Chopin Residue ᱢᱩᱞ ᱠᱟᱹᱢᱤ: ᱢᱤᱳᱡᱤᱠ ᱮᱞᱵᱟᱢ ᱠᱚᱵᱚᱨ by Mariusz Szypura is a highly esteemed winner of the very prestigious 2026 A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ in ᱯᱮᱠᱮᱡᱤᱝ ᱰᱤᱡᱟᱭᱤᱱ Competition Category.
ᱠᱟᱥᱟᱯᱮᱠᱮᱡᱤᱝ· 2026
Chopin Residue ᱢᱩᱞ ᱠᱟᱹᱢᱤ: ᱢᱤᱳᱡᱤᱠ ᱮᱞᱵᱟᱢ ᱠᱚᱵᱚᱨ
Client: Black Element Label
A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ Winner in ᱯᱮᱠᱮᱡᱤᱝ Category
- 7,049
- Verified Award Winner
- Verify Award Status for #179587
The Design
About Chopin Residue ᱢᱩᱞ ᱠᱟᱹᱢᱤ: ᱢᱤᱳᱡᱤᱠ ᱮᱞᱵᱟᱢ ᱠᱚᱵᱚᱨ
ᱯᱩᱛᱷᱤ ᱚᱞ: ᱮᱞᱵᱟᱢ ᱤᱱᱥᱟᱨᱴ ᱠᱚᱨᱮ ᱫᱮᱠᱷᱟᱣ ᱠᱟᱱᱟ ᱟᱨᱴᱣᱟᱨᱠ ᱫᱳ ᱞᱮᱫᱷ ᱠᱟᱴ ᱣᱟᱭᱱᱤᱞ ᱯᱨᱚᱥᱮᱥ ᱨᱮᱭᱟᱜ ᱛᱷᱨᱮᱰ ᱵᱷᱟᱜᱟᱱ ᱠᱷᱚᱱ ᱛᱮᱭᱟᱨ ᱟᱠᱟᱱ ᱢᱟᱨᱟᱝ ᱯᱷᱳᱨᱢᱮᱴ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱥᱤᱨᱤᱡ ᱫᱚᱠᱩᱢᱮᱱᱴ ᱠᱚ ᱫᱚᱦᱚ ᱠᱟᱱᱟ, ᱜᱨᱩᱵ ᱨᱮᱭᱟᱜ ᱯᱷᱤᱡᱤᱠᱟᱞ ᱱᱮᱜᱮᱴᱤᱵ ᱠᱷᱟᱱ। ᱱᱚᱣᱟ ᱰᱤᱡᱟᱭᱱ ᱫᱚ ᱯᱮᱠᱮᱡ ᱫᱚ ᱢᱤᱳᱡᱤᱠ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱵᱟᱲᱛᱤ ᱞᱮᱠᱷᱟᱛᱮ ᱦᱟᱛᱟᱣᱟ, ᱥᱟᱲᱮ, ᱥᱟᱢᱟᱱ ᱟᱨ ᱯᱨᱚᱥᱮᱥ ᱢᱤᱫ ᱯᱷᱤᱡᱤᱠᱟᱞ ᱡᱤᱱᱤᱥ ᱨᱮ ᱢᱤᱫᱛᱟᱞᱟ ᱫᱳ ᱮᱠᱛᱟ ᱮᱢᱟ। ᱱᱚᱣᱟ ᱮᱞᱵᱟᱢ ᱫᱳ Portishead, Sonic Youth, Battles, Beck, David Bowie, ᱟᱨ Tortoise ᱥᱟᱶ ᱡᱳᱲᱟᱣ ᱟᱠᱟᱱ ᱠᱞᱟᱠᱟᱨ ᱠᱚ ᱥᱟᱶᱛᱮ Fryderyk Chopin ᱨᱮᱭᱟᱜ ᱠᱟᱹᱢᱤ ᱠᱚ ᱱᱟᱶᱟ ᱞᱮᱠᱷᱟᱛᱮ ᱵᱩᱡᱷᱟᱹᱣ ᱠᱟᱱᱟ।
The Recognition
About the A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ
Chopin Residue ᱢᱩᱞ ᱠᱟᱹᱢᱤ: ᱢᱤᱳᱡᱤᱠ ᱮᱞᱵᱟᱢ ᱠᱚᱵᱚᱨ ᱫᱚ A' Design Award ᱠᱟᱥᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱱᱟᱣᱟ ᱵᱷᱟᱵᱱᱟ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Chopin Residue ᱢᱩᱞ ᱠᱟᱹᱢᱤ: ᱢᱤᱳᱡᱤᱠ ᱮᱞᱵᱟᱢ ᱠᱚᱵᱚᱨ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
Behind the Design
Press Kit
Credits, team members and technical details provided by the designer.
- Unique Properties
- 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.
- Dimensions & Packaging
- 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.
- Tags
- residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
- Production Technology
- 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.
- Design Challenge
- 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.
- Research
- 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. - Inspiration
- 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.
- Project Duration
- 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.
- Operation Flow
- 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.
- Patents
- Copyrights belong to Mariusz Szypura, 2025
- Image Credits
- 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.
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