Imagining the Velvet Underground and Nico’s debut without the famous banana against a pure white backdrop feels unimaginable. Album sleeve art has long shaped rock history, from Nirvana’s Nevermind with the submerged infant to the iconic Abbey Road crossing. The most enduring designs often trace back to Hipgnosis, a design collective that rose in the mid-1960s. Storm Thorgerson and Aubrey Powell redefined what a cover could communicate well before digital tools existed, influencing the visuals of Pink Floyd and a long list of artists including Led Zeppelin, T. Rex, Wishbone Ash, Electric Light Orchestra, Yes, Rory Gallagher, Genesis, Peter Gabriel, The Police, and Scorpions.
The creative journey of Hipgnosis is celebrated in a Sundance Festival documentary, The Story of Hipgnosis, directed by Anton Corbijn. The film centers on Powell as a pivotal figure in British rock photography, tracing collaborations with major acts and the bold, sometimes audacious ideas that defined a distinctive era. Archival footage of Thorgerson, who died in 2013 after battling cancer, threads through interviews with rock luminaries, illustrating a moment when the music industry welcomed daring, costly concepts that later gave way to the austerity of the 1980s. By 1982, Hipgnosis had produced 190 covers, a striking testament to their impact on album art.
Atom Heart Mother
Pink Floyd, 1970
When Hipgnosis was asked to design Pink Floyd’s fifth studio album, Thorgerson proposed a concept that resisted simple explanation. The team decided to photograph a cow, and the scene became a defining mystery. The cow, later identified as Lulu Belle III, lingered before the camera with a calm poise. The shoot involved crossing fences, simple props, and unusual patience. The result left the label puzzled rather than approving, highlighting how a single image could spark curiosity and conversation.
Interestingly, neither the band name nor the album title appears on the cover. The absence of explicit labeling amplified curiosity and contributed to strong sales. As Pink Floyd’s David Gilmour recalls in the documentary, Hipgnosis succeeded in giving the image a Magritte-like depth that invited interpretation.
To Choose
Beautiful, 1971
When presenting ideas for a cover, the duo proposed a dramatic desert scene. The plan involved transporting 60 red soccer balls to the Sahara and photographing them there. The effort required ingenuity, deflation for transport, and a long setup in Marrakech. Upon arriving in southern Morocco, they discovered it would take hours to inflate each ball, finally enlisting local laborers who agreed to help. The shoot carried a modest fee, but the payoff was a striking, memorable image that captured the band’s adventurous spirit.
Dark Side of the Moon
Pink Floyd, 1973
The prism cover that has become a lasting cultural touchstone began with a simple brief. The team was told not to photograph a typical image. A spark of inspiration came from a French physics book featuring a glass paperweight scattering light into a rainbow. The concept was refined, and the final design was presented with sketches that quickly won over the group. Thorgerson’s frustration with other ideas contrasts with Powell’s confidence in the chosen direction, underscoring a collaboration built on discovery and decisive moments.
Holy Houses
Led Zeppelin, 1973
Thorgerson and Powell opened a meeting with a simple sketch on a napkin and drew on Arthur C. Clarke’s Childhood’s End for inspiration. The climactic image features children lifted into space by a golden pillar of fire. Robert Plant suggested adding compelling rocks, and the team chose the Giant’s Causeway in Northern Ireland as the setting. The shoot proved challenging, with days of rain and a difficult location, but the final montage of children around multi-colored stones created a striking and enduring visual.
I Wish You Were Here
Pink Floyd, 1975
The idea of a figure on fire grew from a conversation about the toll the industry takes on individuals. A specialist was brought in to ignite the scene, and while the first attempts failed, the crew managed to capture a powerful moment. The image conveys the burning pressure of the music world and remains one of the most discussed sleeves in rock history. The shoot highlighted risk and resilience, elements that defined the band’s era.
Presence
Led Zeppelin, 1976
The cover is a careful montage that places a boat, a family at a table, and a central black velvet object that nods to 2001: A Space Odyssey. Powell describes the object as a symbol of energy and power, embodying the album’s sense of drive and presence. The composition demonstrates Hipgnosis’s knack for layering meaning into a single frame, blending concept with striking visuals.
Animals
Pink Floyd, 1977
The story behind the flying pig began with a desire to stage a dramatic image for a live show. The team surrounded a large plastic pig with helium and arranged it between factory chimneys. A freak accident sent the pig drifting away, triggering air traffic disruptions and a playful scramble back to safety. The resulting cover shifted from a straightforward photograph to a collage that captured the band’s provocative, surreal energy.
Wings are the Best
Wings, 1978
Paul McCartney reached out to discuss a cover inspired by a sculpture from Christie’s. The plan was to place the statue in a dramatic setting that would evoke Everest. A fear of heights added a personal challenge to the creative process, but the team pressed forward to craft an image that paired grandeur with a touch of whimsy.
Peter Gabriel 2
Peter Gabriel, 1978
Hipgnosis and Peter Gabriel collaborated again after The Lamb Lies Down on Broadway. The album known as Scratch blended experimental photography with inventive overdubbing. The cover featured a manipulated portrait that looked as if the subject was scratching away, a labor-intensive process that required meticulous paper, scissors, glue, and timing. The result was a bold, tactile image that stood out in a crowded market.
Look, Did You Hear?
10cc, 1980
The sleeve includes a tiny photo of a sheep lounging by the sea. The sheep symbolized the public seeking therapy and the sea representing the human mind. The shoot in Hawaii faced logistical hurdles, including sourcing a sofa and even giving the sheep a sedative to keep it calm during a long setup. The finished cover surprised many with its scale and whimsy, underscoring Hipgnosis’s talent for turning unusual ideas into memorable art.