Any artwork related to The Clash is obviously going to emulate the general aesthetic of Punk which was sweeping across the UK at the time. The artworks, whether they be gig posters or album covers are the epitome of DIY with brash type, stick and paste production or eye soaring colours. To look more into the punk aesthetic I examined two very useful books which explore the visual language of Punk. Action Time Vision and Oh So Pretty in print are devoted to punk and celebrate the spiky haired, leather jacket wearing subculture in the form of graphic design.
The artwork of punk was seen as exciting and explosive for its time, with the graphics being just as evocative as the music. The emotions of anger, danger and outrage which were the general feelings of anarchy in the UK at the time were replicated in graphic design.
In Action Time Vision it includes a insightful interview with Malcolm Garrett in which he talks about the processes behind many punks record sleeves and the influences many designers were taking in back then. The designers were aiming to occupy a space no one had been before, but references came from everywhere such as The Beatles and fine art. The book also goes into great depth about the process, production and legacy of punk sleeves which proved an invaluable piece of research. The findings can be seen below:
The design process
- A sense of urgency, immediacy and demystification are portrayed in the punk design process.
- Covers would aim to empower others to follow the bands and their beliefs
- Embody a sense that anyone can do it
Methods of production
- Photographic techniques in engraving and platemaking
- Punk artwork reflected the availability of materials
- One colour prints
- stenciled, screen printed and badges
Legacy
- Authentic voice of opposition
- Raw sense of ambition
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