iozo, 2018Ĭould you expand a bit on that idea of narrative? Do the photos add up to a story?
#Asap rocky new album 2018 series#
There are other details like that throughout the series in that create more meaning behind them. Another shot, in the “dummy lab,” is about how he is visually manufacturing these other rappers or artists by inspiring them-how he is the scientist creating them. The way I painted it, for example, when Rocky is on a pile of dummies in one of the images I wanted it to represent how he is above all other rappers. I had not heard the album, so I really had no idea what the theme of the album was lyrically, So I mostly had to go with a visual style and a small story within the shoot itself. I began directing myself from that-sketching camera angles, setup, lighting, etc.
In terms of inspiration, they showed me a lot of vintage crash test footage and a mood board. It was something I knew I could visually work with. Rocky gave me the blueprint for the idea of the crash test dummy concept, and I was really intrigued because of how different it felt. What were initial conversations like with A$AP Rocky regarding the shoot? Was there any particular inspiration or references discussed? Had you heard the album beforehand? My friend Hidji, who ended up becoming part of AWGE as an artist and director, showed Rocky my work, and Rocky just wanted to meet me, which alone had me on cloud nine. How did you get involved with the A$AP Rocky campaign? In regards to music, I would listen to a lot of Rocky’s previous work, but mostly “Canal St.” There’s a certain ego in that song which I like I could imagine him on a pedestal against all odds. I always try to be hyper-aware of the cinematography. My favorite director would be Stanley Kubrick. I’ve been really interested in sci-fi that deals with consciousness or AI being self aware, like Blade Runner or Ex-Machina. Any type of music, hip hop, electronic, rock, ambient, pop, etc., they all play a part in film. It’s definitely a big source of inspiration for me. What genre of film do you find yourself gravitating towards most? And was there a particular album or song that helped you get the creative wheels spinning when developing the concept for Testing, since you weren’t able to listen to the album beforehand? I find this to be true of many visual artists, and the range of inspiration is so vast amongst them all. You mention film and music being a large source of inspiration for your work. Comics and video games also play a part since they have become very inspired and work within interesting themes. For the most part it comes from music and how I would visually picture a song or how I make a music video.
My process for ideas comes to me either by listening to a song I really like or watching a film with an intriguing story to it. Depending on the image, the process usually takes me around three to four weeks it’s a matter of how much preparation and coordination the image requires. I am definitely inspired by films, so it makes a lot of sense. iozo, and I am a director and photographer living in New York City. Most people describe my work as cinematic, but I’m not sure how I would explain it myself. Could you talk about the process of constructing these worlds? iozo, 2018Ĭould you begin with bit of background about yourself and your work? Much of what I’ve seen feels highly cinematic, taking place in some sort of dream state. Although his photographs were not used on the cover, his images created a considerable amount of hype for the album and pushed Rocky’s visual language into more sophisticated territory.īONUS: Joining me in this interview is Walker photographer Bobby Rogers who asks a few questions of Mr. iozo about his photographs for the recent A$AP Rocky campaign. In the third installment of Uncovered, a regular series on The Gradient focused on the process and influences behind recent album artwork, we talk with Mr. Despite the change, album covers are still a dream project for many designers, and the field is rich with covers that are both beautiful and boundary pushing. jpg at the bottom left-hand corner of Spotify. What was once a canvas for seminal LP artworks by Peter Saville and Hipgnosis has now been reduced to a small. Since then the format has moved from a simple piece of graphic design to an integral part of popular culture. Sadly, as the music industry has evolved, so has the sleeve.
In 1938, Alex Steinweiss was hired as the art director for Columbia Records where he pioneered the idea of album artwork.
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