![]() ![]() That logo with the arrow was hardly used but is on a billion pin badges. I suppose the ‘This Fire’ sleeve has an elongated twist on the logo too.īLJB: What’s your attitude to band logos?ĪK: What often happens is that one particular logo from a particular period is the one that sticks in people’s minds, even if it was only used once or briefly. ![]() The rough designs of the sleeves came first, and I would have changed the logo to fit.ĪK: I didn’t realise it was that few. I hadn't really thought about this till I checked, but the logo is only used in its ‘pure’ form on the first two singles (and on a sticker on Michael). The starting point was the three colours, geometry and dissonant movement. We even insisted that our big corporate American label kept the Domino logo. People had finally heard of something I was working on!īLJB: Did you use that as the starting point for your sleeve designs for the singles from the first album?ĪK: No, it was just something that was an element for each cover. Was anyone else referencing what the band was referencing at the time? I guess it's the context that the logo was used in that made it stand out – and its visibility – FF were the highest profile band I'd worked with. These were all references that were, happily, right up my street!īLJB: How was it different from other logos/visuals around at the time?ĪK: What else was around at that time? Starsailor? Coldplay? Papa Roach? I can’t think of what their logos look like. Working within quite a well-defined design aesthetic – inspired very much by the Russian Constructivists, The Bauhaus and Dadaists – placed welcome restrictions on what we did. The limited colour palette was settled on very early and became as much of a signature as the logo. MC: The band would send me rough sketches or ideas which I would then develop further, tighten up or redo, depending on how fully formed their ideas were. It was cool to work with Matt who totally got it. We were quite strict about what we wanted. The major reference points were Constructivism, Dada and the Bauhaus, probably in that order. #Franz ferdinand take me out album cover crackedIt has been, and remains, a real collaboration – which is my favourite way to work.īLJB: So how did your creative relationship develop?ĪK: I used to knock up crude versions of the artwork on a cracked copy of Photoshop, then send it to Matt who would make it look wonderful. MC: Yes! All the band members have been involved down the years in the artwork. We all had girlfriends at the art school. I remember the café though.īLJB: Franz Ferdinand are known as being an ‘art school’ band - do they get involved with the visuals?ĪK: I’d only go to the art school to get drunk or sneak into the odd lecture when I was on the dole. I remember meeting Alex for the first time in the Portuguese café around the corner from my studio … he had Marmite on toast and tea.ĪK: I’d forgotten about the Marmite. I first saw the band live at The Africa Centre in July 2003 and knew immediately that this was a band that I ‘got’. Later, when Franz Ferdinand signed to Domino, I guess it was natural that he'd ask me to help them with their artwork. Then, when he set up Domino, Laurence asked to me to design the label's logo and I've been working with him ever since. Matthew Cooper: I'd been doing various design projects for Laurence when he was running Roughneck Records. He’s a gentle, cool guy, with a quiet confidence that lets you know it’s all going to be cool. He totally got any reference immediately, then topped it with a couple more, even better. Alex Kapranos: We first met Matt back in 2003, working on the ‘Darts Of Pleasure’ cover. ![]()
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