Still completely unreadable, Dort. If this were meant for a 12inch vinyl jacket, it wouldn't be that much of a problem, but since most people will, I assume, see this design only as a small thumbnail — either on the websites where the album is sold, or on their devices which they use to play it back with — you really should pay more attention, much more, to comfortable readability. (Readability can only be ignored when you're a firmly established artist and you have an eye-catching, instantly recognizable visual to decorate the front of your album with. "Dark Side Of the Moon" is a good example.)
While you're at it, I would suggest you also address another issue which, in my opinion, is just as bad, if not more so, than the problematic readability: the positioning and the alignment of the various elements that make up the design. The style of design you went for in this particular visual — clean, tight, sparse — demands pixelperfect alignment and solid centre-based balance. Otherwise it just looks sloppy and amateuristic.
In this case for example, the square isn't centered within the boundaries of the visual, and neither are the title and the artist's name. Furthermore, the latter isn't properly aligned with the square either (to an embarassing degree, if I may say so). It all combines, I'm sorry to have to say, into a visual that says "homemade, unprofessional effort".
If I may be honest, I wouldn't pursue this latest direction of the album design any further. For the simple reason that I don't see any satisfying solution for all the problems which this particular combination of image, typography and stylistic 'wrapping' presents, especially when considering the size at which the finished design will be most often looked at. There are solutions, sure, there are many, but they all require entirely different typographic choices and a wholly different approach to the layout.
In short, I would start all over again.
And when you do, maybe keep some of the following in mind. (I apologize for the unavoidable patronizing presumptuousness that's always such an unpleasantly awkward aspect of someone giving tips.)
• Never loose sight of the final size of your design while working. And check each and every one of your design choices against the consequences of that size. Very, very important.
• Visit a site where albums are presented — the iTunes store is a useful spot for this purpose —, see which designs stand out and try to analyze why it is they do. (Note that the best ones will usually have a strong focus of attention which immediately grabs the eye, through expert use of color, image, contrast, typo or some other design techniques.)
Your latest design, for instance, would, in its current state, simply be an unappealing, incommunicative square of dull grey with a few touches of red in it. It would go completely unnoticed amidst whatever else there is to see on the website.
• Choose fonts that are compatible. In your first design, for example, the two fonts were incompatible. Choosing and combining fonts — a most testing challenge that even experienced designers often have difficulty with — is actually *very* much like orchestrating. Just as orchestrating is all about picking, balancing and blending the right timbres in order to communicate musical content (and, in many cases, emotion) as effectively as possible, so is choosing fonts all about finding the right and aesthetically most pleasing typographic combination in order to express meaning (and, yes, emotion too). And your choice always has to be consistent with the rest of the design as well of course.
• Especially when still a somewhat inexperienced designer, obey the visually defining rules of whatever design style you decide to go with. Some styles require complete accuracy when it comes to positioning and alignment, while other styles allow, nay insist, that you work much looser. Know the idiom you're working in. Once you feel more confident as a designer, you can deviate all you want from rules, theories and axioms, but at this early first-toe-in-the-water stage, I would advise against it.
• Avoid cheap-looking graphic software preset solutions. I only mention this because the rather exaggerated shadows which you used behind the typo in your first design are a telling example of this painful practice. Exaggerated shadows, just like bevels, an abundance of lens flares, tasteless gradients, brushed metal surfaces, ill-chosen fonts, uninspired prefab lay-outs, templates, poor alignment and hundreds of other things which nearly all graphic software invites you to incorporate in your work, all scream 'amateur hour'. Don't go near any of them. (The designer of Jay's cover is to be seriously reprimanded for these very reasons too, I fear. That album cover exhibits all the flaws which graphic design software allows you to get away with — all too easily — when unhindered by whatever degree of talent and/or skill, or absence thereof, in the one using the software.)
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