![]() It is a powerful way to create sophisticated animations for your creative projects. Couverture lets you manage, edit and preview those curves in real-time. Spring, Easing, or Timing Curves are made to specify the rate of change in animation over time. It pushes you to create never-seen-before, more interesting animation curves. You can generate curve-based CSS Keyframe Animations or save curves as Image files. It allows you to export them as code snippets for a variety of programming frameworks. You can store and manage your custom-designed curves right within the app. The Couverture is a spring and easing curve editor that enables you to supercharge animations in apps, websites, and prototypes. ![]() Download Couverture Latest Version for Mac.We’ll produce an alternate ‘readers choice’ in the coming weeks. We’d love to hear from you, as to what are your most loved album covers within the jazz genre. Into the modern era and the glory days may have passed but there are still some classics as you will see from, our 100 Greatest Jazz album Covers. Other companies, including Columbia, Capitol, RCA Victor, Atlantic, United Artists and some smaller independent labels all had some amazing designs that are all represented in the list that follows. Then there’s Don Martin’s amazing work on Miles Davis with Horns or Tom Hannan’s design on the Thelonious Monk and Sonny Rollins LP. Yet it was also other labels like Prestige and Riverside who also produced some amazing covers, like Relaxin’ with The Miles Davis Quintet that was designed by Esmond Edmonds. In later years, Miles would design covers for Bob Dylan, Chicago, Neil Diamond, and Cheap Trick. Warhol produced three Kenny Burrell album sleeves along with one for Johnny Griffin. While he did almost every Blue Note cover for the next decade, when swamped with work farmed out jobs to friends, including a young Andy Warhol, then a struggling artist desperate for commissions. Miles wasn’t paid a lot, at around $50 per cover, and often designed several albums on a Saturday, when not at his full-time job. Reid was also interested in photography and began taking his own shots when he didn’t have the right kind of image from Wolff, who was sometimes frustrated by the way Miles drastically cropped his photographs. And of course, he had Francis Wolff’s brilliant photographs. Yet perhaps it was his distance from the music that was also his strength, allowing him to approach the design unencumbered by all but the basic details – the album title, the feel of the music, and something about the session. Perhaps most ironic of all, given that Blue Note album sleeves have become the benchmark against which all modern jazz covers – and those of just about any other album – are measured, Miles was not a jazz fan, but a classical-music lover. ![]() Miles was far from modern – a Sidney Bechet release a few months later. His debut for Blue Note, as co-designer with John Hermansader, was a cover for a ten-inch album by the Hank Mobley Quartet in late 1955, but the first album to carry the sole name Reid K. When the new twelve-inch format came along it was Reid Miles, a twenty-eight-year-old designer who had worked for Esquire magazine that came to prominence. Bacon’s sleeves sometimes included one of Francis Wolff’s photographs of the artist it helped them to stand out. An avid jazz fan, Bacon worked in a small local advertising agency and had got to know Lion through the Newark Hot Club. When the label released it’s initial batch of LPs in the early 1950s they featured sleeves designed by a twenty-seven-year-old New Yorker, Bacon. Over at Blue Note it was another graphic designer, with a passion for jazz, who did many of the label’s early album designs, his name was Paul Bacon. One cover that many would perhaps overlook as Martin’s work is Ella and Louis’s Porgy And Bess (1957). Some like the Charlie Parker series are instantly recognizable as Martin’s work, while some of his covers for Billie Holiday are less obviously his style. It has been estimated that there are around 400 Clef, Norgran and Verve albums bearing his signature. When Granz gave him the job of looking after all the art needs of Clef Records in 1948.īesides working freelance, Martin also found time to teach and when the sheer volume of his cover art alone is considered, his prodigious output is apparent. It was through Stone Martin’s working association with Asch Records that he met Granz, and they developed both a friendship and a close working relationship.
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