Project diary: Secret 7” cover

May 10, 2013 | Be the first to comment

Welsh illustrator Stuart Whitton documents four days at his drawing board as he completes his brooding, ambiguous contribution to the Secret 7” charity project

Now in its second year, the Secret 7” project aims to create 700 unique seven 7-inch masterpieces to be exhibited and then sold with proceeds going to charity. Each of the 700 creatives involved was given one of seven tracks and tasked with designing a bespoke sleeve

Secret 7” invites artists, designers and photographers to create album artwork for a track by one of seven musicians – this year it was Public Enemy, Elton John, Nas, Jessie Ware, Haim, Laura Marling and Nick Drake. Each track is pressed to vinyl 100 times, with bespoke artwork created for all 700 copies.

The designs are exhibited in east London between 13-14 April, and on ‘Record Store Day’ on 20th, 700 one-of-a-kind copies are available to purchase. All profits go to the charity Art Against Knives. The idea is that people come to the event and purchase one of the covers, without knowing who created the sleeve or which track it’s for.

The organisers got in touch with my agent and asked me to take part. This project is different to most briefs, because each musician had an idea in mind and processed it in a way that’s natural to them. It’s already been interpreted.

The track that I was given is quite atmospheric – quite driving – and you get a real sense of what the artist is going through. It was nice reading into the lyrics, dipping in and looking at how different thoughts are conveyed. There was one particularly profound line that I based my piece on.

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ONE MAN AND HIS CHARCOAL: Follow Stuart's creative process

DAY ONE, 12.54AM

Everything begins with notes, references and roughs, which I have next to me before starting work.

DAY ONE, 2.26PM

Being a lefty, I draw from right to left to avoid Smudges, always beginning in the top right corner.

DAY TWO, 11.09AM

Two days before deadline I completely changed ideas. It was stressful, but worth it

DAY TWO, 6.54PM

I largely work in pencil but I chose charcoal for this project to get out of my comfort zone.

DAY THREE, 3,25PM

It wasn’t until the darkest parts were drawn that I realised that some areas should be darker.

DAY THREE, 9.10PM

I worked three 12-hour days to meet the deadline. Over 2,000 photos were taken; one every minute.

DAY FOUR, 2.01AM

Because of the nature of the track, I was drawn to cabin in the woods – a small village somewhere out in the wilderness. Then I narrowed it down to a reflection in an eye of a dog or wolf.