The MadonnaTribe Team has had the pleasure to have a brief chat
with Jeri Heiden, the woman in charge of the cover
design of many Madonna albums, among them, Like A Virgin,
Like A Prayer, You Can Dance
and True Blue.
To celebrate the 20th anniversary of the True Blue
album this month, we focused our questions to Jeri on the making
of its iconic cover. Let's celebrate!
MadonnaTribe: Hi Jeri and welcome to MadonnaTribe.
This year marks the 20th anniversary of one of the most classic
Madonna albums ever, True Blue.
Released in the summer of 1986 that album entered iconic status
not only due to the classic songs it contains but also for the
incredible and powerful packaging, which is still very contemporary.
After working on the artwork of the Like A Virgin album
you were approached again by Warners to work on True Blue.
What do you remember about the first meetings you had with Madonna?
Did she already have a clear idea of what she wanted?
Jeri Heiden: I was working in the art department
at Warner Bros. at the time - on staff as an Art Director. At
that time, most artists worked with us in-house.
Madonna had commissioned the Herb Ritts photo shoot - she was
already highly aware of the value of her image and was in control
of it. The photo shoot was given to me to edit - it was at least
60 rolls, mostly 35 mm.
Good thing my eyesight was strong back then!
I edited the session and made recommendations for prints. We ordered
about 30 or 40 test prints from Herb's studio.
Other than that, there was no specific idea for the cover.
MT: The back cover of the album presents the
song titles written in Madonna's handwriting. It's funny as her
latest album Confessions On A Dance Floor has the titles
written in the same way. Whose idea was to write the titles that
way on True Blue?
JH: Sorry if I am busting a myth - but that's my handwriting!
I have used my own handwriting on numerous albums, and have had
several different fonts created from it.
So... I guess it was my idea.
MT: Talk about busting a myth, indeed!
Speaking of the front image, there are two different versions of
the True Blue cover, there are copies printed in Canada
and the U.S. that just have Madonna's face with no logos.
Other copies released in the UK and Europe had the Madonna logo
and album title on top. Is there a reason for this?
JH: We used a sticker in the U.S. - thinking it would be
really cool if when you took off the shrink-wrap there was nothing
left but the gorgeous photo of Madonna. It was so iconic.
Other territories were less confident I suppose, and felt that her
name HAD to be on the cover. This isn't unusual at all - for territories
to modify artwork for their needs. I remember providing International
with the alternate cover.
MT: The cassette version of True Blue presented
the full Herb Ritts image while the vinyl album cover had the face
close up. Was it hard to crop that powerful image to fit the square
size of the vinyl cover?
JH: No, not really. I think the image became more
interesting cropped into a square - and at that time we always started
with the album cover configuration.
It was like she was floating - her clothing was not visible. She
took on the appearance of a marble statue - Goddess like.
In the vertical cropping you see her leather jacket and the wall,
and it becomes more typical, editorial, earthly.
MT: From what we hear, the original Herb Ritts
photo was in black and white that was then hand tinted with blue
tones. Can you tell us more about the process the led to the final
JH: That's correct. The image was a 35mm b&w
shot. I experimented with a variety of treatments, looking for a
good compliment to the album title.
Was that technique applied to other photos? I seem to recall
a couple of Herb Ritts shots in the official 1987 calendar having
a similar look?
I haven't seen the calendar, so I'm not sure about that.
MT: Several images by Herb Ritts were considered for the
True Blue album cover, among them the ones that later became
the Papa Don't Preach and True Blue single photos
and another amazing image that remains unreleased. Who was responsible
in the end for choosing the final cover image?
JH: The final cover image was chosen by
Madonna, myself and Jeff Ayeroff - Creative Director at WB at the
time. It was so strong, it just became the natural choice.
MT: Obviously you were then involved in the making of the
singles' covers, adapting the rejected lp cover shots to the single
Did Madonna had to approve the singles covers?
JH: She approved everything, along with her management.
And in the course of designing the album package there are often
2nd or 3rd 'choices' that we hold out for single sleeve artwork.
You also worked on the art direction of the Open Your Heart
As with Live To Tell it presented an image coming straight
from the video set.
Was this a decision made at the last minute to make the image of
Madonna in the video coincide with the commercial release or was
JH: At that time we felt that a very current image,
i.e, one that would tie into the video, was a good choice. So much
money and energy was expended in the creation of the videos, and
she got so much air time, it just made sense. Also - it offered
something 'new' to the fan & collector - always a plus.
MT: Your original artworks and logos were
slighly modified in some foreign markets.
French singles had to have for some reasons all horizontal writings.
Japanese singles had often totally different cover photos and UK
picture discs often presented alterated layouts.
Did you work on those "extentions" of the True Blue
project as well?
JH: No, typically these modifications were done in each
territory. Although I really enjoy seeing them - especially the
MT: At the time it was rumoured a sixth
single after La Isla Bonita was due to be released from
True Blue. The rumoured song was Where's The Party.
Did you happen to work on a single cover for that song?
JH: I don't believe so.
MT: Right after True Blue you
worked again for Madonna for the You Can Dance album. The
album presents once again the platinum blond Madonna that was introduced
for the first time with True Blue in a Herb Ritts photo.
How did the artwork of You Can Dance come to life?
Was it conceived as a sort of True Blue tie in?
I don't think it was meant to be a tie-in. It was just Madonna's
look at the time - Platinum Blond. And of course the handwriting
reappears on that album.
MT: Among the many albums you did for Madonna, which is
by far your favourite creation and the one you had more fun working
JH: True Blue remains my favorite Madonna
cover and project.
Jeri, thanks for sharing your time with us.
For more information about Jeri Heiden
please visit www.smogdesign.com.
All images of released memorabilia are original scans from M-Tribe's
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This interview © 2006 MadonnaTribe