself appears very basic, however seeing that plain CDs have a natural holographic reflection to them, its simplicity is ideal in this situation. Katy Perry's name and the album title is clearly printed on the disc, keeping the branding for the album consistent and bold. The track names and numbers are also featured on the CD; it could be argued that this feature is simply a traditional one, since it bears no function when the CD is being played (arguably when the track information is needed the most). To add to this, there appears to be a sticker displaying the 'Prism' album logo which comes as a bonus with the purchase of the digipak. This is an ideal collectible for the artiste's listeners, and also helps to promote the artiste in the likely instance that a fan chooses to display the sticker somewhere. 

The reverse of the digipak is where the important information is such as the copyright information, the barcode, the record company details and the song numbers and titles. This compulsory information was probably kept on the back of the design so that the artwork on the front and on the inside is not altered or ruined (they are ugly features to say the least). Again, the hologram effect is continued and another image of the artiste in the same field of flowers is shown, as to keep to the theme. The song titles are arranged in a very unique and creative way in the shape of a triangle; the shape of a prism. The triangular shape is used throughout the album and branding design. Another cleverly designed aspect of the back cover is the scarf that Katy Perry is wearing: it veers off and spreads out in the wind and it is multicoloured, thus resembling the exiting light beam of the light-refracting prism itself.  

Overall, I think that the most impressive aspect of this digipak design is the consistency of the album theme displayed throughout the design; the use of the triangles, the hologram effect and the theme of nature and overall, prisms. The design is effective at selling the artiste and promotes itself in creative ways, for instance the eye-catching hologram effect and the bonus sticker that comes with the purchase of the album. The design has features which addresses Katy Perry's whole demographic. 

What is a Digipak?

What is a Digipak?

A Digipak is a way of packaging CD albums and singles in a visual fashion. The Digipak and its name is now a registered trademark of AGI-Shorewood, and was created by MeadWestvaco in the early 2000s. The term 'Digipak' is now reference to most soft disc packaging. The original design was made of cardboard or card stock with a plastic CD insert, which was an alternative to the common jewel case. The aesthetic flexibility of the Digipak allowed it to become much like a piece of collectible artwork for the artiste's listeners; thus it popularity, even today. 

The Digipak

Jewel Case

Branding Discussion

Branding Discussion

Effective branding is essential in order to make a product successful. According to Jerry McLaughlin, co-founder and CEO of Branders.com, “brand is the perception someone holds in their head about you, a product, a service, an organization, a cause, or an idea.  Brand building is the deliberate and skillful application of effort to create a desired perception in someone else’s mind". 

It is clear from this statement that the branding of a product should be crafted meticulously and thoughtfully in order to enhance the success of a product.

My proposed branding is split into two just like my music video; one side focuses on the accomplishments of the runner, while the other side focuses on those of the cyclist. Overall, however, it was the branding of the runner which stood out to me initially as the most ideal and effective branding image (see images below).

Proposed branding image of the runner

Proposed branding image of the cyclist 

I found that the silhouette design of the runner's image was the most adaptable to other products and in different situations, for instance on merchandise such as t-shirts and phone cases (see the 'shop' page of the website here). The image itself seems to have more versatility in regards to the orientation of the image and its ability to be cropped without adverse effects. It is also worth noting that the silhouette makes the majority of the branding image entirely black - a colour which is ideal for printing since it is less expensive. A main advantage of the cyclist branding image was its appealing green theme (hinting at the natural theme throughout the music video itself), however upon testing its versatility it was evident that both white and black text is difficult to read on the multi-shaded green background. The cyclist image is also extremely dense and rich in terms of colour, unlike the initial runner image. 

Knowing my Audience 

I thought that it would be relevant to reflect on the demographic and psychographic research that I conducted earlier on in my project to refresh my understanding of my target audience. By doing this, I was able to pinpoint exactly what should be involved in the main branding in order for the product to appeal to my demographic from the very start. With the most relevant class demographic group being from letter groups B and C1, and the characters in the narrative purposely designed to appeal to this group as well, I decided that one of the characters should be included in the branding design of the product in some way or another. My psychographic research concluded that my product would be best received by the 'Explorers'. 

Within the narrative of my music video, it is the runner who perhaps sets themselves the most advanced goal (to run a marathon). In order to achieve this goal, it is vital that they have the right attitude - an attitude like their target psychographic group, as described above. By using the runner as a central figure for the product's branding, it could be argued that the target psychographic group is thus being addressed from all angles. For this group, the runner is likely to stand as a good role model, encouraging them to persevere and 'try everything'. 

Uniqueness

For any product to be successful, it must have something which makes it different to everything else on the market. The fact that the song used for my music video is also the main 'theme' for the 2016 Disney film Zootropolis makes it unique in the first place. In terms of narrative, I have purposely challenged the conventions of the 'traditional pop music video' by having the narrative and the achievements of the characters at the heart of the video: although the 'artiste' features lipsyncing their song, they are not the most prevalent (unlike most pop artistes who use their prevalence within their music videos to sell themselves as the product). 

Consistency 

There is no doubt that consistency is essential when it comes to branding a product, ensuring that the product is well recognised wherever it is displayed. The original concept of featuring both characters (the runner and the cyclist) may be confusing, so keeping the silhouetted runner as the main figure throughout the branding is likely to bring most success. The silhouette image also offers the most minimalistic design; keeping the branding simple and transferable. This technique has been used widely recently...

Featured above is the world's latest most popular and successful brands broken down. Even when they have been stripped down they are still recognisable, proving that the amalgamation of basic shapes and colours are most effective. With this concept, the basic silhouette shape with the blue/yellow of the sky should have the same effect for my own product. 

Exposure

Different means of brand exposure is essential in order to reach the target audience, or even a wider audience. Having the film attached so closely to 'Try Everything' is a huge advantage, since its target audience is addressed directly when they watch the film. Larger companies would have a larger budget to experiment with the branding of their products, such as television advertisements, radio advertisements and billboards in prominent locations within cities, for instance. For my own smaller product, which would not have this kind of budget, social media would be used as the main marketing strategy. Using the same silhouette branding in a consistent manner (across all platforms), my product would gain recognition on sites like Facebook, Instagram and Twitter. 

Editing Diary

Editing Diary

17th October, 2017

After filming both narrative sequences of my music video, I decided to experiment with the footage in order to construct a rough cut or example of how I could construct the narrative of the music video: making a clear distinction between the two separate narratives could be challenging, yet was essential in order to avoid audience confusion. 

What went well?

Initially, editing allowed me to understand whether or not I had managed to achieve the anticipated style and mood for my music video: assembling the various pieces of footage in a chronological manner enabled me to see that the natural theme successfully ran throughout both sides of the narrative (something that I was worried wouldn't come across in the end). Editing also proved to me that a clear, easy-to-follow narrative could be derived from the existing footage, which was relieving to know. 
I also experimented with the colour of the footage. By using Apple's iMovie, I was able to alter the saturation, contrast, lighting and tints of the videos, which helped to enhance the colour green within the shots. By doing this, I was able to improve the prominence of the natural green colour and therefore the theme of nature, and make the weather in the bicycle sequence appear nicer (the brighter lighting gave the illusion of a sunnier day). Together, these experiments with the colour enhanced the mise-en-scene to allow a more optimistic message to be decoded by the audience.

What could have been better?

By experimenting with the existing footage, even without the performance footage ready to be incorporated, I was able to recognise that there was not actually enough footage to fill the whole timeline of the song. Despite having storyboarded the music video, I had inaccurately planned the length of each shot: most of them I had planned to last around two seconds each, but at this pace editing seemed too slow for the fun, optimistic rhythm of the song. In terms of shots, I felt like I had enough variety but feared that any more 'running' or 'cycling' shots would result in a boring, repetitive narrative (and this aspect was made even more challenging when considering the fact that the song itself is very repetitive too). Editing on this day inspired me to film some cutaway shots to fill in the unexpected gaps in the music video. 


20th March, 2018
The whole music video could not have come together without the performance sequence of the video, which was filmed at a later date for continuity purposes, and to ensure that the weather was suitable. After filming the performance, the full rough cut skeleton of the music video could be constructed. 

What went well?
The aspect of editing that I was most pleased about was the clarity of the narrative. The best shots for the performance, since the whole song was recorded several times, was easy to extract and use within the video to take up larger chunks of time that needed to be filled. I found that the performance shots were particularly helpful at breaking up the two halves of the narrative (the bike sequences and the running sequences), making sure that the two halves were distinct enough to be able to differentiate between them. It was also interesting to use the 'fade to black' transition, which I weaved into the music video (unplanned, in some instances) to create a dramatic effect or to slow down the editing to a speed which accurately corresponded to the tempo of the song. 
I experimented with different overlay effects on the program to try and enhance the complexity of the music video, and to make the visuals more interesting and unique for the audience. I implemented the opacity tool and split-screen tool on some cutaways, for example. 

What could have been better?After watching the first full draft of the music video, I became aware that the entire performance sequence of the music video was taken from the same take. In other pop music videos, the performer is often seen against various other backgrounds which helps to keep the performance side more interesting to watch for the audience. To improve this, I aim to replace some of the performance shots with alternative versions. 
I found it frustrating that I lacked the ideal amount of footage to cover the whole song. Re-shoots were now difficult in regards to continuity errors, so to improvise I repeated or reused a couple of shots, trying to keep it more subtle by using alternative effects to conceal the fact that the audience could have already seen the shot earlier on in the video. Toying further with the existing footage should reduce the need of repeated shots in the final product.