ACHOF’s Mike Goldstein’s interview with SMOG Design’s Jeri and John Heiden on their 2024 Grammy Award-winning (for “Best Boxed Or Special Limited Edition Package”) work for For The Birds: The Birdsong Project.
Posted March 28, 2024 by Mike Goldstein
This past year, as the result of the labor unrest and strikes that took place in various parts of the entertainment industry, award shows of all stripes have been eager to stress the importance of those who work behind the scenes in various roles in production and promotion. A recent example was during the 2024 Academy Awards show here in the U.S., during which the host brought out to the stage a large entourage of people from that event’s production crew so that they could take a bow in front of the luminaries who the show usually focuses its attention on. It was heartwarming to see the show of solidarity by most of the audience who seemed to understand the importance and significance of those who are credited but typically unseen, and it reminded me that, each year around this time, I venture to bring you an interview or two with some of those who are honored by industry organizations for their superlative productions in the area of packaging and promotion. While the award presentations for these honorees will probably not ever be included in a televised event (as they’re usually given out in pre-show ceremonies), I’ve been covering this business long enough to know that some people’s work over the years deserves special attention, and I’m proud to be able to do this in some (very) small way.
The subjects of this ACHOF interview are two people – partners Jeri and John Heiden of SMOG Design – who, for the first time in the many years since Jeri’s first Grammy Award nomination in 1986 (earning five more through 2024), were finally given the top award in their category – and their first as a duo – at the latest ceremonies this past February.
Not that Jeri and John have been working in the shadows – both of them have been recognized by the American Institute for Graphic Arts/AIGA (where she was named an AIGA Fellow in 2010), the American Center for Design, the Art Directors Club and the Type Directors Club and in leading design industry publications including Communications Arts, Graphis, I.D. Magazine and STEP Inside Design. Jeri’s photo work was featured in The Graphic Eye, published in 2009 by Chronicle Books, with other projects featured in books including author Steven Heller’s 2000 book (published by Watson-Guptill) titled Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type and designer Richard Evans’ 2010 book Art of the Album Cover (you’ll also find their works in several volumes of the Album Cover Album series edited by Roger Dean and Storm Thorgerson, as well as Taschen’s 1000 Record Covers).
As co-Creative Director, John focuses on photography, brand identities and book/record packaging and design, with his work noted by industry magazines Communications Arts, Design and I.D. Magazine along with aforementioned trade groups AIGA and The American Center for Design.
I last interviewed Jeri (along with art director/designer Glen Nakasako) about their Grammy-nominated (and Making Vinyl Packaging Awards award-winning) work for The Decemberists I’ll Be Your Girl
https://albumcoverhalloffame.wordpress.com/2019/01/31/2270-ill-be-your-girl-the-decemberists
which was a really nicely done set that, like the band that inspired it, broke a number of industry packaging norms with its flipbook-style method of packaging each disc in the set (not to mention its incorporation of the playful illustrations created by long-time band creative force Carson Ellis).
While that package was impressive in its scope, complexity and beauty, the project that Jeri and John were awarded the Grammy for this year was many times more complicated, having to encapsulate 245 tracks (produced by Grammy Award-winning music supervisor Randall Poster) etched into 20 LPs, a detailed booklet and the designs of many participating artists who were asked to contribute to the effort. And while most album packaging projects are driven by (and often reined in by) the record labels that put these packages out, this set was the most “indie” of projects, with the record’s producers – and an illustrious national conservation/education/advocacy group with a 125+ year history of achievement (i.e., the National Audubon Society, itself long-associated with the fine arts as it draws its name from the illustrious ornithologist and painter John James Audubon) – wanting this offering to best-represent the contributions of some of the world’s best-known musicians, composers, actors and visual artists, with the proceeds of the record benefitting the Society’s ongoing efforts.
As you know, each year since I started doing this work back in 2006, I look forward to talking to the talented people who bring us, the fans of music-related art, imagery and packaging, those albums and box sets that have been voted “the best” by their peers. Looking to bring you the nitty gritty about the coordinated efforts that ultimately produced this award-winning package, I contacted Jeri and John not long after they returned from their trip to the awards show and asked them (once they’d had the chance to come back to some state of equilibrium after all the excitement!) to consider some questions I had, and so if you continue on down the page, you get to read what they shared with me and also see some pictures of both the finished product and some of their efforts to design and produce the package that has wowed everyone who has seen it…
(Interview conducted via email February and March, 2024)
Mike Goldstein – Jeri and John – before we get started, I just wanted to say “congratulations” again to you both on your Grammy win and for the great reviews you’ve gotten for the package you created. It’s really something special and something quite different than many of the record packages that have been seen In this category. I know that you’ve worked on several limited-edition sets over the years, but can you tell me how it was that you were first introduced to your clients (and, eventually, the contributing artists) on this project? Had you worked with the Audubon Society or Randall Poster before?
Jeri Heiden – We had not worked with Randall Poster or the Audubon Society before. We were recommended for the project by our old friend and music manager, John Silva. He had worked with Randall on a number of projects and thought we would be a good fit for this ambitious undertaking.
Mike G – I can only Imagine what It must be like for any creative or production person to be on the receiving end of a phone call during which he or she Is asked “how would you like to work on a project for both a Grammy-winning music producer and a time-honored organization like the Audubon Society?” Who could say “no”? It’s also so nice when you can count on those you’ve worked with before to point you towards your next projects… So, once you were on board and ready to proceed, can you highlight any details about the things that were discussed during the brainstorming sessions for this project?
Jeri H – We knew that it would be a multi-LP set, but the scope wasn’t completely nailed down for several months, and the efforts to involve a variety of contemporary visual artists were quite fluid as well. Randall began by reaching out to artists that he admired and/or collected, and then some more spontaneous acquisitions came from artists found on Instagram, for example.
MG – So, in addition to curating the music and audio, Randall had set out to include visual elements produced by other artists in the set. Had the number of these works of art been defined and did he spell out his notions for how they’d be incorporated into the package you’d design?
JH – There was no “magic number” in mind, though at one point we did realize that we’d need at least 20 pieces for the LP covers. Together, we amassed a small collection of bird-themed images, and then decided how they would be best utilized in the project. While Randall was curating a selection of bird-themed artworks from various contributors, we started with a few structural mock-ups. What shape might the box take to fit 10-20 LPs + book? We decided on a standing slip-slash case with a die-cut bird-hole after several rounds of cover comps and mock-ups led us to that solution. We knew that we had access to the complete set of Audubon’s “Birds of America” illustrations, so we spent a lot of time reviewing and editing those options for our package. The bird we chose for the booklet cover – and the one showing through the bird-hole – is Audubon’s Warbler — the only bird that he ever named after himself.
MG – I’d have to think that working with such a wide range of people who all have vested interests in this project would certainly have inspired you to do something different and that working with people who have such an in-depth knowledge of the materials and the stories behind them would make the project all the more compelling. How was it that collaborating with the all of the “players” involved – and by that, I mean the set’s producers and music supervisors, along with the Audubon team and the other contributing visual artists – different from other projects you might have worked on before in the box set/special products category?
JH – This project was really a labor of love, conceived by two individuals — Randall Poster and Rebecca Reagan. It did not grow out of a record label or any marketing group. It was reverse-engineered! The project was born, and then a team was assembled to deliver it to the world.
It’s a long story… and one that began during the pandemic and lockdown. The best way to explain it can be found here on The Birdsong Project website – https://www.thebirdsongproject.com/our-story
It was a wonderful experience for us, as everyone involved in the project was really passionate about the work.
MG – From what I know of the “typical” approach to art directing a project of this scope and complexity, a design guide is usually created that considers the many aspects of the promotion and sale of a product, so I’m assuming that your approach to this package’s designs had to reflect the wide-ranging aspects of this in its initial designs. Were there particular tracks or something special about the music overall – from the lists of tracks that were to be included in the package – that served as the inspiration you’d provide the participating artists for each record’s design scheme?
JH – Again, this project was not conceived by a record label, so there was no creative brief or guide of any kind going into it. Randall gave us license to simply “make something beautiful.” We were able to listen to the music and poetry as the tracks came in. We created it in collaboration with the producers, and the National Audubon Society.
We received a brand guide from Audubon, but it didn’t influence the creative approach to the packaging very heavily. Our color palette was drawn from the Audubon bird illustrations, and the typography emerged from our comping process. The individual artists’ contributions were curated rather than commissioned. It was all really quite loose — and in keeping with the spirit of the project on the musical side.
The challenge was how to make all of these incredibly diverse contributions fit together! Ultimately, we decided to keep the artwork in 2 distinct categories — the Audubon illustrations would anchor the box and booklet, and the individual artists contributions would be featured on each of the 20 LPs. We established a few other “rules” as the design got underway — only full bleed artwork on the LP covers, only 20 colors in our palette that would identify each of the LPs (on the back covers and labels).
MG – Did you get any additional guidance – or specific instructions – from the set’s producers that gave you direction on how to design the artwork for the key parts of your main package and then any ancillary items – like the booklet included in it, as an example – that were also needing to be worked on based on the same design guide? Better put, how did you decide what was going to be included inside a box set or special package, besides the music?
JH – The booklet was necessitated by the massive amount of credits for the 245 tracks, but there were also three wonderful essays — “Living Like Birds” by Kathleen Moore, “Put a Bird On It” by David Rothenberg and an untitled essay by Jonathan Meiburg. There is a list of recommended books on birds by author and ornithologist Jonathan Franzen, and we also featured several of the poems that were recorded for the project. The final piece was an Index — we realized that it might be challenging to make one’s way through the sheer volume of the work with mostly new and unfamiliar song titles, so we added an index by artist’s name. That way if you wanted to hear the song by say, Karen O or Devendra Banhart or a poem read by Greta Gerwig, you could quickly reference the index.
MG – I’d like to explore the subject of package pricing a bit with you by asking how It Is that you and the set’s producers determined what the “ideal” price point would be for this package, and then how did you determine the scope for the final version of what was going to be offered? Since the ultimate consumers for packages like this will consist of collectors, dedicated fans of this type of music and supporters of the Audubon Society’s work, I’m curious as to how you make these products both “collectible” and “worth the money”?
JH – Since the goal of this project was ultimately to raise awareness and money “FOR THE BIRDS” we were careful not to design something too costly. Of course, we wanted the package to be beautiful and feel substantial enough to house the amazing body of work contained within, but we avoided excess when making decisions about the materials and manufacturing.
MG – Recognizing that this was a package that’d need to be different in so many ways from the “typical” box set, when planning this package, did you take notice of any of the current trends in the conceptualizing of box sets or limited-edition packages and, if so, what might those have been? I’m referring to things like multi-colored vinyl, laser etching, liquids sandwiched between discs, extra “hidden” content and loads of other goodies often included in collector’s packages…
JH – We really needed to thread the needle between something cost-efficient and sublime. We practiced a lot of restraint on this one, relying on the beauty and aesthetic strength of the artwork, music and poetry! That’s why the 20 LPs are in Euro sleeves instead of standard board jackets – reducing size, weight, cost and shipping – and the box is made of paperboard JUST heavy enough to prevent damage, and the vinyl is all black instead of colored. Once the package was designed and ready for manufacture, only then did the team arrive at a price point. One that would cover the costs to manufacture, but still raise money for the cause.
MG – Every penny saved makes more of the profits available for the Society’s good work – so job well done. Now, based on the scope and the sheer opulence of what you put together, this job looks like it would have required a larger-than-normal gathering of people on your team (particularly, on the project management aspects of the box), so can you elaborate a bit on how you choose the talent who would work with you on this effort? Can you help me better understand “who did what” on the project?
JH – That “opulence” was achieved by a very small and dedicated team of people. I mean, REALLY small! It was quite heroic, honestly. The core team consisted of: The producers Randall Poster, Rebecca Reagan, executive producers Lee Ranaldo, Elliot Bergman & Stewart Lerman, Samantha Uzbay (music coordinator), Michael Pontecorvo (co-producer + sales/marketing), and Amanda Chiu (editorial). We had an amazing team at Memphis Record Pressing / GZ North America who brought their expertise to the printing and manufacturing — Kate Dear, Indy Tyer, Arian Kennedy. Distribution was handled by The Orchard, and publicity by Shore Fire Media.
MG – Although I’ve already asked you to describe some of the inspirations and how you collaborated on the project, can you indulge me a bit and recount just how involved the Audubon Society and other key participants were in the day-to-day development and review process of ultimately deciding what you should produce? Put another way, what roles did your clients take in the day-to-day aspects of the development of this design? Did they give you enough money and/or time to do what you wanted to do?
JH – I have to reiterate – This wasn’t a typical “label-driven” project. It was super indie! The process was highly collaborative among the core team, and approvals came easily. The National Audubon Society was incredibly supportive in the effort to bring the project to fruition, but not at all controlling of the work. It was a dream project.
MG – It’s clear to me now just how unique the entire process was – sorry that it took me so long to fully appreciate the team effort! I’d like to ask you to think back now about all of the project coordination, pre-production and production including approximately 50 comps and multiple rounds of approvals, printing, etc., that was needed to do the work, how long did this entire project take – from its start to delivery of the finished products?
JH – The project took about 10 months to collate and design and then an additional 5 months to manufacture and ship. Our first meeting was in August of 2021, and the full boxed set was released more than a year later, in December 2022. It missed the 2022 Grammy eligibility by 2 months
MG – So, in addition to the box and the amazing amount of music included on 20LPs – with each one needing Its own customized sleeve – another one of the stand-out items related to this project was the art print set curated by one of the world’s best-known pop artists, Shepard Fairey. Can you give me any insight into the decisions made to produce some of those materials as well?
JH – We were only peripherally involved in the print portfolio, assisting in getting the package manufactured. That piece was driven by Shepard Fairey and Randall Poster — and it’s wonderful!
(Editor’s Note – you can look over the nice selection of art prints available via this link – https://store.subliminalprojects.com/products/the-bird-song-project-art-print-portfolio)
MG – Just out of curiosity, based on the production schedule you shared with us – While the lingering restrictions and disruptions caused by COVID may have added a lot of time to the overall process, were you all able to quickly adjust to the “new” ways of working?
JH – COVID definitely affected us in terms of supply chain issues. Manufacturing took much longer as a result. Our team adapted easily however and met almost weekly via Zoom and email – lots of email!
MG – So, as I’m always hoping to share bits that my readers might not know otherwise, I’d like to ask you – without betraying confidences, of course – whether there might be any other anecdotes about this project you’d be willing to share…every project I’ve ever looked into seems to have something of an “a-ha moment” or an “OMG moment”, so anything you’d be willing to share would be quite a treat for me and my readers!
JH – For me the “WOW” moment was when we got to hear the final, sequenced compilation of music and poetry. It was literally changing daily as the contributions flowed in. The sequencing was a masterwork by Randall Poster. When it was all final, the plan for streaming the five individual “volumes” — each consisting of four discs — was put into place, so people would be able to enjoy the music in advance of the box set release. That was really when it all hit — that the project was truly extraordinary!
MG – While the Grammy Award win and the tremendous press coverage your work received were good overall indicators, do you feel that everyone involved in the production of these sets was truly happy with the results? If so, how did they express that to you?
JH – We are confident that this project met and exceeded everyone’s expectations. It has been very well received and continues to bring much needed attention to the threats birds face around the world. We recently participated in a lovely event here in Los Angeles at Audubon Center at Debs Park to celebrate the Grammy nomination, which included a performance by harpist Mary Lattimore – https://www.youtube.com/watch?v=cTkm4pxmBEM – and a discussion with Julisa Colón (from Audubon) and ourselves – https://www.linkedin.com/posts/julisacolon_had-the-best-time-celebrating-and-chatting-activity-7158494835690123265-uSgi
MG – I’d also like to add that the folks from the Audubon Society had some very nice things to say about the project team after the Grammy win – https://www.audubon.org/news/congratulations-grammy-award-winner-birds-birdsong-project
And so finally, on a more personal note – Have you received your Grammy Award statue yet and, if so, where do you have it on display?
JH – We haven’t received our awards yet. Randall said on our last Zoom that “it will take so long to get your Grammys that you will have forgotten you won!” When they do arrive, we will likely place them on the bookshelves in our living room, where we listen to vinyl – and the birds – every morning.
(Another Editor’s Note) See it happen! Watch this video of the announcement of John and Jeri’s Grammy win, as read by the talented singer/songwriter Rufus Wainright at the Grammy Awards Premiere ceremony – https://www.linkedin.com/feed/update/urn:li:activity:7160666020284690432/
MG – Thanks to both of you for your time and for helping me share this story with my readers. The cardinals, nuthatches and chickadees on my balcony (see below) bring me much happiness, so anything we can do to keep them fed and happy and protected is a worthwhile effort, I think.
Mike G’s little feathered (and well-fed) friends
About our interviewees, Jeri and John Heiden of SMOG Design –
Jeri Heiden – Creative Director – After moving at age 10 from New Jersey to California’s Central Coast, Jeri’s passion for design was nurtured during field trips down to Los Angeles, where she was exposed to art and architecture, and by her high school art instructor, who helped her look at art and design from all different angles. She went on to study graphic design and packaging at both Pepperdine University and the Art Center College of Design in the LA area, where she was introduced to a number of creative people, many of whom she’s worked with over the years. In 1982, she started her career in the music business, spending the next 17 years working in design/creative roles at Warner Bros. Records and A&M Records, with her hand in the design and production of over 450 record albums.
Her good work on designs for the recordings of such artists as Christina Aquilera, Sheryl Crow, k.d. lang, Madonna, Rod Stewart and many others has been highlighted with six Grammy Award nominations (the first in 1986) for album packaging and design, with a win in 2024 in the “Best Boxed Or Special Limited Edition Package” category for the package they created for the critically-acclaimed 20-LP collection For The Birds: The Birdsong Project.
In 1999, she joined her husband, fellow designer John Heiden, in the design firm he’d co-launched several years earlier (with Kim Biggs) – SMOG Design – where they’ve continued to supply outstanding designs – including a large selection of logos – for clients both inside the music business and in the areas of film, TV, publishing and consumer products. Non-music industry clients have included Ammo Books, Disney/Pixar, Heirloom LA catering, Lightopia Marquis Phillips Wines and Sweet Briar College. Jeri’s contributions to the field of design have extended outside the studio as she has lectured on a wide variety of subjects and has served on a number of design juries.
Aside from her Grammy nominations and win, her work has also been recognized by the AIGA (where she was named an AIGA Fellow in 2010), the American Center for Design, the Art Directors Club and the Type Directors Club and in leading design industry publications including Communications Arts, Graphis, I.D. Magazine and STEP Inside Design.
John Heiden – Founder + Creative Director – John was also raised on California’s central coast, with his high school activities including long-distance running and the creative arts including design, photography and printing. After college, John moved to New York to pursue an opportunity with the Elite Models agency, which also allowed him to travel through Europe extensively, soaking up the unique cultures that would influence his subsequent work. Returning to the Los Angeles area in the early 1980s, Heiden apprenticed at a small design firm there, fine-tuning his skills until he was offered a job as a graphic designer at Warner Bros Records, where he worked for 3 years. Partnering with the noted Rotterdam-based design firm Hard Werken to open his own design firm, he continued to expand his work and later, partnering with designer Kim Biggs, the duo opened SMOG Design in 1995, with his wife Jeri joining the firm in 1999. The name was meant to be a little humorous and subversive, and to be a clear indication that the work was coming out of Los Angeles.
Some of the firm’s other notable album package credits include – Madonna – True Blue, Like A Virgin and Like A Prayer; P!nk – The Truth About Love, I’m Not Dead and Try This; Eagles – The Very Best Of, Long Road Out Of Eden and Selected Works; k.d. lang – Ingenue, Shadowland, Absolute Torch and Twang, Hymns of the 49th Parallel and Reintarnation; a-ha – Hunting High and Low and Scoundrel Days; Don Henley – Cass County and Building The Perfect Beast; Sheryl Crow – The Globe Sessions, C’mon C’mon and 100 Miles From Memphis; Sting – Mercury Falling; Elvis Costello – Spike, The Beloved Entertainer; Ben Folds and Ben Folds Five – Rockin The Suburbs and The Sound Of The Life Of The Mind; Rod Stewart – Storyteller and The Great American Song Book; Tom Petty & The Heartbreakers – MOJO and Hypnotic Eye; Janet (Jackson) – All For You and Damita Jo; Christina Aguilera – Back to Basics and Stripped; Britney Spears – Circus; The Decemberists – What a Terrible World, What a Beautiful World, Florasongs and The King Is Dead and Stone Temple Pilots – Purple and Tiny Music
For more information on these artists and their design firm, please visit their web site at http://www.smogdesign.com/about/
About The Birdsong Project and its box set –
Project Info – The folks at the Audubon Society put together a very comprehensive overview about the project, the project’s box set and included a lot of info on some of the incredible talent that contributed to the effort so, rather than re-fashion it, I thought that I’d simply share what they put together – “In collaboration with some of the world’s greatest musicians, artists, and actors, For The Birds: The Birdsong Project is an art-filled, 20 LP box set including more than 200 tracks of original music and bird-related poetry produced by Grammy Award-winning music supervisor Randall Poster. Contributors include Mark Ronson, Lee Ranaldo, Angélica Negrón, Yo-Yo Ma, Alex Somers, Beck, Jeff Goldblum, Elvis Costello, Suzan-Lori Parks, Matthew McConaughey, Tilda Swinton, Karen O, and many more. The National Audubon Society is delighted to be the beneficiary of this project.
Join us in celebrating the joy birds bring to our lives and in bringing attention to the message they have about the environmental threats we all face.”
Product Info – “For the Birds: The Birdsong Project is a collection of 172 pieces of new music inspired by the beauty of birdsong, performed by artists from across the musical spectrum. Comprised of 20 LPs, each with original cover art, this deluxe box set also features 73 works of bird-inspired poetry, read by familiar and famous voices. The collection comes beautifully framed by the original artwork of painter and naturalist John James Audubon, from his seminal work: Birds of America.” Front cover: John J. Audubon, Plate 395, Audubon’s Warbler
More Artwork by:
Audun Lund Alvestad
Amy Tan
Barrie Goshko
Ben Crase
Brian Calvin
Chris Johanson
Dan Attoe
Danny Romeril
Ed Burkes
Elliot Bergman
Elsa Kuhn / In Felt We Trust
Florence Hutchings
Hannah Ricke
Howard Fonda
Hugo Guinness
Igor Moritz
Jeff Olsson
Jockum Nordström
John J. Audubon
Lisa Overduin
Lori Menna / Cosmic Collage
Penny Davenport
Richard Johansson
Roz Chast
Sabrina Bosco
Simone Shubuck
Thomas Campbell
Accompanying the 20 LPs is a 60-page companion piece, which includes a foreword by Randall Poster, essays by Jonathan Meiburg, Kathleen Moore, and David Rothenberg, and a list of must-read books for bird lovers from novelist and ornithophile, Jonathan Franzen.”
Project lead Randall Poster is a five-time Grammy-nominated producer/music supervisor, winning in the “Best Score Soundtrack For Visual Media” category at the 57th annual awards show in 2015 for his work on The Grand Budapest Hotel and again previously at the 54th annual awards show in 2012 in the “Compilation Soundtrack Album” category for his efforts on the Boardwalk Empire: Volume 1 album. Other nominations came for his contributions to the soundtracks for the film School of Rock, Martin Scorcese/Mick Jagger/Terence’s HBO series Vinyl: The Essentials Season 1 and the Regina King-helmed Amazon movie One Night In Miami...Randall previously launched a music supervision firm called Search Party in 2004 and later merged with the Premier Music Group music agency In 2020.
Poster has also lent his considerable skills and musical insights to the works of directors Wes Anderson, Sam Mendes, Olivia Wilde, Danny Boyle, Sofia Coppola, Karyn Kusama, Antonio Campos, Kevin Smith, Harmony Korine and Sean Penn.
Other key project personnel included Executive Producers Elliot Bergman, Stewart Lerman, Lee Ranaldo, and Rebecca Reagan. I also found a four page PDF document that provided background information on all of the set’s contributors –https://albumcoverhalloffame.files.wordpress.com/2024/03/49849-tbp_contributors_list_f7.pdf
You can order the 20LP box set from a range of independent vinyl retailers or via the Audubon Society website – https://www.audubon.org/news/the-birdsong-project-box-set
Copyright info – Unless otherwise noted, all text and images included in this article are Copyright 2024 Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved. Photos from the production of the For The Birds box set were provided by SMOG Design and used with their permission for illustrative purposes only. All the trade names mentioned in these summaries are the properties of their respective owners and are used for reference only.
The National Audubon Society is a nonprofit conservation organization that protects birds and the places they need today and tomorrow. More info at https://www.audubon.org/birdsong-project
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