Amazing Grace

While serving as the captain of a slave ship, John Newton was awakened one night by a violent wave crashing against the vessel. Hurrying above, he found some of the ship’s timbers ripped away. He and his crew were in terrible danger as the ship plunged through a furious storm. Men began to pump water out desperately. Clothes and bedding were stuffed into holes and boards nailed over them. John joined those who were manning the pumps.

Too exhausted to pump any longer, he was lashed to the wheel to try and steer the ship. The storm raged on and on. In this desperate moment, John turned his eyes back over his life. Raised to the age of seven by a Christian mother, he had sought the Lord with fasts and prayers, but failing to find God he had become embittered. 

In his heart he believed Christianity was true. This brought him no consolation. “I concluded my sins were too great to be forgiven. I waited with fear and impatience to receive my doom.” But soon he heard the glad news that the ship was freed of water. “I began to pray... to think of the Jesus that I had so often derided; I recollected His death: a death for sins not His own, but, as I remembered, for the sake of those who should put their trust in Him.” On this day, March 21, 1747 (new calendar) a day he ever after observed, John realized he needed a Savior to intercede for him with God.

Though the storm raged on for days, John spent every free moment in the Scripture praying for guidance. Finally his ship reached Ireland. Later he would come to know that slavery was wrong and became both abolitionist and minister. Reflecting on his hard life, John wrote one of the world’s most beloved hymns: “Amazing grace! How sweet the sound that saved a wretch like me.”

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Source: Christianity.com

All Hail the Power of Jesus Name

The following is one of my favorite backstories to a gospel hymn. Hope you enjoy both it and my corresponding design for this classic hymn.

Reverend E. P. Scott was a missionary, living in India during the 1800s. At the calling of the Holy Spirit, but against advice of his fellow missionaries, Scott set out to visit a savage and remote mountain tribe.

As he neared their land, he was met by a large group of warriors who quickly surrounded him, each one pointing a spear towards his heart. Expecting to die, Scott made a quick decision to use his last few breaths to glorify God. He took out his violin (which he always carried on him), closed his eyes, and began to play and sing “All Hail the Power of Jesus Name”, in the warriors’ native language.

After singing the first verse, the second, then the third, Rev. Scott realized he was still standing, and that all around him was a peaceful quiet. Opening his eyes he saw every spear lowered. There stood those warriors, with tears in their eyes. Throughout the remainder of his life, Scott spent much time with this tribe, sharing the love of God.

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Source: ShareFaith.com

Grace

Jeff Buckley had only a brief stay on earth, but still managed to release one of the most haunting, romantic and spiritual albums I’ve ever had the pleasure of hearing. The true art of Grace, released on August 23, 1994, was and is reflected in ethereal music, his wailing falsetto and warm vibrato. 

An acquaintance recommended this album to me some time ago, Grace being one of his favorites because of its passion and isn’t that what all great art should be, “passionate”. It was truly my pleasure in taking the opportunity to redesign the original album cover.

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The Shape Of Jazz To Come

Released by Atlantic Records in 1959, The Shape Of Jazz To Come was Ornette Coleman’s debut for the label. Like most jazz of the period, each selection contains a brief melody, then several minutes of free improvisations, followed by a repetition of the main theme. Yet unlike the same jazz of the period, Coleman’s quartet completely abandons the use of chord structures. 

This breakthrough album helped establish the “free jazz” movement and in 2012 was added to the National Recording Registry by the Library of Congress, but don’t let the words “free jazz” scare you away. The Shape Of Jazz To Come is still quite approachable and truly a pleasure for me working through this album cover redesign.

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Crescent

Released by Impulse in 1964, this studio album by John Coltrane features McCoy Tyner, Jimmy Garrison and Elvin Jones playing all original Coltrane compositions. It’s largely sombre music with Coltrane playing tenor sax exclusively. Crescent is passionately lyrical and more melodic than Coltrane’s famous "sheets of sound" approach on other albums. 

It was so much fun working on this album cover redesign for Crescent, a sublime classic and truly one of my favorites.   

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Conversations with Myself

Bill Evans recorded this solo album in three different studio sessions on February 6th, February 9th, and May 20th, 1963. He accomplished this by layering three piano tracks for each song, using a then controversial method of overdubbing. Each track was distinct, yet corresponded beautifully as a composition, earning Evans his first Grammy Award in 1964 for Best Jazz Instrumental Album, Individual or Group. 

Being one of my favorites by Evans, I enjoyed redesigning the album cover for “Conversations with Myself”.

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Avalon

Flowing with a soft, dreamlike scope and haunting melodies, Avalon was released in 1982 by Roxy Music. For me, this hypnotic album marks some of my enduring college memories. Still to this day, Avalon is some of the most romantic music I’ve ever heard. To quote songwriter and vocalist Bryan Ferry, “Avalon is part of the King Arthur legend and is a very romantic thing.” When King Arthur dies, the Queens ferry him off to Avalon, which is sort of an enchanted island. It's the ultimate romantic fantasy place.” 

Avalon is my latest selection for an album cover redesign. One of Roxy Music’s best, this album is strongly recommended.

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Bright Size Life

Bright Size Life was released in 1976 on ECM, and became Pat Metheny’s debut album classic. In addition to Metheny, this fluid trio included the late Jaco Pastorius's lyrical electric bass and Bob Moses’ delicate drums. Every track on this album was original material by Metheny, with the lone exception of Ornette Coleman's “Round Trip/Broadway Blues”, the closing medley. 

Bright Size Life is a personal jazz guitar favorite and my choice for a record cover redesign. 

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The Planets

The Planets, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. With the exception of Earth, all the astrological planets known during the work's composition are represented. 

Dutoit's interpretation of this magnificent orchestral suite is almost perfect and my selection for an album cover redesign.

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Source: Wiki

What is 3-D Printing?

CNN explores the future of manufacturing in "CNN Explains: 3-D printing". The imminent future includes both low-end and high-end 3-D printers. Just how low-end? Watch the video! 

If you’re interested in the potential environmental and economic impact on the high-end side, check out the second video from China View entitled “3D printers print ten houses in 24 hours”.

Giant Steps

Giant Steps, released in 1960 on Atlantic Records, is the fifth studio album by jazz musician John Coltrane as band leader. His first album for the Atlantic record label was a breakthrough for Coltrane, with many of its tracks soon becoming practice templates for jazz saxophonists. In 2004, it was one of only fifty recordings chosen by the Library of Congress to be added to the National Recording Registry. 

This recording exemplifies Coltrane's melodic phrasing that came to be known as sheets of sound, and features his explorations into third-related chord movements became known as Coltrane changes. Jazz musicians continue to use the Giant Steps chord progression, which consists of a peculiar set of chords that often move in thirds, as a practice piece and gateway into modern jazz improvisation. [1]

Happy to select Giant Steps for an album cover redesign. It was my first Coltrane purchase, but definitely not my last.

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Animated GIFs

Check out this light hearted look at animated portraits by Romain Laurent.

Monster

In 1994, R.E.M. released their ninth studio album paying artistic homage to the grunge bands of the day, i.e. Nirvana. Monster is a guitar-driven album of bare backed rock ’n’ roll that garnished strong reactions from fans. Some of them loved it, some hated it, but none could ignore this ragged departure from the group's preceding albums. 

I chose Monster for an album cover redesign, paying my own homage to R.E.M. for their risky willingness to reflect the sonic grungefest of the 90’s.

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Waltz for Debby

Timeless beauty and elegance by one of the best trios in jazz history. Waltz for Debby and Sunday at the Village Vanguard represent Bill Evans’ phenomenal first and most famous trio. Waltz for Debby was recorded live at a New York club in June 1961 shortly before bassist Scott LaFaro’s untimely death in a car accident. In addition to Bill Evans on piano and Scott LaFaro on double bass, Paul Motian provides the sensitive and unobtrusive drums.

This Helpful Creative album cover is a redesign of Waltz for Debby. It’s a must listen album for any fan of truly beautiful music.

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Source: J. Paul Getty Museum

Back to the Drawing Board

It warms my heart to see such an artisan work and talk about her craft. UK based designer Marthe Armitage has been making her hand-blocked wallpaper for 40 years. She hand draws her designs and then uses a century-old offset lithographic printing press and hand-cut lino blocks to create some of the most beautiful wallpaper.

Somethin’ Else

Beautiful and readily accessible, Somethin’ Else is the album for which Julian “Cannonball” Adderley is known. Released in 1958 by Blue Note Records, this recording is recognized as a landmark album in both hard bop and cool styles. Getting prominent and notable contributions from Miles Davis, it’s easy to see why Somethin’ Else became so critically-acclaimed. In addition to Adderley on alto sax and Davis on trumpet, this album includes all stars; Hank Jones on piano, Sam Jones on double bass and Art Blakey on drums. 

The Helpful Creative album cover below is a reinterpretation of Somethin’ Else and is widely considered one of the greatest jazz albums of all time.

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What makes highly creative people so different?

The Huffington Post takes an interesting look at the creative process in certain people. While most of us find comfort in regularity, highly creative people embrace change in their lives, even painful change, head on.

Coolest Dad Ever

David LaFerriere is a graphic designer and possibly the coolest dad ever. He’s been drawing illustrations on his children’s sandwich bags since 2008. He then photographs almost every single one, over 1,100 of which you can view on Flickr. 

Brilliant Corners

Thelonious Monk is considered one of the giants in American music. His playful choice of skewed melodies with interrupted rhythm patterns carved a totally new approach to the music of his day and remains some of the most rewarding in modern jazz. 

Brilliant Corners is a studio album with Monk as both band leader and composer. The title track, considered one of his most difficult compositions, proved so complex that 25 separate cuts had to be spliced together to produce the final version. 

The album was recorded in three sessions in 1956 with two different quintets. "Ba-lue Bolivar Ba-lues-Are" and "Pannonica", on which Monk played the celeste, were recorded with saxophonists Ernie Henry and Sonny Rollins, bassist Oscar Pettiford, and drummer Max Roach. On “Bemsha Swing” the quintet included Clark Terry, trumpet, replacing Henry and Paul Chambers, bass, replacing Pettiford. Monk alone plays the piano solo on “I Surrender Dear”.

The Helpful Creative album cover below is a reinterpretation of a modern jazz classic. 

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Font Face VI

Wiescher-Design Fleurons were designed by Gert Wiescher, a German type designer living in Munich and used by Helpful Creative to illustrate Fancy Fleurons.

The word fleuron is derived from the French word for flower ("Fleur”). Fleurons are typographic ornaments that beautifully weave vinelike flowers and leaves together. They are often used as a typographic element, or glyph, for punctuation marks or as an ornament for typographic compositions. Fleurons are also known as a printers’ flower, or more formally as an aldus leaf (after Italian Renaissance printer Aldus Manutius), hedera leaf, or simply hedera (ivy leaf) symbol. 

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