Recently, we examined Stefan’s album cover for A Little World Music. Today, let’s look at a few of Kenny G’s. Both musicians play with a similar mellow yet vibrant fluency, even if in different genres. Unlike Stefan’s album art, though, the artwork representing Kenny G employs several techniques that articulate this musical energy.

For Brazilian Nights, Kenny G’s body unites the main graphic and the main text into one focal object. His left arm is draped casually over the G, and his right arm pokes through the N. With his bow tie undone, sleeves rolled up, and laughing eyes looking away from us, the mood is relaxed yet dynamic…much like the music we hear from the album.


This dynamism is similarly evoked in the album art for Bossa Réal, where the saxophone is subtly carried in front of the G, and Kenny G is walking off the cover. The text appears to float in the air as part of the environment, and his interaction with it is visually engaging.


The typeface is something in the area of Century Gothic and ITC Avant Garde—geometric and modern. The thinness of the strokes makes this interaction feel right for Kenny G. The sleekness mirrors the slipperiness, sophistication, smoothness, and pliability conveyed by his music. 

A heavier face might work for a musician like Bob Marley, whose beats carry a heavier auditory weight. What might that look like? I can picture thick dreads flying over and behind the title…