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Tag: Paul Buckley

Matt Taylor’s le Carré Illustrations

I’m obviously on a bit of a John le Carré kick at the moment as I am currently reading his latest book Agent Running in the Field1. The cover features art by Matt Taylor who has illustrated a quite number of le Carré covers for Penguin Random House and art director Paul Buckley over years. I’ve shared a few of them here before, but since I posted David Pearson’s recent redesign of the George Smiley novels, I thought it would be nice to pull Matt’s versions together too. I believe Gregg Kulick had a hand in the design and type.  

Matt has also illustrated the covers for le Carré’s non-Smiley novels too. There’s quite a lot of them!

(Matt’s also did an illustration for The Russia House, but only the audio edition of the book appears to be available from Penguin Random House in the US. In the UK, Penguin uses the same illustration for their cover, although the type is in line with their other Modern Classic editions)

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Paul Buckley Cover to Cover

Penguin Classics Cover to Cover

At Observer, Penguin creative director Paul Buckley, talks about his new book Classic Penguin: Cover to Cover. I particularly enjoyed this epic rant on designing covers for new books:

New books, this piece of writing, everything is riding on that new cover. Is the mood right? Does the imagery hint at what is going on in the text? Did you tell too much? Did you tell too little? Yes, it takes place in the winter, but we want it as a summer read, so try to avoid seasons; she would never dress like that, or maybe she would, but it makes an off-putting cover; I know everyone in the book dies – but that image is so depressing no one will buy it; is the author’s name prominent enough? The type has to be much, much larger. We understand the word has sixteen letters, make it larger. No, it can’t go sideways, people can’t read sideways. I know spines read sideways, that’s not the same. No, no it’s not, and no, this word cannot be broken. We realize the title is part of the problem, we know it’s confusing, we can’t change it. Ok, the type is too condensed; it’s ok if it goes smaller if we can get a nicer font. Have you tried it sideways? The author hates it sideways and is suggesting you try championing condensed 87, do you have that font? I don’t know who designed this, I think it was one of his students, he asked that we show it to “the art dept;” I know, I know, now I can at least say I did. It’s approved! Sales didn’t like the cover, we have to change it. Was it just one person? Bob, how many in sales disliked the cover? Oh, it was just Jim, he’s always out in left field, never mind, glad I asked. Or, yes it was just Sally, BUT she looooves this book. I know you did too, we all do, we still need a new cover by next Tuesday’s deadline. Huge chain “X” wont commit to this book with this cover, I know we all loved it maybe you can save it for something else, here are some suggestions from the buyer, at least they are trying to be helpful.

You can read my 2009 Q & A with Paul here, and my 2010 interview with Paul and Christopher Brand about their book Penguin 75 here.

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The Pelican Shakespeare Series Design by Manuja Waldia

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Continuing with the recent series design theme here on The Casual Optimist, creative director Paul Buckley let me know about new set of covers for the Pelican editions of Shakespeare. The covers were designed by newcomer Manuja Waldia, who studied Graphic Design at NIFT, New Delhi and the Milwaukee Institute of Art & Design. Waldia has been commissioned to design the entire series (which is a lot of book covers!), and as a Paul said, “she gives the last two male icon artists to do that (Milton Glaser and Riccardo Vecchio) a run for their money.”

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Othello

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All Heart

With Valentine’s Day just around the corner, I thought I would share a few book covers that use hearts as part of their design…

all-about-love
All About Love by Lisa Appignanesi; design by Jamie Keenan (W. W. Norton / July 2011)

Alternatives to Sex
Alternatives to Sex by Stephen McCauley; design by David Ter-Avanesyan (Simon & Schuster / March 2006)

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American Supernatural Tales edited by S. T. Joshi ; design by Paul Buckley (Penguin / October 2013)

Amy-and-Matthew
Amy and Matthew by Cammie McGovern; design by Sharon King-Chai (Macmillan Children’s Books / March 2014)

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The Campus Trilogy by David Lodge; design by Heads of State (Penguin / October 2011)

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Cold Hands, Warm Heart by Jill Wolfson; design by Jack Noel (Walker Books / November 2011 )

coming-clean
Coming Clean by Kimberly Rae Miller; design by Lynn Buckley (New Harvest / July 2013)

committed

Committed by Elizabeth Gilbert; design by Helen Crawford-White; illustration by Illustration Yulia Brodskaya (Bloomsbury / January 2011)

don't-you-forget-about-me
Don’t You Forget About Me by Jancee Dunn; design by Catherine Casalino (Villard Books / July 2008)

eat-my-heart-out
Eat My Heart Out by Zoe Pilger; design by Rose Stallard (Serpents Tail / January 2014)

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The Empathy Exams: Essays by Leslie Jamison; design by Kimberly Glyder (Graywolf / April 2014)

Untitled-10
Fraught Intimacies by Nathan Rambukkana; design by David Drummond (UBC Press / May 2015)

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The Girls’ Guide to Hunting and Fishing by Melissa Bank; cover art by Lina Stigsson (Penguin / July 2011)

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Gloss by Marilyn Kaye; design by Rachel Vale (Macmillan Children’s Books / June 2013 )

happy-are-the-happy-suzanne-dean
Happy are the Happy by Yesmina Reza; design by Suzanne Dean (Harvill Secker / July 2014)

The recently released US edition of Happy are the Happy published by Other Press, and designed by Kathleen DiGrado, also features a heart on the cover (if you know who the designer is, please let me know):

Happy-Are-The-Happy-US

Heart of the City_Sabar_HSYee
Heart of the City by Ariel Sabar; design by Henry Sene Yee (Da Capo / January 2011)

heart-of-darkness
Heart of Darkness by Joseph Conrad; design by Paul Buckley; art by Mike Mignola (Penguin / August 2012)

volkswagen
How to Keep Your Volkswagen Alive by Christopher Boucher; design by Christopher Brian King (Melville House / September 2011)

how-to-love
How to Love by Katie Cotugno; design by Alison Klapthor; cover art by Alison Carmichael (Balzer + Bray / October 2013)

hundred-hearts
The Hundred Hearts by William Kowalski; design by Michel Vrana (Thomas Allen / May 2013)

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In Case of Emergency by Courtney Moreno; design by Sunra Thompson (McSweeney’s / September 2014)

in-case-we-die
In Case We Die by Danny Bland; design by Jacob Covey (Fantagraphics / September 2013)

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Irritable Hearts: A PTSD Love Story by Mac McClelland; design by Keith Hayes (Flatiron Books / February 2014)

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Learning to Love Form 1040 by Lawrence Zelenak; design by Isaac Tobin (University of Chicago Press / April 2013 )

lolita-bierut
Lolita by Vladimir Nabokov; design by Michael Bierut (Lolita Book Cover Project / 2013)

love-poems
Love Poems by Bertolt Brecht; translated by David Constantine and Tom Kuhn; design by Jennifer Heuer (W. W. Norton / December 2014)

lovers-dictionary
The Lover’s Dictionary by David Levithan; design by Jennifer Carrow (Farrar, Straus & Giroux / February 2011)

loves-winning-plays
Love’s Winning Plays by Inman Majors; design by Eric White (W. W. Norton / July 2013)

man-who-touched-his-own-heart
The Man Who Touched His Own Heart by Rob Dunn; design by Ploy Siripant (Little, Brown & Co. / February 2015)

marriage-plot
The Marriage Plot by Jeffrey Eugenides; design by Jo Walker (Fourth Estate / April 2012)

zusak
The Messenger by Markus Zusak; design by Sandy Cull / gogoGingko (Pan Macmillan / November 2013)

On-the-Noodle-Road
On the Noodle Road by Jen Lin-Liu; design by Lynn Buckley (Riverhead / July 2013)

ps-i-love-you
P. S. I Love You by Cecelia Ahern; design by Heike Schüssler (HarperCollins / January 2014)

teeth
Teeth by Hannah Moskowitz; design by Angela Goddard (Simon & Schuster / January 2013)

things-we-know
Things We Know by Heart by Jessi Kirby; design by Erin Fitzsimmons (HarperCollins / May 2015)

Doern art
The Wet Engine by Brian Doyle; design by David Drummond (Oregon State University / May 2012)

with-or-without-you
With or Without You by Domencia Ruta; design by Greg Mollica; lettering by Rebecca Siegel  (Spiegel & Grau / February 2013)

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Beasts!

beasts
Lions and tigers and bears! Oh my! I’m kicking off a new series today on animal book covers. The first post is on ‘beasts’ — mostly ‘wild’ beasts, but one or two more domesticated (and dead) animals may have nosed their way in. Other posts series will look at birds, bugs, reptiles and amphibians, and quite possibly sea creatures and farm animals (unless someone pays me a large amount of money to stop before that). Thanks to all the designers, ADs, publicists and others who have been helping me with images and credits. If you notice that some information about a cover is missing, please let me know.

KENNEDY_American-gabrielle-bordwin
American Spirit by Dan Kennedy; design by Gabrielle Bordwin (New Harvest / May 2013)

animals-of-my-own-kind-drummond
Animals of My Own Kind by Harry Thurston; design by David Drummond (Vehicule Press / April 2010)

Untitled
Annabel by Kathleen Winter; design by Bill Douglas (Anansi / June 2010)

beasts-jacob-covey
Beasts! by Jacob Covey; design by Jacob Covey / Unflown (Fantagraphics / February 2007)

bedside-book-of-beasts-richardson
The Bedside Book of Beasts by Graeme Gibson; design by Scott Richardson (Doubleday Canada / October 2009)

brothers-beasts
Brothers & Beasts edited Kate Bernheimer; design by Isaac Tobin; illustration by Lauren Nassef (Wayne State University Press / January 2008)

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Caribou by Charles Wright; design by Jeff Clark / Quemadura (FSG / March 2014)


Charm and Strange by Stephanie Kuehn; design by Sharon King-Chai (Electric Monkey / June 2013)

chronic city
Chronic City by Jonathan Lethem; design by Miriam Rosenbloom (Faber & Faber / December 2009)

Company-of-Liars
Company of Liars by Karen Maitland; design by gray318 (Penguin / January 2008)

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Doppler by Erlend Loe; design by Nicolas Cheetham (Anansi / October 2012)

eeeee-kelly-blair
Eeeee Eee Eeee by Tao Lin; design by Kelly Blair (Melville House / April 2007)

ExtinctionClub
The Extinction Club by Jeffrey Moore; design by Michel Vrana (Hamish Hamilton Canada / April 2010)

feral
Feral by George Monbiot; design by Jim Stoddart (Penguin / May 2013)


The Good Suicides by Antonio Hill; design by Christopher Brand (Crown / June 2014)


Gottland: Mostly True Stories from Half of Czechoslovakia by Mariusz Szczygiel; design by Christopher King (Melville House / May 2014)

Penguin-Goya-Hi_res
Goya’s Dog by Damian Tarnopolsky; design by David Gee (Penguin Canada / August 2007)

Hope A Tragedy
Hope A Tragedy by Shalom Auslander; design by John Gall (Riverhead Books / January 2012)

baskervilles
The Hound of the Baskervilles by Arthur Conan Doyle; design by Emily Mahon; illustration by SHOUT (Modern Library / October 2002)

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Hound of the Baskervilles by Arthur Conan Doyle; design by Coralie Bickford-Smith; illustration by Despotica (Penguin / March 2008)

JOYLAND-Haunt-Hi_res
How I Came to Haunt My Parents by Natalee Caple; design by David Gee (ECW / May 2011)

hunger
Hunger by Lincoln Townley; design by Matt Johnson (Simon & Schuster / May 2014)

jaguars-eels
Jaguars and Electric Eels by Alexander Von Humboldt; design by David Pearson; illustration by Victoria Sawdon (Penguin / February 2007)

Knife Throwing Through Self-Hypnosis
Knife Throwing Through Self-Hypnosis by Robin Richardson; design by Natalie Olsen / Kisscut Design (ECW / September 2013)

jamrachs-menagerie
Jamrach’s Menagerie by Carol Birch; design by gray318 (Canongate / March 2011)

jungle-book
The Jungle Book by Rudyard Kipling; design by Alice Stevenson (Penguin India / 2014)

leopard
The Leopard by Giuseppe Tomasi Di Lampedusa; illustration by Hans Tillman (Vintage / September 2007)

TEARSoftheGIRAFFE_B2
Tears of the Giraffe by Alexander McCall Smith; design by Mark Ecob (Abacus / August 2003)

me-and-the-devil
Me and the Devil by Nick Tosches; design by Keith Hayes (Little Brown & Co / December 2012)

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Mr. Fox by Helen Oyeyemi design by Helen Yentus with Jason Booher (Riverhead / September 2011)

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Morning in the Burned House by Margaret Atwood; design by Kelly Hill (McClelland & Stewart / September 2009)

natural-acts-fulbrook
Natural Acts by David Quammen; design by John Fulbrook III (W. W. Norton / May 2009)

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The Night Guest by Fiona McFarlane; design by Charlotte Strick; illustration by Ariana Nehmad Ross (Faber & Faber / October 2013)

Layout 1
Off Course by Michelle Huneven; design by Rodrigo Corral; photograph by Gregori Maiofis (FSG / March 2014)

orphan-master
The Orphan Masters Son by Adam Johnson; design by Lynn Buckley (Random House / January 2012)

panther
Panther by David Owen; design by gray318 (Constable and Robinson / May 2015)

pastoralia-rodrigo-corral
Pastoralia by George Saunders; design by Rodrigo Corral (Riverhead / June 2001)


The Psychopath Test by Jon Ronson; design by Matt Dorfman (Riverhead / December 2011)

sharp-teeth-dean
Sharp Teeth by Toby Barlow; design by Susan Dean; illustration Natasha Michaels (William Heinemann / August 2007)

short-history-bill-douglas
A Short History of Progress by Ronald Wright; design by Bill Douglas (Anansi / October 2004)

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Station Eleven by Emily  St. John Mandel; design by Nathan Burton (Picador / September 2014)

stories-ii
Stories II by T. C. Boyle; design by Greg Heinimann (Bloomsbury / October 2013)

tattooed-soldier
The Tattooed Soldier by Hector Tobar; design by Jim Tierney (Picador / October 2014)

tell-the-wolves
Tell the Wolves I’m Home by Carol Rifka Brunt; Roberto de Vicq de Cumptich (Dial Press / June 2012)

this-book
This Book Will Save Your Life by A. M. Homes; design by Paul Buckley (Penguin / April 2007)

Tiger-in-Eden
Tigers in Eden by Chris Flynn; design by W.H. Chong (Text Publishing Co. / October 2013)

The Tiger's Wife-Tea Obreht
The Tiger’s Wife by Téa Obreht; design by James Paul Jones; illustration Wuon Gean Ho (Phoenix / March 2011)

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Tooth and Claw by T. C. Boyle; design by Paul Buckley (Penguin / September 2005)


The Transcriptionist by Amy Rowland; design by Keith Hayes (Algonquin Books / May 2014)

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The Unchangeable Spots of Leopards by Kristopher Jansma; design by Alison Forner (Penguin / March 2014)

Wolves-tpb
Wolves by Simon Ings; design and Illustration by Jeffrey Alan Love (Gollancz / January 2014)

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Midweek Miscellany

A design collaboration between Paul Buckley and Jessica Hische, Penguin Drop Caps is  a 26-book series of hardcover classics. The first six books go on sale November 27th. See the covers at Imprint.

Plumbing — An interview with book designer John Gall at The Believer:

A cover is a structural part of the book. It protects the pages. It provide the first impression of the content. It’s an eye-catching device – maybe the book’s only means of advertising. It can even add to the editorial content of the book; you can kill bugs with it.  Then, after you buy the book, the cover takes on another function. It’s your visual connection to the book as you develop a relationship with the material. It can also communicate to others who you are. I’m one of those people, who when I visit someone, I snoop around and see what’s on their bookshelves. I’m not doing this to judge them, but to find some common interest, a connection to that person.

There is also this great anecdote about Tom McCarthy and the cover for Remainder:

We did a photo shoot for his cover so it appeared that the book was being slowly immersed into blue liquid. We had to create a somewhat elaborate setup to get it just right. We sent the author a photo of the studio setup as a souvenir, showing the tripods and lights and water tanks. A year later he wrote back saying he had an argument with some artist friends of his over dinner. They were looking at the studio-set photo and were insisting that it was all a fake setup and that the cover was executed in Photoshop; that the photo shoot was all staged to provide “proof,” like a fake moon landing!

My Q & A with John is here.

Graveyard Stillness — Andrew Beckett reviews Unknown Pleasures by Joy Division bassist Peter Hook for The Guardian:

Joy Division, for all the graveyard stillness of their record sleeves, were participants in a frenetic golden age for British pop, which had begun with punk in 1976 and would peak, commercially at least, with the British dominance of the American charts in 1983. Groups grew up fast and seized their moment, or disappeared. Yet Joy Division did not earn enough from their feverish touring and recording to give up their day jobs. Hook worked in the offices of the Manchester Ship Canal Company, Curtis at an employment exchange, and Sumner for a film company where his “job was to colour in Danger Mouse”.

And finally…

The Fight Against Loss — A lovely essay by Simon Schama on why he writes:

Orwell’s four motives for writing still seem to me the most honest account of why long-form non-fiction writers do what they do, with “sheer egoism” at the top; next, “aesthetic enthusiasm” – the pleasure principle or sheer relish of sonority (“pleasure in the impact of one sound on another”); third, the “historical impulse” (the “desire to see things as they are”), and, finally, “political purpose”: the urge to persuade, a communiqué from our convictions.

To that list I would add that writing has always seemed to me a fight against loss, an instinct for replay; a resistance to the attrition of memory.

 

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More Matt Taylor le Carré

Under Paul Buckley’s art direction at Penguin US, UK-based illustrator Matt Taylor has produced two more stunning John le Carré covers. The type and design is by Gregg Kulick.

You can see the previous covers in the series here, and, according to Matt, there are a couple more on the way. Happy day.

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New Graphic Classics

Creative director Paul Buckley has posted the covers for the latest Penguin Graphic Classics to his Flickr. The new covers include Heart of Darkness by Hellboy creator (and Optimist hero) Mike Mignola (pictured above) and an absolute belter by Stuart Kolakovic for The Death of King Arthur:

You can read my interviews with Paul Buckley here and here.

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Le Carré | Matt Taylor

Not long ago, I posted Stuart Bache’s wonderfully cinematic John le Carré covers for Sceptre in the UK. Now (as mentioned earlier today) John le Carré’s American publisher Penguin have reissued new editions of his books with amazing illustrations by Brighton-based illustrator Matt Taylor and design by Gregg Kulick and Paul Buckley. Mr Buckley art directed series.

Special thanks to Paul Buckley and Andrew Lau at Penguin US for providing the cover images, and to James at Caustic Cover Critic for bringing them to my attention.

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Midweek Miscellany

Comic Unease — Cartoonist Emily Carroll talks about comics, fairy tales, dreams, and her story His Face All Red with The Comics Journal:

I think a lot of fairy tales have that sort of unease built into them, just because they introduce so many elements that they never explain, and use fairy tale logic—the kind that isn’t really logic at all, but has that matter-of-fact feel to it anyway—and the reader just has to roll with it.

Dark Matter — Author Lev Grossman on fan fiction for Time Magazine:

Fan fiction is what literature might look like if it were reinvented from scratch after a nuclear apocalypse by a band of brilliant pop-culture junkies trapped in a sealed bunker. They don’t do it for money. That’s not what it’s about. The writers write it and put it up online just for the satisfaction. They’re fans, but they’re not silent, couchbound consumers of media. The culture talks to them, and they talk back to the culture in its own language. Right now fan fiction is still the cultural equivalent of dark matter: it’s largely invisible to the mainstream, but at the same time, it’s unbelievably massive.

Grossman’s new novel The Magician King (the sequel to his 2009 novel The Magicians) is published next month.

Dysfunctional Spies — Author John Le Carré reflects on his time in MI6:

The creation of George Smiley, the retired spy recalled to hunt for… a high-ranking mole in Tinker, Tailor, was extremely personal. I borrowed elements of people I admired and invested them in this mythical character. I’m such a fluent, specious person now, but I was an extremely awkward fellow in those days. I also gave Smiley my social ineptitude, my lack of self-respect and my fumblings in love.

Because I came from a dysfunctional background, I made home the most dangerous place for Smiley. Home is where he lets himself in cautiously. Home is where he sees the shadow of his adulterous wife in the window and wonders who she’s with.

Pictured above is Matt Taylor’s incredible illustration for a new Penguin US edition of Le Carré’s novel Tinker, Tailor, Soldier, Spy — more of that wonderful stuff to come — and a new film adaptation of the book, starring Gary Oldman as Smiley, is being released later this year:

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Penguin Threads Deluxe Classics | Jillian Tamaki

Award-winning Canadian illustrator and cartoonist Jillian Tamaki (Gilded Lilies, Skim and Indoor Voice*) has embroidered (embroidered!) three beautiful cover designs for a new classics series Penguin Threads to be released this Fall. They are all breathtaking.

There are more details and images of the designs on Jillian’s blog.

*Disclosure: Indoor Voice is published by Drawn & Quarterly and distributed by my employer Raincoast Books.

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The Breaking of Eggs: One Book, Three Covers

Books published in both the US and UK will often have different covers in each country. The UK and the US are, after all, two nations divided by a common language. Even so, I was still quite surprised by just how different the cover of UK paperback edition The Breaking of Eggs by Jim Powell (forthcoming from Orion, above right) was from the cover US edition of the same book (published by Penguin, above left).

It was Dan Mogford the designer of the UK paperback who pointed me in the direction of the original US cover, designed by Gregg Kulick. I had, it turned out, seen Gregg’s cover before — it had caught my eye in Paul Buckley’s book Penguin 75 — I just hadn’t realized it was the same book that Dan had just designed the cover for!

As Dan and Gregg’s treatments were so different, I thought it might be informative to ask them both about their designs. In the process, I came across Nathan Burton’s design for the UK hardcover edition of The Breaking of Eggs (published by Weidenfeld & Nicolson, above middle) — another, altogether different, interpretation of the same story. I thought it would be interesting to ask Nathan what he remembered from his design brief as well.

I’m grateful to all three designers for sharing their thoughts on their very different directions…

Gregg Kulick:

The Breaking of Eggs is the story of an old curmudgeon who learns to take down all of the walls he built around himself and really enjoy life. As a child, he flees Poland to escape the war and settles in France. As an adult he becomes a travel writer who focuses on the old communist block and is very much a communist himself. The rest of the world and its excesses annoy him and he shuts himself out. Slowly he breaks down the walls and visits his lost brother in America.

The title refers to a Joseph Stalin quote “You can’t make an omelet without breaking eggs” and could be used as a metaphor for his own life. Or he as a child, he could also have been one of the broken eggs. Regardless, it was his mind that needed to be broken in order to live a truly full life. Which, is why I chose that imagery. The giant exclamation point was a homage to Rodchenko, who was a huge influence on my design as a student and who often used them in his design.

The map in the background just represents some of the places he wrote about as a travel writer. This was more of a request from editorial to show “place” on the cover and I think it was a very nice suggestion.

Nathan Burton:

The publisher had tried a photographic route previously to commissioning me which hadn’t worked so they wanted an alternative approach. Buzz words they came up with were: cafe, espresso, napkin, beer, handwritten notes, cigarette smoke, a guide book on a table, a train. It was a case of combining this with a nod toward an Eastern European aesthetic to come up with the final design.

Dan Mogford:

The previous incarnations of the jacket – on both sides of the Atlantic – had all been fairly quirky and lighthearted and the publishers were keen to open this book up to a different audience. Orion were quite specific about the direction they wanted to go with this – the phrase ‘traditional, sophisticated literary fiction’ was mentioned a few times!

The focus for this version of the jacket was to be the protagonist’s early year’s in Lodz, Poland around 1939 when he was abandoned by his mother. The brief asked for ‘a lonely looking boy in an urban Polish setting ideally with a woman walking away from him’ – this highly specific request meant I was looking at a composite image from the start, it was really a case of finding the right elements within a variety of period photographs then assembling them to tell the story you see in the final composition.

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