Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth gan Mariusz Szypura

Mae Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth gan Mariusz Szypura yn enillydd uchel ei barch o'r 2026 Gwobr Efydd A' Design Award mawreddog iawn yng Nghategori Cystadleuaeth Dylunio Pecynnu.

EfyddPecynnu· 2026

Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth

gan Mariusz Szypura

Cleient: Black Element Label

Enillydd Gwobr Efydd A' Design Award yn y Categori Pecynnu

7,551

Enillydd Gwobr Wedi'i Wirio

Gwirio Statws Gwobr ar gyfer #179587

Ymweld â'r Wefan Gweld yn A' Design Award Datganiad i'r Wasg Bathodyn Gwobr

Lliwiau

Y Dyluniad

Am Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth

Testun y Llyfr: Mae'r gwaith celf sy'n cael ei gynnwys yn mewnosodiadau'r albwm yn dogfennu cyfres o ddarnau fformat-mawr a grëwyd o wastraff edau a gynhyrchwyd yn ystod y broses dorri finyl ar durn, sef negatif ffisegol y rhych. Mae'r dyluniad yn trin y pecyn fel estyniad o'r gerddoriaeth, gan uno sain, deunydd a phroses mewn un gwrthrych ffisegol unigol. Mae'r albwm yn ail-ddehongli gweithiau Fryderyk Chopin gydag artistiaid sy'n gysylltiedig â Portishead, Sonic Youth, Battles, Beck, David Bowie a Tortoise.

Y Gydnabyddiaeth

Am y Gwobr Efydd A' Design Award

Mae Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth yn enillydd Gwobr Efydd A' Design Award, cydnabyddiaeth hynod fawreddog a roddir i ddyluniadau rhagorol sydd yn nodedig am greadigrwydd, dyfeisgarwch a chraffter. Mae enillwyr Efydd yn arteffactau medrus iawn a thrawiadol o greadigol sydd yn dilysu profiad helaeth, dychymyg a dyfeisgarwch eu dylunwyr. Disgwylir i Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth fod yn wrthrych uchel ei fri, a edmygir ac a anwylir, sydd yn nodedig o broffesiynol ac arloesol. Mae'r dyluniad buddugol hwn o Wobr Efydd A' Design Award yn ymgorffori arferion gorau mewn celf, gwyddoniaeth, dylunio a thechnoleg, ac yn rhagorol am ei sylw i fanylion. Mae Chopin Residue Prif Swyddogaeth: Clawr Albwm Cerddoriaeth yn bodloni anghenion yn odidog, yn cyffwrdd â dyheadau, yn swyno teimladau ac yn apelio at chwilfrydedd.

Y Tu Ôl i'r Dyluniad

Pecyn i'r Wasg

Credydau, aelodau tîm a manylion technegol a ddarparwyd gan y dylunydd.

Priodweddau Unigryw: The cover of Chopin Residue is generated from the album’s core idea: residue as what remains after deconstruction. Created through the same lathe-cut process that produces the sound, the artwork uses vinyl waste as its visual material. Reinterpreting the music of Fryderyk Chopin with artists linked to projects such as Portishead, Sonic Youth, Battles, Beck, David Bowie, and Tortoise, the package becomes a physical extension of the composition, uniting sound, material, and process.
Dimensiynau a Phecynnu: Physical formats include: Vinyl LP sleeve approx. 315 x 315 x 5 mm; CD digipack approx. 142 x 125 x 10 mm; cassette case approx. 110 x 70 x 17 mm. All formats were designed as tactile objects, with dimensions following industry standards to emphasize material presence and consistency across editions.
Tagiau: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Technoleg Cynhyrchu: The design was developed through a process-based methodology, treating sound recording as a material practice. Vinyl shavings produced during the lathe-cut process were collected, preserved, and used to create physical artworks. These works were then photographed and translated into the album packaging. The production emphasized minimal intervention, tactile materials, and small-batch manufacturing, allowing process and material to define the visual language.
Her Dylunio: The main challenge was translating an abstract musical concept into a physical object without illustration or decoration. Internally, this required rethinking historical album design and treating sound production as material practice. Externally, limitations included small-scale manufacturing, legal constraints of physical formats, and the unpredictability of lathe-cut processes. Balancing conceptual clarity with technical constraints required continuous testing and adaptation.
Ymchwil: Type of Research: practice-based artistic research.
Research Objectives: to translate musical deconstruction into physical form.
Methodology: sound recording treated as a material process.
Data & Tools: lathe-cut vinyl recording, material observation, photography.
Participants: the artist and collaborating musicians.
Results: vinyl residue became visual material.
Insights & Impact: the research links sound, object, and design, showing how production traces can shape meaning in music packaging and contemporary design.
Ysbrydoliaeth: The project was inspired by the idea of residue as a creative outcome - what remains after a process of reduction and transformation. The design emerged from research into lathe-cut vinyl as a physical recording method, treating sound production as material practice. The motivation was to translate an abstract musical concept into a tangible object, where recording, waste, and form become a unified design language.
Hyd y Prosiect: The project was developed between 2023 and 2025. Music recording and vinyl cutting were carried out during this period, followed by the creation of the visual artworks and packaging design. The album and its physical editions were completed and released in November 2025, accompanied by exhibitions in NY and Osaka and presentations of the related artworks.
Llif Gweithrediad: The object is experienced by opening, holding, and listening. The package reveals the music while visually showing traces of how it was made. Images and materials guide the user from sound to its physical remains. Interaction is slow and tactile, encouraging attention and reflection. By connecting listening with touch and sight, the object creates a deeper, more memorable experience than a standard album cover.
Patentau: Copyrights belong to Mariusz Szypura, 2025
Cydnabyddiaeth Delweddau: Image #1: Photo by TAKT, Chopin Residue, 2025.
Image #2: Photo by TAKT, Chopin Residue, 2025.
Image #3: Photo by TAKT, Chopin Residue, 2025.
Image #4: Photo by TAKT, Chopin Residue, 2025.
Image #5: Photo by TAKT, Chopin Residue, 2025.

Video Credits: Concept, Direction, Music, and Visuals by Mariusz Szypura, 2025.