Significance of Stained Glass Window on DSotM 30th Ed

General discussion about Pink Floyd.
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J Ed
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Post by J Ed »

what about Rogers more painterly version for his current tour?
thats even newer
Image
EDIT: looking at it a few minutes, the loosely applied paint
reminds me of Monet's impressionistic paintings, eg the Waterlillies
and Monet's philosophy in art was all about light
well, light and time, he painted the same subjects over and over again through his lifetime, as each time the light was was a little different than before, never the exact same situation twice
Image
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iwantmypinkfloydnow
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Post by iwantmypinkfloydnow »

jambo wrote:It's interesting to note that the 1973 cover features no light refraction, weher as the 20th edition does!
20th edition FTW
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Castellorizon..........
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Post by Castellorizon.......... »

When I look at the dsotm 3oth edition cover, It does appear to me that its some one in a green house looking out on the cold dark world. Anyway I have to bring this up, is the spectrum not meant to have seven colours?.. when you look a both album covers there are only six colours does anyone have any idea why???? :?
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Post by jambo »

iwantmypinkfloydnow wrote:20th edition FTW
I prefer the original cover.
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Post by Stephen »

Castellorizon.......... wrote: Anyway I have to bring this up, is the spectrum not meant to have seven colours?.. when you look a both album covers there are only six colours does anyone have any idea why???? :?
This was what Storm had to say on the subject.

DARK SIDE OF THE MOON is one of seven or eight suggestions we submitted
to Pink Floyd. It relates to the Floyd's concerts and their use of light
shows. Specifically it was sparked off by Rick Wright who wanted something
very simple, clinical and precise. It's not a particularly original design
but I do feel that it is very appropriate and highly effective. The artwork
was mainly mechanical -- the spectrum was drawn up in black line and the
colours indicated. The prism was airbrushed, black on white, and the
separator reversed it out of a mechanical (printer's) black background.
We
purposely omitted one colour, purple, since we thought it would not "read"
clearly.
The continuation of the light onto the back of the sleeve involves
an impossible diminishing of the spectrum when it enters the second
(inverted) prism so as to form a thin white beam again which then enters
the first prism on the front sleeve. The inside spread has been designed to
join up with either end of the outer spread. Thus when the sleeves are
opened out and placed next to each other they form a continuous pattern.
This is, of course, unlikely to happen to the individual person in private,
but it may happen in shops, concerts or other places where the group or
their records are being promoted. The continuous pattern is quite striking
when viewed from a distance, however one of the nice things about it is
that it doesn't alter the effectiveness of the single sleeve nor the
integrity of the design. Roger Waters of Pink Floyd helped us design this
inner spread.
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iwantmypinkfloydnow
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Post by iwantmypinkfloydnow »

jambo wrote: I prefer the original cover.
The original is more of symbol, but a cover of an album has to be more complex then that.
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jambo
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Post by jambo »

Hmmm I don't think it has to be complex at all. I would be fine with cover art consisting of a pink square on a blue background.
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Post by AsydWaters »

Maybe they've seen the complex works so many times that even when looking at a plain phyics drawing makes them think of hidden messages in it. :wink: