One thing that changed with music is that that the album cover began to shrink and diminish: we started with an LP 12 by 12, then skipping a few formats, we went down to CD, which is five by five, then we're going into online, mp3 and iTunes, which is two by two, now we're looking on our phone, which is one by one. So what we're able to do visually and what sort of stories we can tell within one image is very different now you're relying on a little square. I think what started to happen for a while was people were like, "Oh, just make it a photo," as it was being designed for that one format. You couldn't play with scale as much because if you had something small for an LP, once it got to one inch, you would just never see it. So you had to design multiple versions, depending on the format. Join 45,000 creatives to enjoy a regular dose of inspiration and motivation, delivered to your inbox every Tuesday. We've been busy; it never really slowed down. But it felt like there was a natural pivot away from the music side of our practice with the effects of the pandemic, especially on live music, and artists stopped putting out records for a little bit. All the music stuff went dormant for a while, but we were okay with that. It felt like a natural thing for us. So is music how you started as a designer? It definitely helps. I think having some sort of relationship to it somehow, whether it's liking the person or liking it for the references and its importance in culture. The Ghia project is gorgeous. Can you explain a bit more about your design decisions?

Bad Marin Quizzes | Quotev

Once I went to school, the design programme was shaped around type design, and still, to this day, I always think about the type first rather than the image of a particular aesthetic. I think a typeface can have as much importance as an image regarding how it feels and its aesthetic, and how it makes people feel. Michael Linden – or just Linden to his preppy boarding school pals – doesn’t belong in wealthy, storied Martha’s Vineyard. But when his roommate Jasper invites him to spend the end of summer at his massive beachfront home, August House, Linden tries his best to fit in. Linden wouldn’t call it lying, exactly. Though it turns out August House is full of liars.

Are there any broad similarities or differences between working on music and art or cultural projects?

Before I knew what design was, I was interested in lettering and typography coming from looking at skateboard graphics and album covers, and I would draw letterforms and do calligraphy as a kid. When it came to music, it was making the flyers and having to use Letraset lettering or finding other ways to design rather than just doing it digitally, so it pushed the way I thought about letterforms. Before I was thinking about design I was playing bass in bands and hanging out with a lot of my friends who were in bands. With that came "let's make some merch, let's make t-shirts, let's put out a record." So I started designing records and started putting out records. It gradually grew from there.

Hastings Quizzes | Quotev

Jarvis Brookfield on his psychedelic paintings, dream-like states and what it means to be human Read MoreHowever, his design beginnings are inextricable from his past as the bass player in a band, playing shows and designing records for other acts in the same scene, like No Age, Liars and Beach House.