CREATORS CONNECT: JOLEY SWERDLOW

Joley Swerdlow doesn’t just design record covers – she builds entire visual worlds.

From punk zines to posters for Michael Kiwanuka, the Liverpool-based designer has carved out a style that blends collage, chaos, poetry, and purpose. In this edition of Creators Connect, she chats about finding her way from painting and life drawing into the world of graphic design, how music fuels her creativity, and why working with collectives like STONE feels like second nature. Expect reflections on 60s psychedelia, the power of TikTok-era visual storytelling, and a healthy dose of admiration for Tyler, Jamie xx, and Wet Leg.

What initially sparked your love for graphic design?

So… I went to art college in Liverpool when I was 16. I was having a lot of fun painting, life drawing, collaging, taking photographs and more… There was one day in college when we did a Punk Zine workshop, we cut up a load of magazines and could collage them into an A5 zine… I’d  & draw or paint on top with poems, ideas etc. I became obsessed with making Zine’s and also began my “online zine” instagram page called Cherry Lube. I’d found a way to share all the collages and photography, sometimes interviews, under one umbrella. I asked my tutor can I do this for a job? And he said I should go into magazines and editorial… So I went to uni to study graphic design as this felt like a good route to that!  I more fell in love with curating a bunch of artwork, and the love for design came after. I actually hated graphic design when I first joined the course it felt like there were a bunch of rules and shit I didn’t understand. I never felt like a graphic designer and I still don’t really – I wanted to go back to painting and life drawing. But I stayed and found my own take on it – and realised my art background versus design background was my secret weapon.

When making a piece of art for an artists or band, how does the music they make impact the way you approach the piece creatively?

Listening to the music is one of my favourite parts of the job actually… I feel very privileged to listen to a lot of great new music from all different genres. I’ll usually listen to the tunes very loud and will kind of just get the vibe they’re going for… Sometimes I can spot references in the sound that could inspire an idea, and can pick up on lyrics and messaging that can inspire an idea. And then then during design process I’ll keep listening to the music when i’m creating to keep in the zone – and I also like to have a nice back and forth with the artist who I’m working with, and we can send each other different tunes that are similar to the record and stuff were inspired by which is nice and all part of the process for me.

How do you think visual art in music has changed in the last 10 years?

It’s tough to say we could probably write a whole thesis on this! I think the way we consume media is a lot different than just buying CDs & Records, and seeing music videos randomly on the TV. We have access to all the music in the world in the palm of our hand so there’s more pressure to make a visual wave and think outside of the box when it comes to visuals. There’s a lot of emphasis on social media and Tik Tok – so when I design a cover, It will be accompanied by assets for social media. This can sound like a snooze – but I think this can be fun & we just need to accept and harness the creativity within this. For example what Charli XCX  has done with brat.. She harnessed the power of not only 10/10 design but also the use of social media, Tik Tok, as well as beautiful creatively directed campaign to create a whole universe and cultural movement. She was able to tell a story in the palm of our hands on our phones – so we had that deep connection to her as an audience… in addition to the music, the visuals made that album five dimensional.

Having said this…… My absolute design inspiration of all time is the psychedelic era of the 60s and 70s (longer than 10 years ago sorry) – The design studio hipgnosis was behind the most famous and iconic covers. A lot of it is informed by psychedelia and truly challenging the norm and thinking outside the box. Their campaigns are incredible and ahead of their time – and they did it with of course with little to minimal and retro technology… So we can celebrate new and old in its validity. I think it’s no use to fight what’s happening and just roll with the times in the most constructive and creative way we can.

I take a lot from both the old and the new!

As a woman in a male dominated industry, have you find any barriers to entry along the way?

I’ve definitely had a few interesting comments from a few male folks very early on in my career. But nothing that’s stayed with me thankfully! I’m fortunate enough to have worked with progressive men who have supported me and empowered me 100%. Over time I’ve learnt how to completely advocate for myself. Being self-employed definitely empowers me in this area as I control who I work with, so I feel steady in my own lane and I just do my thing. I know there’s still work to be done on empowering women in the industry, but I’m very happy to say that in my universe of people who I work with, it’s flooded with brilliant women who have supported me and inspired me. Shout out SISU my wonderful client – Mel Kains – look her up! she’s a driving force for women in the industry. Shout out Queensway, shout out off:peak. All women lead organisations who are doing amazing things.

You do a lot of work for Liverpool based collective Stone. Do you have a piece of work you have done for them that stands out to you? If so, why?

You know what – one of my favourite STONE pieces was actually a cover that went quite under the radar. It’s a single called I LET GO – and I collaged Alex (The Drummer’s) mouth onto Finley (Frontman’s) face. And then I painted I LET GO on top. Was very simple but I loved it. I also loved the Punkadonk Covers 1 & 2. Punkadonk 2, which was the first vinyl I ever designed, I painted when I was on the phone to Elliot the guitarist. It was like just listening to a podcast and I was just painting it as I listened to him which is funny. I love how personal all that artwork is, there’s a fun little story behind most of the bits i’ve done for them & I was very proud of that record.

If you could work with any 3 artists, (dead or alive) who would they be and why?

There’s so many… but let’s focus on alive so I can shoot my shot.

Tyler the Creator – Ultimate dream client. His IGOR cover is one of my faves of all time. His visuals even during the OF phase have deeply inspired me and informed my craft.

Jamie XX – How sick would that be… I very much admire what he does with his covers – Beautiful abstract patterns to unreal dance music is a trip.

Wetleg – I love their visuals and what they’re doing – I feel like I could deliver something special for them – so call me if you’re listening Wetleg.

Which 3 records would be included in the soundtrack of your career?

‘Breathe’ by Pink Floyd. The dark side of the moon cover is a perfect cover and the hipgnosis designers are my ultimate inspo – as well as that album is my favourite of all time the music takes me somewhere!

Any song by Piero Picconi – I listen to him a lot when I’m designing. The instrumentals are insane and really get me in my creative flow. Particularly ‘Charms’.

‘You Ain’t the Problem’ by Michael Kiwanuka – I’ve designed a few posters for Michael & I was truly blown away to be given the opportunity to work with him – I think he’s one of the absolute greats. I’m very proud of the work I’ve done for him. This song particularly fills my cup to the brim & I listen on repeat as it signifies perfect optimism, hope & joy = perfect mix for creativity.

To stay up to date with Joley Swerdlow’s latest projects, be sure to follow her here.