![]() ![]() Keith Macmillan and the Bloomsbury Group ended their partnership with Black Sabbath after releasing their fourth album. Another distinguishing feature of the logo was the disproportionality: the strokes were cut at unusual angles. The letters were very bold – so much so that the intra-letter gaps turned into small dots, and adjacent lines merged with each other. The result is a white inscription, for which individual glyphs were used. ![]() It was important for him that the typeface echoed the abstract Ozzy Osbourne image in the center. ![]() Cover artist Keith Macmillan again collaborated with the Bloomsbury Group on the typography. On the logo, the words were one below the other, centered. The width of the strokes was the same everywhere. The developers used bold geometric grotesque and rounded off some of the corners. In the British version, it was embossed, while it was made flat in the American version. This is how the jagged black “BLACK SABBATH” lettering was born, waving like a flag in the wind. Macmillan also did the cover art, but he was assisted by the design company Bloomsbury Group this time. In 1971, the group’s third album, Master of Reality, was released. The thickness of the lines varied to give dynamics. Red curly symbols were arranged in two lines, outlined in white, and placed on a black background. Each letter in the phrase “BLACK SABBATH” had twisted spiral elements, like a treble clef. Sandy Field responded to the call for help and developed music-like typography. He asked a fellow student at the Royal College of Art to create a recognizable signature for the group. ![]() Photographer Keith Macmillan was involved in creating the first logo, which was involved in the concept of the cover. The last character was featured on a compilation released in 2013. The evolution of the visual style ended in 2017 when the musicians disbanded Black Sabbath. The band had almost as many logos as there were albums because each cover featured its unique design. And the typography was done by his friend Sandy Field, who also designed the lettering for the second Paranoid record. During the release of his debut Black Sabbath compilation, he discovered surrealism, so he decided to use it as a basis. In the early 1970s, English photographer and artist Keith Macmillan worked on them however, only his pseudonym Keef was indicated on the first four albums. This manifested itself not only in the lyrics but also in the iconic covers. To become the musical analog of horror films, the band created a very dark image for themselves. But then the occult lyrics, gloomy manner of performance, and ominous guitar riffs did their job: fans began to buy millions of records and attend all the band’s concerts. The satanic images of the songs invaded the public consciousness, built on the ideals of universal love, and at first scared away the listeners. Their rock style influenced the worldview of the 1970s when the hippie and folk movement was in vogue. Thus ended an era of heavy metal, as the members of Black Sabbath set new standards for the genre. It was the first time we’d had something to take to our parents and show we were doing something constructive.In 2017, the band embarked on their last tour, The End, which marked their departure from the stage. GEEZER: I loved the cover – but I didn’t like the inverted cross on the inside. OZZY: When we come back from Switzerland, Jim said, “Come in and I’ll play you your finished album.” It had a gatefold sleeve and started with all this thunder and lightning – it blew my mind. We’d been to six different record companies and producers, and they’d all told us, “Come back when you can write proper music.” Rodger was the first person on the business side who understood what we were trying to do. GEEZER: Rodger Bain was like a fifth member of the band. We did the album in about 12 hours and then went to do a residency in Switzerland… The manager said, go to this place Regent Sound… we’d never been into a studio before. OZZY: The first one was a live album with no audience. GEEZER BUTLER: The first time we played “Black Sabbath” was in this tiny pub in Lichfield near Brum. TONY IOMMI: “Black Sabbath” was the second song we’d written, so we called ourselves that. We started off as a blues/jazz band like Ten Years After, or Jethro Tull: the hip crowd. We used to carry our equipment around in case someone didn’t turn up, and say, “We’ll play”. OZZY OSBOURNE: We were made by Jim Simpson… he used to have a club, Henry’s Blues House. ![]()
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