Mariusz Szypura의 Chopin Residue 음악 앨범 커버

디자이너 Mariusz Szypura의 작품 Chopin Residue 음악 앨범 커버은(는) 매우 권위 있는 2026 A' Design Award 동상의 패키징 디자인 부문에서 탁월한 수상작입니다.

동패키징· 2026

Chopin Residue 음악 앨범 커버

디자이너: Mariusz Szypura

클라이언트: Black Element Label

패키징 부문 A' Design Award 동상 수상작

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사이트 방문 A' Design Award에서 보기 보도 자료 수상 배지

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디자인

Chopin Residue 음악 앨범 커버 소개

앨범 인서트에 수록된 작품은 레이드 컷 바이닐 제작 과정에서 발생한 실 폐기물, 즉 그루브의 물리적 음각으로 만든 일련의 대형 작품들을 기록한 것입니다. 이 디자인은 패키지를 음악의 연장선으로 다루며, 소리와 소재, 그리고 제작 과정을 하나의 물리적 오브제 안에 통합합니다. 이 앨범은 포티스헤드, 소닉 유스, 배틀스, 벡, 데이비드 보위, 토터스와 연관된 아티스트들과 함께 프레데리크 쇼팽의 작품을 재해석합니다.

수상 인정

A' Design Award 동상 소개

Chopin Residue 음악 앨범 커버, 이 작품은 A' Design Award 동상 수상작으로, 창의성, 독창성, 영민함으로 돋보이는 뛰어난 디자인에 수여되는 높은 권위의 인정입니다. 동상 수상작은 충분히 숙련되고 인상적으로 창의적인 작품으로, 디자이너의 폭넓은 경험, 상상력, 기지를 입증합니다. Chopin Residue 음악 앨범 커버, 이 작품은 높이 평가받고 감탄과 사랑을 받는 사물로서 두드러지게 전문적이고 혁신적일 것으로 기대됩니다. 이 동상 수상 디자인은 예술, 과학, 디자인, 기술의 모범 사례를 담고 있으며 세부에 대한 주의로 훌륭합니다. Chopin Residue 음악 앨범 커버, 이 작품은 필요를 훌륭하게 충족하고 욕망에 닿으며 감정을 매료하고 호기심을 불러일으킵니다.

디자인 비하인드

프레스 킷

디자이너가 제공한 크레딧, 팀원 및 기술 세부 사항.

고유 특성: The cover of Chopin Residue is generated from the album’s core idea: residue as what remains after deconstruction. Created through the same lathe-cut process that produces the sound, the artwork uses vinyl waste as its visual material. Reinterpreting the music of Fryderyk Chopin with artists linked to projects such as Portishead, Sonic Youth, Battles, Beck, David Bowie, and Tortoise, the package becomes a physical extension of the composition, uniting sound, material, and process.
치수 및 패키징: Physical formats include: Vinyl LP sleeve approx. 315 x 315 x 5 mm; CD digipack approx. 142 x 125 x 10 mm; cassette case approx. 110 x 70 x 17 mm. All formats were designed as tactile objects, with dimensions following industry standards to emphasize material presence and consistency across editions.
태그: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
생산 기술: The design was developed through a process-based methodology, treating sound recording as a material practice. Vinyl shavings produced during the lathe-cut process were collected, preserved, and used to create physical artworks. These works were then photographed and translated into the album packaging. The production emphasized minimal intervention, tactile materials, and small-batch manufacturing, allowing process and material to define the visual language.
디자인 과제: The main challenge was translating an abstract musical concept into a physical object without illustration or decoration. Internally, this required rethinking historical album design and treating sound production as material practice. Externally, limitations included small-scale manufacturing, legal constraints of physical formats, and the unpredictability of lathe-cut processes. Balancing conceptual clarity with technical constraints required continuous testing and adaptation.
연구: Type of Research: practice-based artistic research.
Research Objectives: to translate musical deconstruction into physical form.
Methodology: sound recording treated as a material process.
Data & Tools: lathe-cut vinyl recording, material observation, photography.
Participants: the artist and collaborating musicians.
Results: vinyl residue became visual material.
Insights & Impact: the research links sound, object, and design, showing how production traces can shape meaning in music packaging and contemporary design.
영감: The project was inspired by the idea of residue as a creative outcome - what remains after a process of reduction and transformation. The design emerged from research into lathe-cut vinyl as a physical recording method, treating sound production as material practice. The motivation was to translate an abstract musical concept into a tangible object, where recording, waste, and form become a unified design language.
프로젝트 기간: The project was developed between 2023 and 2025. Music recording and vinyl cutting were carried out during this period, followed by the creation of the visual artworks and packaging design. The album and its physical editions were completed and released in November 2025, accompanied by exhibitions in NY and Osaka and presentations of the related artworks.
운영 흐름: The object is experienced by opening, holding, and listening. The package reveals the music while visually showing traces of how it was made. Images and materials guide the user from sound to its physical remains. Interaction is slow and tactile, encouraging attention and reflection. By connecting listening with touch and sight, the object creates a deeper, more memorable experience than a standard album cover.
특허: Copyrights belong to Mariusz Szypura, 2025
이미지 출처: Image #1: Photo by TAKT, Chopin Residue, 2025.
Image #2: Photo by TAKT, Chopin Residue, 2025.
Image #3: Photo by TAKT, Chopin Residue, 2025.
Image #4: Photo by TAKT, Chopin Residue, 2025.
Image #5: Photo by TAKT, Chopin Residue, 2025.

Video Credits: Concept, Direction, Music, and Visuals by Mariusz Szypura, 2025.