The cover art was created by photographer Bob Seidemann, a personal friend and former flatmate of Clapton's who is primarily known for his photos of Janis Joplin and the Grateful Dead. In the mid-1990s, in an advertising circular intended to help sell lithographic reprints of the famous album cover, he explained his thinking behind the image.

I could not get my hands on the image until out of the mist a concept began to emerge. To symbolize the achievement of human creativity and its expression through technology a spaceship was the material object. To carry this new spore into the universe, innocence would be the ideal bearer, a young girl, a girl as young as Shakespeare's Juliet. The spaceship would be the fruit of the tree of knowledge and the girl, the fruit of the tree of life.

The spaceship could be made by Mick Milligan, a jeweller at the Royal College of Art . The girl was another matter. If she were too old it would be cheesecake, too young and it would be nothing. The beginning of the transition from girl to woman, that is what I was after. That temporal point, that singular flare of radiant innocence. Where is that girl?

Seidemann wrote that he approached a girl reported to be 14 years old on the London Underground about modelling for the cover, and eventually met with her parents, but that she proved too old for the effect he wanted. Instead, the model he used was her younger sister Mariora Goschen, who was reported to be 11 years old. Mariora initially requested a horse as a fee but was instead paid £40.

Bizarre rumours both contributed to and were fuelled by the controversy, including that the girl was Baker's daughter or was a groupie kept as a slave by the band. The image, titled "Blind Faith" by Seidemann, became the inspiration for the name of the band itself, which had been unnamed when the artwork was commissioned. According to Seidemann: "It was Eric who elected to not print the name of the band on the cover. The name was instead printed on the wrapper, when the wrapper came off, so did the type." This had been done previously for The Rolling Stones' 1964 debut album, The Beatles' albums Rubber Soul in 1965 and Revolver in 1966, and Traffic's self-titled 1968 debut album.

Formation and early history

The beginnings of Blind Faith date from mid-1968, with the break-up of Cream. In retrospect as the first "super-group", Cream had become a financial powerhouse, selling millions of records within a few years and raising the group's (and each member's) repertoire to international popularity. Despite that success, the band were crumbling from within because of frequent animosity between Jack Bruce and Ginger Baker, with Eric Clapton doing his best to mediate^{<citation needed>}. In addition, Clapton had been tired of being coerced into playing commercially driven blues and hoped to move forward with a new, experimental, less straitjacketed approach to the genre^{<citation needed>}.

Steve Winwood was facing similar problems in The Spencer Davis Group, where he had been the lead singer for three years. Winwood wanted to experiment with the band's sound by infusing jazz elements, but left due to his musical differences, instead forming a new band — Traffic — in 1967. That band split temporarily in 1969, and Winwood started to jam with his good friend Clapton in Clapton's basement in Surrey,England. Winwood and Clapton had previously collaborated on the "Powerhouse" project.

Clapton was pleased with the jam sessions, but was hesitant to start a serious group. Ginger Baker turned up one day to sit in with them in 1969, and the band took near-final form. Clapton questioned letting Baker in the band, because he had promised Jack Bruce that, if they were to work with one another again, all three of them would play. Moreover, Clapton didn't want to reunite with Cream barely nine weeks after the break-up, and also didn't want to deal with another "Cream-like" super-stardom situation. Winwood ultimately persuaded Clapton to finalize Baker's inclusion in the line-up, arguing that Ginger Baker strengthened their musicianship and that it would be hard to find an equally talented drummer.^{<citation needed>}

By May 1969, Ric Grech, bassist with Family, was invited to join them (leaving Family, mid-tour). Andy Johns (engineer) recorded most of the Blind Faith backing tracks at Morgan Studios and the album was finished at Olympic studios with Alan O'Duffy (engineer) who recorded some further tracks, all of the overdubs and mixed the album. This was done under the supervision of producer Jimmy Miller. Jimmy Miller provided focus to the band, who often preferred jamming over the standard commercial 3–5 minute track. By then the group was known collectively as Blind Faith, a slyly cynical reference by Clapton to his outlook on the new group.
https://en.wikipedia.org/wiki/Blind_Faith