This years entry of our ongoing series “Lost Covers” contains a wide array of different works. Like its predecessors, most covers in here showcase all kinds of failures and *whatcangowrongs* in cover design. But there also are little gemstones like my contract work for Gwenaël Mario Grisi, a rising Belgian composer whose overnight(!) composition Through the Clouds definitely was one of the most beautiful tracks I’ve heard in 2017. Also, Gwenaël has his own IMdb page, so he’s officially my new best friend ;) The overall amount of commissioned covers is unusually high this time. Not royality-based though, only voluntary…
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Lost Covers, Vol. 5
“Annihilation” by Ben Salisbury, Geoff Barrow
“Blade Runner 2049” by Benjamin Wallfisch, Hans Zimmer
“Star Wars: The Last Jedi” by John Williams
What are the most obvious indications for a graphic designer who isn’t caring about his or her work? Blurry and fuzzy looking key art? One of the most blatant font choices out there? Or, as in the case of Annihilation, a little bit of both? Alex Garland’s latest work hasn’t had an easy start to put it mildly. After seeing the final cut, the executive producer demanded significant changes to be made, which Garland naturally refused. As a result the film got dumped to Netflix for international markets. And on top of that it received a shockingly lacklustre marketing campaign….
James Cameron, known for being one, if not the most innovative and meticulous filmmaker out there, was responsible for the two highest grossing films of all time. And both prominently utilized two of the most ill-reputed typefaces of all time. It’s almost as if they did it on purpose… only to mock us typophiles. Producing a hollywood blockbuster for an allegedly production budget of $237 million dollar and then making use of “Papyrus” (a font that came free with every Windows and Mac OS computer) certainly feels somewhat ironic, there’s no denying that. Even Ryan Gosling thinks so. Ten years…
There’s a lot to love about Blade Runner 2049, whether it’s the faithful continuation of the story from original pen Hampton Fancher or the stunningly beautiful cinematography from camera virtuoso Roger Deakins. A lot of things that deserve to be praised. Unfortunately the films marketing campaign ain’t one of them. And it’s a real shame, because, considering its poor box office performance, this film really could have used some catchy and favourable media coverage. Instead we got this trite orange & teal trivialities that look nothing like Denis Villeneuve’s dark nuanced neo-noir thriller. Not like the barren wastelands and certainly…
I cook covers on low flame, keeping the oven hot at all times. And by that I mean that a lot of these published custom covers series you see here have been in development for a long, long time. Even already finished custom covers reside inside my Google Drive folder, waiting for their light of day. And it’s not unusual, that I overhaul them right before publishing. Often times the most striking ideas come in those last moments. The Green Mile is the perfect example for that working method, for there is nearly a two years break in between the…