19 Jan 2013
Deciphered: Peter Saville upon paper 
There is an interview with Peter Saville by Paul Hetherington at uponpaper.com. This is an extensive discourse on the colour code design that Saville developed for Blue Monday, Power Corruption and Lies, Confusion and From The Hip.

The online publication accompanies the "colour" issue of UPON PAPER magazine; a collectable XXL-format visual arts magazine. Saville has created new works using the colour code in the magazine. Inside the magazine there is no text, which is keeping with the enigmatic style of th.

Watch out at the Upon Paper Facebook page for some giveaway signed copies nearer to the 30th anniversary of the release of Blue Monday.

More on Peter Saville's colour code at factoryrecords.org.

Peter Saville Colour Code

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column