Filed under: Boddie
With our Pressed At Boddie label design contest winner’s circle announced, we wanted to highlight a handful of entries that we felt were truly exceptional. Many of these could be real labels for contemporary record companies, much less walk-ins to Louise and Thomas Boddie’s pressing plant.
One of Jamie Dillon’s six entries (three others of which are nice too). struck down only because of our overall dislike of the peace sign. That hand rules pretty hard.
John Ennis’ hand-painted submission was one of the most hotly contested. His Kohoutec-inspired Numero comet might’ve won had we been able to agree on how to translate this messy vision into functioning label.
We highlighted long-time Numero subscriber Louis Guy Bengin’s musical rooster way back in week one of the competition, a slam dunk front runner from the get go. Had it been submitted in spot color separations or in monotone it would have made the top three.
Aidan Phillips was never really a candidate to win it all (a four color job at Boddie was unthinkable), but we have much respect for his skill with a marker.
Dave Ortega’s entry falls into the Eliza Childress category, more art than label. A thing of beauty that could never be replicated in mono or duotone. It’s a fucking Generalissimo, people! Mind blowing.
We loved, loved, loved Jeremy Wheeler’s three entries. If he was alive in 1968 and living in Los Angeles he would have work for years (or at least until the era of terrible design hit in the late 80s). Jeremy suffered for being too good for the contest, but if there are any enterprising record companies reading this, do yourself a favor and hire this guy.
Completely unusable in the sense that it would be impossible to translate, but one of the more intriguing submissions nonetheless. Trace Hull hails from Columbus, Ohio, and she even found a way to work the art for the Dispatch’s recent Penny & the Quarters story into the mix (that curve under Numero is the P&Q’s tape that appeared on A1). Have we mentioned our affinity for tape and staples?
The creepiest design comes from our friend Will Luck. Why anyone would want to look at our mugs when they crack the shrink on a weirdo Cleveland comp is beyond us, but maybe Will sees something we don’t. Rob is nailed, Tom and Ken not so much.
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