Stuart Wood – Fitch


It’s 1975 and I’m on my hands and knees on our living room floor, flicking through my dad’s collection of jazz records. It was the first time I became conscious of the concept of design that something deliberate was happening, and the images in front of me had meaning, a message, and were a doorway into another world.
The sound coming from the as-much-as-we-could-afford stereo wasn’t always appealing to my eight-year-old ear, but the images of cool dudes in sharp suits in smokey clubs transported me. To where at the time I wasn’t sure, but it certainly wasn’t my white, suburban reality.

My dad was a jazz fanatic, a Blue Note nut. I’m convinced that, as with many designers, album covers were the nudge that finally pushed me into a career in design.

It was only later that I realised what Reid Miles did over an 11-year period of designing for Blue Note. He single-handedly produced some of the most evocative and iconic images of a generation. Often on a shoestring budget, using two colours and photographs he took himself during the sessions, he created a legacy of work that conveys the mood of the music perfectly, but also shows that consistency doesn’t mean the same.

Latest articles


Michael Wolff: “Why all the poor logos?”

Michael Wolff scrutinises recent logos which he believes have fallen short and offer little more than “visual nonsense” as he assesses where they’ve gone wrong and how they could have been designed differently.


Offset Sheffield: 5 talks to catch

Design conference Offset has been going since 2008, taking over Dublin for three days a year with inspirational, educational and amusing talks from an array of well-known and up-and-coming designers. Having started up a London festival last year, it hits Sheffield for the first time in 2016, and will feature 60 speakers across two stages. We’ve put together a handful of must-see talks.