Roger Dean's approach to album artwork was designed to evoke the concept of fragility, not merely labeling the cover as such. His vision was to intricately intertwine this idea with a global spectrum, and it proved effective, earning the approval of Yes.
Roger Dean: The Visionary Behind Iconic Yes Album Covers
Roger Dean, the artist known for his groundbreaking work with the band Yes, has had a career that spans more than five decades. His distinctive style, which is anything but corporate or boring, has graced numerous album covers since the late 1960s.
Dean's work is not just a visual extension of the music and lyrics; it offers a fictional world that listeners can project their own stories and interpretations onto. His inspiration for this immersive approach can be traced back to a night spent at Lion Rock in Hong Kong, which offers a view of Kowloon and has nine dragons as its name.
One of Dean's most iconic works is the inner painting of Yes' Close To The Edge. This masterpiece not only encapsulates the environments implicit in the music but also presents a magical, miniature, and bonsai-like world. The now-famous logo adorning the front of the album began life on a train ride from London to Brighton.
Dean's design for the front of Close To The Edge was a simple yet distinguished green leather-bound look, despite warnings that green doesn't sell. Steve Howe, Yes' guitarist, appreciates this work as a visual extension of the world Yes began terraforming soon after he joined the band in 1970.
Dean's work on Yes' Relayer cover was challenging due to its precise drawing and minimalist color scheme, but it has a potential for narrative that is enormous. His work on the Fragile album included a design that wrapped the idea of fragility around the world, which was different from his usual literal approach.
Dean's creative energy, which drove him as a young boy, is still brimming with the visions he desperately wants to carry on exploring. In 2020, he shared stories about some of his most iconic album covers, including which one Steve Howe has on his living room wall.
Looking ahead, Dean is preparing for an exhibition at the Los Angeles Art Show and expects to spend the rest of the year working on architectural projects and a story with interactive elements. His work has been part of the cultural terrain through the covers of numerous albums and bands, and his influence continues to resonate.
Dean's career began in the 1950s, during a time of post-war austerity. He attended the Canterbury College of Art and later the Royal College of Art during the 1960s. His first work to catch the attention of record buyers was the cover of British rock trio Gun's 1968 self-titled debut album on CBS. In 1970, he began creating a series of covers for the Vertigo label, starting with Nucleus' Elastic Rock and Doctor Strangely Strange's Heavy Petting.
As a child, Dean enjoyed walking in the countryside and developed a passion for pathways and landscapes. The colorful and hopeful trends of the Age Of Aquarius, as well as advancements in technology like Kubrick's 2001: A Space Odyssey and Concorde, further fueled his imagination.
Today, Dean's work continues to captivate audiences with its handwritten script, intricate details, and immersive narratives. His influence on the music industry is undeniable, and his contributions to the world of album art are a testament to his creative vision and enduring passion for his craft.
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