Fonts & Typography

1994-1998 : Eric Scott Art Direction Portfolio

Immediately prior to launching a full-time career in 1998 as Creative Director with Day For Night, Eric Scott was Art Director with WorldWest Communications, and worked with recording industry clients Sony Music International and Zebra Records, to produce packaging design for some of their top artists.

In 1995, Sony Music International, in association with Toto‘s representation Fitzgerald-Hartley, issued a powerful comeback campaign directive for the band; the first result was “Tambu“… Inspired by the band’s fascination in invented word-hybrid… “Something which could mean something brand new unto itself,” a cross between “taboo” and the tamboe, an instrument played by percussionist Simon Phillips.

Tambu – the album – was a conceit born of a love for pulp-fiction covers and tawdry bedside reading. The album concept, devised by Eric Scott and Doug Brown (WorldWest Communications), involved a period juke joint setting, in which the band were to be filmed and photographed while performing, for both their album photography and music video “I Will Remember”… The design of the sleeve itself was a laborious affair, involving the creation of a custom typeface “5 4 0” (a distressed variation on Caslon) and many coffee-stained and soiled pages of a lyric booklet; representing the innards of the same pulp novel… This was to be followed in 1997 by a collection of the Toto’s archival “XX“.

Sony Music International | Artistic Direction & Design by Eric Scott

• Toto “Tambu” (1995 | Sony Music International | Columbia COL 481202)
• Toto “I Will Remember” (1995 | Sony Music International | Columbia COL 662382)
• Toto “The Other End Of Time” (1995 | Sony Music International | Columbia COL 489965)
• Toto “If You Belong To Me” (1995 | Sony Music International | Columbia)
• Toto “Just Can’t Get To You” (1995 | Sony Music International | Columbia)
• Toto “The Turning Point” (1995 | Sony Music International | Columbia COL 662722)
• Toto “XX (1977-1997)” (1997 | Sony Music International | Columbia COL 489965)
• Steve Lukather “Luke” (1997 | Sony Music International | Columbia COL 487360)
• Steve Lukather “Broken Machine (Sampler)” (1997 | Sony Music International SAMPCM 4355)
• Steve Lukather “Hate Everything About U” (1997 | Sony Music International | Columbia 664616)

Zebra Records | Zebra Acoustic | Artistic Direction & Design by Eric Scott

• Mark Portmann “No Truer Words” (1996 | ZD 44001)
• Zachary Breaux “Uptown Groove” (1996 | ZD 44002)
• Lee Oskar “So Much In Love” (1997 | ZD 44003)
• David Garfield & Friends “A Tribute to Jeff” (1997 | ZD 44005)
• Rob Mullins “Dance For The New World” (1997 | ZD 44006)
• Pierre Bensusan & Didier Malherbe “Live in Paris” (1997 | ZA 44401)
• Music by Charlie Chaplin “Oh! That Cello” (1998 | ZA 44402)
• Gavin Lurssen “Restless” (1997 | ZA 44403)
• Various Artists “A Song A Day” (1998 | ZA 44404)

Art Direction, Brand & Identity, Fonts & Typography, Graphic Design, PORTFOLIO, Print, Studio, Viral |

1998 – Present : Day For Night Client Portfolio

April 1998 marked the start date of Eric Scott’s career as Creative Director with Day For Night Multimedia. After a very productive “re-invention hiatus” of three months, re-focusing priorities from his previous role as Art Director with WorldWest Communications, Eric moved all of his attention on developing a compact and flexible studio environment; one which required little or no overhead and minimal cost outlay. The first commercial pitch was a home run: to Touchstone Television/Imagine Entertainment/Disney Online, for the design of a web presence for “Felicity” resident advisor Noel Crane.

The objective was two-fold; to create a viral marketing and word-of-mouth piece for the show, and allow for there to be spirit of discovery and renewal for fans of the show, who would discover, by only the most casual of mentions, that fictitious Noel’s homepage really did exist online. Today, a commonplace enough occurrence, but a pretty radical idea, back in 1998, when only the elite seemed to understand web tools well enough to devise a minimalistic presence.


2011 – 2013
Michael / Extravaganza Productions : Official Site / Production Company : Production Company Site : Official Site
Location Stock : HD Stock Video Catalogue / E-Commerce
Third : B2B Services for Camera Cars / Location Video shoots
Freadom : Non-profit promoting family reading time in the home
Steve : Official Site & Digital Strategy
Epilepsy : Honoree video post-production for Frank Keating, Joyce Bender and military table appeal
Steve : Custom One Off Jewelry and Timepiece Creation

Andy Lakey Contemporary Works: Microsites
Unencountered Rogues Gallery & Studies
Unencountered Language / Kanji Paintings
One Heart Project : Lakey Angels : The work process
Crestone Group : Wholesale Bakery Website
EarthPress by UNFI : Video Design
Emanuel : Site re-design
Torah : Website
John : Voiceover Site re-design
ATLAS Experiment : Branding consultation/design
Galactic Pig : Website : Epilepsy Awareness : Official Site

2009 : Enhanced site for sound artist Robin Rimbaud (Scanner)
“Anything Goes” : Herb Alpert & Lani Hall microsite
Talk About : PSAs for Epilepsy Awareness
Dreifuss : Talk About It teaser site
“Legomation”: Viral Video for Talk About It
“Club Calloway” : Big Bad Voodoo Daddy microsite
Day 030: Talk About It podcast 
Unencountered by Andrew Lakey : Art book/Japan
Gallery 28 at
Gracie’s Closet : eCommerce store / dog boutique
Private Mortgage Fund LLC : Visual Identity / site
Assessment Appeal Advisors : Website
Julian : Site

2008 : Site design
Herb : Official Site
Herb Alpert : Site design
Y.T.B. International : Viral Quicktime Videos : Living Faith Christian Church
Contemporary Visual : Online Gallery and eCommerce Site

2007 / Big Bad Voodoo Daddy Official Site / Temple Beth-El of San Pedro
UCI Breast
Emanuel : Babak Emanuel Official Site
BBC Motion Gallery : Film Festival Print Brochure
Angel Magic 108 : Andy Lakey Art Book / Japan : Site Design Production : Microsite Design

Pete : Official Site & Sketchbook : Site design
Brilliant : Lakey Microsite : Lakey Microsite
Access Medical
Rick Macaya Campaign / CRC Print Ads
Colin Newman Interview : Creative Process
SWIM~ Screen Saver : 2006 “Millennium Edition”
Nature’s Tears Eye Mist / 0:10 TV Music / Design and site architecture / Engagement & Wedding Site

2005 : Sitework
INVIDI : DVD Menu Design and authoring
INVIDI Smart Tags: DVD Music
Experience : Sitework
Panasonic C3 Microsite : Microsite
Panasonic LB-20 Daylight View : Microsite
LAKEY : Silhouettes And Shadows : DVD Menu
Design / Original Musical Score / Sound Design
The Human Spirit
OneMedia / Soundtrack for Corporate presentation

David / Audi : Mash-Up
Integrex : Email Marketing Microsite
INVIDI: Flash Intro
Tower Art
Andy Lakey And
Day For : Weblog Homepage
J2 / eFax : Email Newsletters
Two Chefs On A
Commercial Realty Consultants / Identity
Commercial Realty Consultants /
UCIrvine : Center For Immunology
Silhouettes And
INVIDI : DVD Music Acts 1-4

VGlobal Media : Corporate presentation
International Avatar
1042 VoiceWorks : Brand / Joy Division & New Order
Julie Jones Realty : Motion brand : Experimental site navigation
USA Wireless : Trade/Environmental Graphics
Andy Lakey

People In
Lily Alexander : Identity
Day For Night : FLASH Site
Safe Environment Engineering /

Hard Tail
Tomato Workshops NYC :: Projects
• Polite : Day 044
• Audio Interaction
• Gallery Space
• Collective Publication : Motion brand : Season 4 Site
Felicity “Main Title Sequence” for the WB Network
ALIAS / keyword “ALIAS”
• Credit
• Alisha

Cyber Sci-Fi
iVative : Flash interstitial
Wildass : Creative Consortium Identity : Season 3 Site / 3D Paint & F/X

UCIrvine Graduate Program in Biotechnology
Work For The Ear To Do : CD Series
UCIrvine Molecular Biology & Biochemistry
Silver Birches
The True
Sexy Hair / Ecoly International
OTI / Optimized Technologies, Inc.
Swim~ Microsite

Day For Night : Corporate Identity

1994 – 1998
Smokey Robinson “Who Am I Now” CD
Hotel Oceana : Marketing brochure
Secrets of Caesar’s Magical Empire : Book design
Television Games Network

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1991 – Present :: Day For Night Label

Art Direction

Eric Scott, Art & Musical Director for Day For Night: “With instrumental, and especially textural electronic music, the primary relevance of music is clearest – namely, that music doesn’t really mean anything – it doesn’t need all sorts of lyrics and words and gimmicks in order to be successful.” Therefore, it feels appropriate that a non-narrative presentation format needed to be developed for Day For Night, to allow for individual die-cut panels, which could be viewed in any particular sequence within a given set of 10, just like random-shuffle programming on a CD player… Let’s face it, by 1991, there was no longer any real pacing of booklet content to digital audio listening.

In late 1991, Eric Scott – a disenfranchised young recording engineer and studio boffin – accepted a night-time design position with a local graphic design production house. In the mind of teaching himself vitally-needed Aldus Freehand skills, and experimenting with design and layout ideas, Eric worked diligently for a year, building out an as-yet non-existent art direction portfolio, between the hours of 10PM and 3AM every morning, before locking up the studio during the final shift of the night.

Eric’s earliest projects were to evolve into cover designs for his emerging Day For Night label. “I knew I had to do my own designs. There was simply no way I was going to trust anyone else to design the packaging for music I was ultimately responsible for, and had slaved so hard to produce. I knew – from the moment I’d figured out what it was about truly great graphic design that I was so passionate about – that I had to rise to this new challenge, and learn the skills necessary to produce my own visuals. They were, after all, and in my own mind, married to the music.”

1991-Present Eric Scott : Art Direction Day For Night Music Label

1991-Present Eric Scott : Art Direction Day For Night Music Label

By this time, Day For Night was already set for its first six releases, (Day 001 through Day 006) – but as yet, had no album art or visual identity. The first attempts to focus in a single direction were chaotic – and thus began a passionate phase of investigation and research into the history of graphic design, and relevance for the aspiring young art director, whohad not attended art school, and lacked a proper design education. A process which went on for the next seven years, during which Eric had to align with a relevant methodology for representing visual ideas as album cover artin the digital age.

Although CD covers managed to preserve the square format of vinyl records, he still claims often to be put off by some design formats found in many artist’s CDs – the eco-friendly DigiPak® foldover design (was it merely a statement of disposability?) or just plain awkward (jewel case fold-outs that sequentially unfolded panels, attempting to reveal information in ways contrary to the message of the music).

Eric continues: “Album design had come to feel empty. If you really want to question the meaning – such as, ‘What am I meant to read into this, and in what order?’ then the pop CD packaging I saw around me was still attempting to guide reading in a linear manner, that did not relate to the non-linearity of the music. Ultimately, the electronica I was creating was a statement away from the more traditional “narrative” stance enforced by the previous school of design thinking, where elaborate, and often expensive design conceits – many of which were a bit too self-important – seemed almost as vacuous as dinosaur rock.

“Ultimately, I’m a record-sleeve junkie. I grew up with sleeves and album art of the 70s and 80s, and slowly learned that, in the hands of capable designer, the better the art, the more memorable the album. There’s actually a great correlation I’ve found between the intuition I use when I browse music in shops, and the graphic tastes of the designers who do sleeves for the artists I like. For the art director or designer, great album design means that you should really tap into the minds of the kinds of fans who would buy such a record. There’s really an awful lot more to talk about there.”

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NIGHTfonts :: Gallery

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