Bands like No Age, Liars, Beach House…I was just doing the designs because we were friends, we all kind of all grew up with each other, so it was just a natural thing, "do you want to design our record?" Were you still doing music stuff while you were working at the architecture school?

Bad Marin Quizzes | Quotev

Nara book design Are there any broad similarities or differences between working on music and art or cultural projects? In about 2009, I formed my own studio, which was just doing music and cultural work. Willo [Perron] and I had our own practice, and we merged in 2017 after many conversations. We knew each other from a mutual friend, and we'd worked on a handful of projects together before starting the studio. Design Bridge and Partners shoots for the stars in new identity for The Archer School for Girls Read MoreInstead, they're often born of designers that honed their craft, making flyers, designing posters and records for their friends (or themselves), and LA-based studio Perron–Roettinger is no exception.

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However, his design beginnings are inextricable from his past as the bass player in a band, playing shows and designing records for other acts in the same scene, like No Age, Liars and Beach House. Katty Huertas on her maximalist style, why she likes to explore double standards, and how freelance careers evolve Read More Alongside Willo Perron, he's now one half of the studio Perron–Roettinger, which works across print, book design, identity, interiors and live projects. With a focus on cultural brands and music, the studio's way with typography is both beautiful and innovative, sitting within a design approach that's brave and holistic.Join 45,000 creatives to enjoy a regular dose of inspiration and motivation, delivered to your inbox every Tuesday. Jarvis Brookfield on his psychedelic paintings, dream-like states and what it means to be human Read More Ghia identity I love your use of typography across the board. Can you tell me a bit more about your interest in that side of design? Before I was thinking about design I was playing bass in bands and hanging out with a lot of my friends who were in bands. With that came "let's make some merch, let's make t-shirts, let's put out a record." So I started designing records and started putting out records. It gradually grew from there. We've been busy; it never really slowed down. But it felt like there was a natural pivot away from the music side of our practice with the effects of the pandemic, especially on live music, and artists stopped putting out records for a little bit. All the music stuff went dormant for a while, but we were okay with that. It felt like a natural thing for us. So is music how you started as a designer?

Jay Z and No Age designer Brian Roettinger on music as a

Before I knew what design was, I was interested in lettering and typography coming from looking at skateboard graphics and album covers, and I would draw letterforms and do calligraphy as a kid. When it came to music, it was making the flyers and having to use Letraset lettering or finding other ways to design rather than just doing it digitally, so it pushed the way I thought about letterforms. It definitely helps. I think having some sort of relationship to it somehow, whether it's liking the person or liking it for the references and its importance in culture. The Ghia project is gorgeous. Can you explain a bit more about your design decisions?

Are there any broad similarities or differences between working on music and art or cultural projects?

Co-founder Brian Roettinger is now a two-time Grammy-nominated artist and graphic designer who's designed cover art for the likes of St Vincent and JAY-Z, winning Rolling Stone's Album Designer of the Year award in 2009. Michael Linden – or just Linden to his preppy boarding school pals – doesn’t belong in wealthy, storied Martha’s Vineyard. But when his roommate Jasper invites him to spend the end of summer at his massive beachfront home, August House, Linden tries his best to fit in. Linden wouldn’t call it lying, exactly. Though it turns out August House is full of liars. Leaving a comfortable job in graphic design to become a freelance illustrator, with Meredith Schomburg

LIAR’S BEACH – Katie Cotugno

They're the same, but there are differences. With music stuff, I think you have to deal with a lot more people from the label people from management. A band might have six people that all want to bring something to it. There are a lot more people involved. How did Perron–Roettinger form? Then fellow prep-schooler Greg Holliman is found unconscious in Jasper’s pool, and everyone has something to hide – Jasper, his beautiful sister Eliza, their older brother Wells, and their friends. Greg’s accident is written off as just that – an accident – but with no shortage of enemies, Linden begins to wonder if someone wanted to see Greg hurt. Or even dead. Once I went to school, the design programme was shaped around type design, and still, to this day, I always think about the type first rather than the image of a particular aesthetic. I think a typeface can have as much importance as an image regarding how it feels and its aesthetic, and how it makes people feel. Yeah, I would call it the gateway drug. Without music, at least in my practice and experience, there would be no design: it's what shapes the way I think about design, how I look at design, and even the first pieces of design I ever made were always for bands or music.One thing that changed with music is that that the album cover began to shrink and diminish: we started with an LP 12 by 12, then skipping a few formats, we went down to CD, which is five by five, then we're going into online, mp3 and iTunes, which is two by two, now we're looking on our phone, which is one by one. So what we're able to do visually and what sort of stories we can tell within one image is very different now you're relying on a little square. I think what started to happen for a while was people were like, "Oh, just make it a photo," as it was being designed for that one format. You couldn't play with scale as much because if you had something small for an LP, once it got to one inch, you would just never see it. So you had to design multiple versions, depending on the format.