I grew up in Sugar Land, Texas, a small city right outside of Houston. Ever since I was young, art has always been a part of my life. As I grew up and more and more things moved to the digital world, I wanted to take my art in that direction as well. I took up digital illustrating, but with the pressures and demands of school, I fell out of practice. While I was conducting visual research for the Visions of Rapture project, I noticed that several of the record covers from the 50s and 60s were painted. The paintings were very characteristic and had very apparent brush strokes. I thought that this approach would give me a great chance to refresh my digital painting skills. In order to replicate the brush strokes, I used a palette knife brush.
For the imagery, I took some lyrics out of the song “Thank You Lord.” In this song, Roberta Peters sings about her thanks to God for several different things, ranging from mountains to singing birds. I took the image of a bird landing on an outstretched hand and illustrated that in the characteristic manner from the 50s.
For my second record cover, I also pulled lyrics from the title song and combined them with the overall dark and grungy feel of the song. The song was called “Mercy Lord,” and a lyric that really stood out to me was one about how the morning sun cried out from the window. I represented that image with a photograph of sunlight peeking through some window panes. For the cover title, I used a bold serif and sampled a bright color from the photograph.
For my last song, “Another Day,” I decided to focus on capturing the overall mood of the song rather than representing a specific lyric. The song is a bright and cheerful song, and I represented that with a bright and warm color palette. The title lies on a blank square that is surrounded by a complex geometric pattern. In the end, this project not only exposed me to a new genre of music and design challenges, but it also allowed me to touch base with some of my roots in digital art.