FAC-2 Industrial Relations by Matthew Robertson

Industrial Relations
by Matthew Robertson

A while ago I came across a record dealer selling a copy of Fac 2 'A Factory Sample'. This rare specimen has eluded me over the years. To say I was quite surprised to see it advertised would be an understatement – I was buzzing.I contacted the dealer, arranged payment and waited patiently for it to arrive in the post.

One evening I came home from work to find the air mailed package waiting for me and it was like being a child on Christmas day. I opened it, withdrew the contents to reveal a 12- inch record bearing similar hallmarks to the original sample. However, it was not what I was expecting...

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Verbatim (including typos) extract from the Factory Records' Newsletter and Shareholder's Analysis, September 1979:

FAC 2: A Factory sample; double 7" EP; Joy Division,Durutti Column,John Dowie, Cabaret Voltaire; 'devious...to seduce and introduce' (NME), 'I wonder what sort of pills he takes, ibet they all speak Frennh too'(RM-); Design, silver paper in plastic, from Thailand cheapo albums; not cheapo this time... 5,000 in January and February 1979; released on Dec 24th. Sold out."

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Anthony Wilson flouted convention by releasing this debut 9-track EP as two 7-inch records, rather than a standard 12-inch. The aspirations of the Factory founding fathers had crystallised into a physical object that would establish them as a record label. This release brought the four acts and label into the consciousness of music enthusiasts across the country – albeit the 5,000 fortunate enough to get a copy.

This was also an opportunity for Factory's designer, Peter Saville, to make his mark beyond the fly-posted walls of urban Manchester. Having seized the opportunity to create the promotional material for the Factory club, his first poster would attain legendary status. Delivered after the event, it was assigned the label's first catalogue number (Fac 1) and defined Factory's early visual identity. Yet, it was transitory in nature compared to Fac 2. Posters, according to Rickard's Encyclopedia of Ephemera, are inaccessible once pasted-up and artificial as conserved specimens.

They are aimed at a primary audience of people who happen to pass by. In contrast the Factory sample was something individuals could pore over as they listened to the music coming from their stereo speakers. The overall presentation was unlike anything Factory's contemporaries were releasing. Wilson was inspired by a method of record packaging used in the Far East.

The relatively inexpensive technique involved sealing a single sheet of printed- paper in a light thermoplastic sleeve. The plastic material protected the paper stock that was much thinner than the cardboard commonly used for record covers. The gatefold conveniently housed both 7" discs and offered an expansive area for graphic communication.

A certain level of luxury was attained through the use of pre-printed silver paper stock. Metallic pigments evoked a sense of value, and expense, compared to standard colours. The colour was perfectly suited to the modern industrial language of Factory. These days it is not uncommon to find eco-conscious designers avoiding the use of metallic inks given their unfriendly nature. But back in 1978 this was not on the agenda let alone designers' drawing boards.

Saville completed two more classically inspired posters prior to the commission (although claims authorship for one of them). All of this output had been inspired by the typographic work of Jan Tschichold (1902-74). In his younger years the German-born designer had been a proponent of Modernism.

In addition he introduced a new motif, the hardhat man, sourced from an advisory leaflet titled Noise Control on Building Sites courtesy of Her Majesty's Stationery Office (HMSO).

Saville claimed to have appropriated the illustration directly. However, the image appeared as a photograph on the original publication, thus suggesting it was redrawn at some point. In essence the EP came to resemble a document designed for a manufacturing or processing plant.

Saville also took the opportunity to play with other visual ideas. Different shapes appeared above each act on the gatefold spread. The forms correspond to each side of the two 7-inch discs. For example: a circle for side 1, semi-circle for side 2, triangle side 3 and rectangle side 4. The typographic content was systematically organised into four columns with a graph line crossing the table.

This metaphor of industrial productivity was a precursor to the very first Factory Records logo based on a bar graph. Other subtle touches include 'Aside' and 'Beside' and the 7 x 7 matrix grid on the disc labels. Each demonstrate the young designer's eagerness to try out many ideas.

Fac 2's precise design contrasted with much of the damaged aesthetics that had defined the sub-culture. Yet, despite the sophisticated nature of the presentation it was still a D.I.Y. act in keeping with the spirit of Punk.

He rejected tradition, advocating only the use of sans-serif fonts and asymmetrical page layout in an effort to create work befitting the present time. However, he wavered on his stern beliefs in later years and returned to a more conservative position. Saville borrowed from the contrasting phases in Tschichold's career.

The key elements and styles from Fac 1 were repeated to maintain visual consistency: the 'Use Hearing Protection' warning sign, the thick black lines and left-aligned type setting. Yet Saville opted for a more utilitarian sans serif typeface, 'Univers', over the previously used 'Avant Garde'.

The Factory crew took responsibility for folding and sealing the covers in plastic, collating and inserting each of the 7"s. Nathan McGough (ex-Kalima and Happy Mondays manager) helped out at the Factory office recalling '... Also present were Joy Division minus Ian Curtis and maybe Vini Reilly was there. It was very tedious.'

Each of the four acts was asked to contribute their own graphics for a set of stickers. These black-and- white, mostly appropriated, images are much closer to Punk's low-grade look. Joy Division's sea-faring marionette, The Durutti Column's Situationist cowboys, John Dowie's Dadaist collage and Cabaret Voltaire's urinal scene worked well as a suite. Factory proved that special objects could be created with limited resources.

The choice of materials, artwork and other elements created a sensory experience. They did not overstretch as they would on later releases and actually made a return.

The way people consume music has taken a significant shift in recent years. Most of the younger people I work with acquire music solely as digital downloads. Much has made regarding loss of the tactile relationship we once had with the artefact. Last week I saw a band had released their album on a USB memory stick!

It reminded again of how unique Factory was and wonderment it brought to our lives. Without sounding overly nostalgic it was a time less saturated by media vying for our attention.

Individuals had to make more of an effort to seek out new things and surround themselves with meaningful artefacts that made them complete. So I wonder what a budding Factory in 2008 would do to make its mark?

Postscript

A few years ago I discovered another record dealer offering a copy of the Factory sample. Again I was surprised to see it for sale. I duly posted the money and after a few weeks it arrived in the post.

However, this time it felt right. I breathed a sigh of relief as I removed the bubble-wrapped 7-inch from the envelope – at least it was the same size. But I was soon disappointed.

Instead being greeted by the hardhat man, I was confronted with the image of dirty old radiator floating in white space. Bastards, it was the Factory Too sampler!

In 1995, two years after the collapse of Factory, Wilson re-launched the label using the same 2x7" format – an anachronism in some respects. The dealer had failed to mention the full title: Fac 2.02 A Factory Sample Too.

My only positive reaction to the situation was seeing my favourite typeface FF Scala on the cover. Fortunately I was not ripped off. It was so cheap that I should have realised it was too good to be true.

So, Fac 2 continues to eludes me.

Matthew Robertson is a graphic designer and the author of FAC 461 Factory Records: The Complete Graphic Album (Thames and Hudson, 2006)