After days of trying, I came up with the end result, which I then hand-tinted with inks, a very old Victorian style of making postcards. I worked it out in the darkroom by printing various different images and masking off with my hands, using different negatives, stuff like that.
If you look at the cover, it’s got Doctor Strange from the Marvel Comics, alchemical imagery, space imagery, it’s a mélange of different things that represented Pink Floyd at the time. In those days, Pink Floyd was an underground band in London that played what they used to call space rock, s o we knew it had to be a montage of various elements. They were talking about their next album cover and Storm said, ‘Why don’t you let us have a go?’ Cause we’d been experimenting with infrared photography for book covers. “Pink Floyd were friends of Storm and myself from Cambridge, and they’d just really started out. PINK FLOYD | A SAUCERFUL OF SECRETS (1968) Following the film’s release, Corbijn and Powell joined us on Zoom and Powell shared some anecdotes about inflating footballs in the desert and setting men on fire, all for that perfect shot. In Corbijn’s new documentary, Squaring the Circle (The Story of Hipgnosis), fans get a look into the wild stories behind some of their favorite throwback covers, from AC/DC to Zeppelin. I think it’s the most recognizable album sleeve of all time,” says director Anton Corbijn of Dark Side of the Moon, the Pink Floyd album whose cover art is now so ubiquitous you’ll find it on pins and t-shirts at Walmart. Few people understood this better than Aubrey “Po” Powell and Storm Thorgerson of design collective Hipgnosis, whose iconic, pop-surrealist cover artworks vivified the trippy rock albums of the 60s and 70s.
In the heyday of the record sleeve, music was a much more aesthetic pursuit.
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