In 1956, Blue Note employed Reid Miles, an artist who worked for Esquire magazine. The cover art produced by Miles, often featuring Wolff's photographs of musicians in the studio, was as influential in the world of graphic design as the music within would be in the world of jazz.[1] Under Miles, Blue Note was known for their striking and unusual album cover designs. Miles' graphical design was distinguished by its tinted black and white photographs, creative use of sans-serif typefaces, and restricted color palette (often black and white with a single color), and frequent use of solid rectangular bands of color or white, influenced by the Bauhaus school of design.[2]
Though Miles' work is closely associated with Blue Note, and has earned iconic status and frequent homage, Miles was only a casual jazz fan, according to Richard Cook;[3] Blue Note gave him several copies of each of the many dozens of albums he designed, but Miles gave most to friends or sold them to second-hand record shops. A few mid-fifties album covers featured drawings by an as-yet-little-known Andy Warhol.[4]
SERIF- Century Schoolbook
- Madison (Century 725)
- Monotype Bodoni Ultra Bold Italic
- Beton Bold Condensed
- Caslon 540
- Caslon Graphique
- Cheltenham
- Egiziano
- Hellenic Wide (similar to 58 Rodeo)
- Memphis
- Onyx
- Remington Typewriter (enlarged from an actual typewriter)
- City (Square Slabserif 711)
- Cooper Black
- Derek Italic
- Futura Black
- Kalligraphia
- Lazybones
- Mistral
- Peignot
- Radiant
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