Category: Cover Art

Bright, cut-paper shapes and bold lettering make Jan Mlodozeniec’s 1985 “Gremliny” poster feel instantly mischievous, as if the design itself is playing tricks. The Polish title “Gremliny Rozrabiają” stretches across a deep black field, while a jagged, green creature in a pointed hat hovers above the scene, its sharp teeth and narrowed eyes signaling cartoon…

Polish lettering looms at the top of this 1980 cover art for “Alien,” credited to artist Jakub Erol, immediately setting a stark, ominous tone. Beneath the title, a single red form dominates the black field: part ribcage, part mask, part organism, its curves arranged like a skeletal lattice. Two wide, blue-ringed eyes stare out from…

Bold color blocks and torn-paper textures frame the title “Wall Street” in a design that feels as sharp and restless as the market itself. Andrzej Pągowski’s 1988 cover art stacks handwritten credits across a loud orange band, then lets the typography collide with floating U.S. banknotes—an immediate signal that money isn’t just a theme here,…

Bold lettering invites you to “Visit Greece,” and the design does the rest with a striking, minimalist palette of deep blues and crisp whites. Against the night-sky tone, whitewashed buildings stack and spill down a hillside, their rounded domes and small crosses forming a skyline that feels instantly Mediterranean. Tiny window accents in warm hues…

Bold lettering and loud, playful color are doing most of the talking here, with “Smash Hits” splashed across the top and a big star stamping the design like a pop-culture seal. The cover spotlights Kajagoogoo in styled, early-’80s fashion—sharp hair, confident poses, and a studio-set backdrop that feels half music video, half teen-bedroom daydream. Even…

Bold typography and electric color announce the era immediately: a Smash Hits cover where the masthead looms huge above a tightly framed, stylized portrait. The model’s bright red hair, feathered like a punk halo, and the fine, graphic “crackle” lines around the eyes feel like a collision of fashion editorial and pop-art illustration—exactly the kind…

Bold blocks of deep blue and a razor-straight white grid frame a startling red relief face on the cover of *The Canadian Architect* (October 1964). The design leans into mid-century modern graphic language—high contrast, hard edges, and a deliberately limited palette—so the viewer’s attention lands immediately on texture and shadow. Even in a still cover…

April 1966 arrives in bold, graphic form on the cover of *The Canadian Architect*, where a deep black field frames a crisp arrangement of colored geometry. A red circle anchors the composition, surrounded by cool blue rectangles, a sharp yellow square, a green block near the base, and a small purple accent that reads like…

Front and center, the duo pose with total sincerity beneath the bold lettering “PEDRO PINHO E PAULO PONTES,” while the album title “BERRANTE DO TEMPO” sits above them like a dramatic promise. The design leans hard into high-contrast color: a magenta border, a plain studio backdrop, and matching glossy outfits that pop so loudly they…

Nothing signals “so bad it’s brilliant” quite like an album sleeve that tries to sell fun with a wink and ends up immortalizing a whole era’s sense of humor. The cover here leans into oversized, candy-colored lettering and cheeky showmanship, framing a grinning man in a sailor-style cap and a toga-like wrap, drink raised as…