The Casual Optimist

Books, Design and Culture

October 23, 2014
by Dan

Penguin Pocket Hardbacks Designed by Coralie Bickford-Smith

A beautiful set of ‘Pocket Hardbacks’ designed by Coralie Bickford-Smith will be available from Penguin Classics next month. The trim size is 104mm x 168mm (or about 4″ x 6½”):











October 22, 2014
by Dan

A Case for Sherlock Holmes…

Tom Gauld.

October 21, 2014
by Dan

Iggy Pop’s BBC Music John Peel Lecture

Last week, Iggy Pop delivered this year’s BBC Music John Peel Lecture on the topic of ‘Free Music in a Capitalist Society’ at Radio Festival 2014 in Salford:

I worked half of my life for free. I didn’t really think about that one way or the other, until the masters of the record industry kept complaining that I wasn’t making them any money. To tell you the truth, when it comes to art, money is an unimportant detail. It just happens to be a huge one unimportant detail. But, a good LP is a being, it’s not a product. It has a life-force, a personality, and a history, just like you and me. It can be your friend. Try explaining that to a weasel.

As I learned when I hit 30 +, and realized I was penniless, and almost unable to get my music released, music had become an industrial art and it was the people who excelled at the industry who got to make the art. I had to sell most of my future rights to keep making records to keep going. And now, thanks to digital advances, we have a very large industry, which is laughably maybe almost entirely pirate so nobody can collect shit. Well, it was to be expected. Everybody made a lot of money reselling all of recorded musical history in CD form back in the 90s, but now the cat is out of the bag and the new electronic devices which estrange people from their morals also make it easier to steal music than to pay for it. So there’s gonna be a correction.

You can read the complete transcript here, or listen to it (for the next couple of weeks at least) on the BBC’s iPlayer. You can also download it as a podcast for posterity.

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October 20, 2014
by Dan

Aaron Draplin and the Art of the Side Hustle


I could listen to designer Aaron Draplin get all excited about stuff for hours. In these short films by Jared Eberhardt for Vans, Draplin talks about design, ephemera, Field Notes, and more:

October 20, 2014
by Dan

Tom Geismar on Design Matters

Kicking off a new season of Design Matters, Debbie Millman talks to pioneer of American graphic design Tom Geismar about how the practice of design has changed since the 1950s:

October 19, 2014
by Dan

Peter Mendelsund on Fresh Air


I think there are two primary jobs that a jacket has to do: It has to represent a text and it has to sell it. In a way, a book jacket … is sort of like a title that an author comes up with. It’s one thing that has to speak to a big aggregate thing, which is the book itself. And it has to be compelling in some way such that you’re interested enough to pick it up — and perhaps buy it. … It’s like a billboard or an advertisement or a movie trailer or a teaser. …

I think of a book jacket as being sort of like a visual reminder of the book, but … it’s also a souvenir of the reading experience. Reading takes place in this nebulous kind of realm, and in a way, the jacket is part of the thing that you bring back from that experience. It’s the thing that you hold on to.

Peter Mendelsund, book designer and author of What We See When We Read, interviewed on NPR’s Fresh Air:

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October 17, 2014
by Dan




This, the latest post in my Beasts! series, was unexpectedly difficult to compile. While it seems there isn’t a book cover in existence that couldn’t be improved by putting on a bird on it, bugs are, at least by comparison, somewhat rare. While I assumed that bees, beetles, butterflies, centipedes, flies, spiders, termites et al would naturally lend themselves to evocative book designs, we are apparently still quite squeamish about creatures with six legs or more. That said, today’s post includes far more rejected (and short-lived covers) than previous instalments in the series, which that it isn’t necessarily the designers who are afraid of creepy crawlies, but rather other decision-makers in the process are worried about their negative influence on sales. Hopefully some of these covers will change their minds about that…

The Acid House by Irvine Welsh; design by Matt Broughton (Vintage Books)

Annihilation by Jeff VanderMeer; design by Charlotte Strick; Illustration by Eric Nyquist (FSG / February 2014)

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Arcadia by Lauren Groff; design by Will Staehle (Voice / March 2012)

Babayaga by Toby Barlow; design by Gray318 (Corvus / February 2014)

The Bees by Laline Paull; design by Steve Attardo (Ecco / May 2014)

The Bees by Laline Paull; design by Jo Walker (Fourth Estate / May 2014)

Beautiful You by Chuck Palahniuk; design by Rodrigo Corral Design (Doubleday / October 2014)

Bone Gap by Laura Ruby; design by Michelle Taormina (Balzer + Bray / March 2015)

Boxer Beetle by Ned Beauman; illustration by Lorenzo Petrantoni (Sceptre / August 2010)

Brodeck’s Report by Phillipe Claudel; design by Anna Heath (Quercus)

Bug Music by David Rothenberg; design by Ervin Serrano (St. Martin’s Press / May 2013)

Carnival by Rawi Hage; design by Brian Morgan, illustration by Lorenzo Petrantoni (House of Anansi Press / August 2012)

Chop Chop by Simon Wroe; design by Ben Wiseman (Penguin / April 2014)

Cockroach by Rawi Hage; design by Albert Tang (W. W. Norton / October 2009)

Cockroach by Rawi Hage; design by Bill Douglas (House of Anansi / unused)

Constant Gardener by John Le Carre; design by Stuart Bache (Sceptre)

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Crowd of Sounds by Adam Sol; design by Bill Douglas (House of Anansi / April 2003)

Electricity by Victoria Glendinning; design by David Mann (Pocket Books / April 2006)

Escaping into the Open by Elizabeth Berg; design by The Book Designers (Harper / August 2012)

Fever by Sonia Shah; design by LeeAnn Falciani (Picador / June 2011)

The First Principles of Dreaming
The First Principles of Dreaming by Beth Goobie; design by Natalie Olsen / Kisscut Design (Second Story Press / September 2014)

Generation A by Douglas Coupland; design by Jennifer Heuer (Simon & Schuster / June 2010)

Generation A by Douglas Coupland; design by Books We Made (Tropen / August 2010)

Ghost Moth by Michèle Forbes; design by Kathleen Lynch / Black Kat Design (Penguin Canada / October 2013)

A Sting in the Tale by Dave Goulson; design by LeeAnn Falciani (Picador / April 2014)

Hurt Healer by Tony Nolan; design by Connie Gabbert (Baker / unused?)

In Translation edited by Sherry Simon; design by David Drummond (McGill-Queen’s University Press / unused?)

The Marriage Game by Alison Weir; design by The Book Designers (Ballantine / unused)

Metamorphosis by Franz Kafka; design by Jamie Keenan (W. W. Norton / February 2014)

Missing Link by Jeffrey Donaldson; design by David Drummond (forthcoming)

The Moth introduced by Neil Gaiman; design by Dan Stiles (Serpent’s Tail / August 2014)

My First Kafka by Matthue Roth & Rohan Daniel Eason; design by Richard Rodriguez; cover illustration Rohan Daniel Eason (One Peace Books / June 2013)

Never Mind by Edward St. Aubyn; design by Stuart Wilson (Picador / April 2012)

Original Sins by Peg Kingman; design by Darren Haggar (W. W. Norton / September 2010)

Perdido Street Station by China Mieville; design by Crush Creative (Pan Books / May 2011)

Possession by A. S. Byatt; design Vintage Design (Vintage / December 2009)

The Reason I Jump by Naoki Higashida; design by Kai & Sunny (Sceptre / July 2013)

Royauté by Alexie Morin design by Catherine D’Amours / Pointbarre (Le Quartanier / October 2013)

The Shining Girls by Lauren Beukes; design by Keith Hayes (Mulholland Books / June 2013)

Swallow by Theanna Bischoff; design by Natalie Olsen / Kisscut Design (NeWest Press / February 2013)

Poe GOTHIC SERIES Holly MacDonald
Tales of Mystery and Imagination by Edgar Allan Poe; Holly MacDonald (Bloomsbury / October 2009)

Why You Should Read Kafka Before You Waste Your Life by James Hawes; Design and lettering by Steve Snider; Illustration by Douglas Smith (St. Martin’s Press / July 2008)

October 13, 2014
by Dan
1 Comment

Tom Gauld’s Fall Library

Tom Gauld‘s new cover for The New Yorker.

(Happy Canadian Thanksgiving!)

October 7, 2014
by Dan



Book designers, bless them, really do like to put a bird on it. Following on from wild beasts and reptiles and amphibians, here is my latest post looking at animals on book covers, ‘Birds’:

Acceptance by Jeff VanderMeer; design by Charlotte Strick; Illustration by Eric Nyquist (FSG / September 2014)

Because I Love you by Barbara Toner; design by Sandy Cull / gogoGingko (Allen & Unwin / November 2012)

The Bedside Book of Birds by Graeme Gibson; design by Scott Richardson (Random House / October 2005)

The Bird Catcher by Laura Jacobs; design by LeeAnn Falciani (Picador / September 2010)

Birds Without Wings by Louis de Bernières; design by Matt Broughton (Vintage / April 2014)

Black Swan by Nassim Nicholas Taleb; design by David Mann (Allen Lane / May 2007)

A Box of Birds by Charles Fernyhough; design by Dan Mogford (Unbound / May 2013)

Cartwheel by Jennifer duBois; design by Lynn Buckley (Random House / September 2013)

Civil and Civic by Jonathan Bennett; design by David Gee (ECW / April 2011)

Come Late to the Love of Birds by Sandra Kasturi; design by Erik Mohr (Tightrope Books)

The Coincidence Authority by J. W. Ironmonger; design by Nathan Burton (Weidenfeld & Nicolson / September 2013)

The Crow’s Vow by Susan Briscoe; design by David Drummond (Vehicule Press / April 2011)

Darwin’s Finches edited by Kathleen Donohue; design by Matt Avery (University of Chicago Press / June 2011)

DonÔÇÖt Let It End Like This Tell Them I Said Something
Don’t Let It End Like This Tell Them I Said Something by Paul Vermeersch; design by Natalie Olsen / Kisscut Design (ECW Press /  October 2014)

The Dunwich Horror by H. P. Lovecraft; design by Coralie Bickford-Smith (Penguin Classics / October 2008)

Early Bird by Rodney Rothman; design by Paul Sahre (Simon & Schuster / April 2005)

Fairy Tales from the Brothers Grimm by Philip Pullman; design by Alison Forner (Penguin / November 2012)

Floating Like the Dead by Yasuko Thanh; design by Terri Nimmo (McClelland & Stewart / April 2012 )

Florence & Giles by John Harding; design by Jo Walker (Blue Door / March 2010)

Freedom by Jonathan Franzen; design by Charlotte Strick (FSG / December 2010)

The Galapagos by Henry Nicholls; design by Nicole Caputo (Basic Books / August 2014)

The Goldfinch by Donna Tartt; design by Keith Hayes (Little, Brown & Co. / October 2013)

Grapes of Wrath by John Steinbeck; illustration by Kathryn McNaughton (Penguin / October 2011)

H is for Hawk by Helen Macdonald; cover art by Christopher Wormell (Jonathan Cape / July 2014)

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Grunt of the Minotaur by Robin Richardson; design by Emmanuel Polanco (Insomniac Press / October 2011)

Amanda Lindhout
A House in the Sky by Amanda Lindhout & Sara Corbett; design by Jennifer Heuer (Scribner / September 2013)

Hunger by Lan Samantha Chang; design by David High (W. W. Norton / September 2009)

Jenny & the Jaws of Life_JWillett
Jenny and the Jaws of Life by Jincy Willett; design by Henry Sene Yee (Picador / June 2008)

Kansas City Lightning by Stanley Crouch; design by Milan Bozic (HarperCollins / March 2014)

Klauw van de valk by Wilbur Smith; design by Mark Ecob (Xander Uitgervers / unused)

Love & Hunger by Charlotte Wood; design by Sandy Cull /gogoGingko (Allen & Unwin / May 2012)

The Marabou Stork Nightmares by Irvine Welsh; design by Matt Broughton (Vintage / January 2009)

The Marrowbone Marble Company by Glenn Taylor; design by Allison Saltzman (Ecco / May 2010)

Morality for Beautiful Girls by Alexander McCall Smith; design by Mark Ecob (Abacus / December 2003)

Meditations by Marcus Aurelius; design by Emily Mahon; illustration by Yucel (Modern Library / August 2003)

The Midwich Cuckoos by John Wyndham; illustration by Brian Cronin (Penguin / August 2008)

The Mind of a Thief by Patti Miller; design by Sandy Cull / gogoGingko; illustration by Cherie Strong (University of Queensland Press / October 2013)

Mink River by Brian Doyle; design by David Drummond (Oregon State University Press / October 2010)

Monstress by Lysley Tenorio; design by Alison Forner (Ecco / January 2012)

Naming Nature by Carol Kaesuk Yoon; design by Chin-Yee Lai (W. W. Norton / August 2009)

never-ending birds
Never-Ending Birds by David Baker; design by Lynn Buckley; jacket illustration: Swallows by Audubon, The Granger Collection (W. W. Norton / October 2009)

News from the World by Paula Fox; design by Roberto De Vicq de Cumptich (W. W. Norton / May 2011)

The Origin of Species by Charles Darwin; design by Emily Mahon; illustration by Eleanor Grosch (Modern Library / August 1998)

Pigeon by Karen Solie; design by Bill Douglas (House of Anansi / June 2009)

Pigeon English by Stephen Kelman; design by Holly MacDonald (Bloomsbury / July 2011)

Romeo Spikes by Joanne Reay; design by Chris Sergio ( Gallery Books / August 2012)

Raven Girl by Audrey Niffenegger; design by Sara Corbett; illustration Audrey Niffenegger (Harry N. Abrams / May 2013)

Silent Land by Graham Joyce; design by Emily Mahon (Doubleday / March 2011)

Solo by Rana Dasgupta; design by Heads of State (Houghton Mifflin / February 2011)

Sweet Bird of Youth by Tennessee Williams; design by John Gall (New Directions / June 2010)

3 Elegies for Kosovo by Ismail Kadare; design by Matt Broughton (Vintage / May 2011)

To See Every Bird on Earth by Dan Koeppel; illustration by Mike Langman (Michael Joseph / August 2005) 1

Summer and Bird by Katherine Catmull; illustration by Jason Holley (Dutton / October 2012)

The Swan Gondola by Timothy Schaffert; design by Alex Merto (Riverhead / February 2014)

Treachery by S. J. Parris; design by Alexandra Allden, illustration by Daren Newman (Harper / August 2014)

The Virtues of Poetry by James Longenbach; design by Kimberly Glyder (Graywolf / March 2013)

The Vulture by Gil Scott-Heron; design by Stuart Bache (Canongate / July 2010)

Why is my Mother Getting a Tattoo? by Jancee Dunn; design by Catherine Casalino (Villard Books / June 2009)

Whiskey Tango Foxtrot by David Shafer; design by Charles Brock / Faceout Studios (Mulholland Books / August 2014)

Wizard of the Crow by Ngũgĩ wa Thiong’o; design by Peter Mendelsund (Pantheon / August 2006)

October 7, 2014
by Dan

Paul Sahre at New Directions


“I started out doing posters for the theater. It’s almost the same thing as a book cover: the promise of an experience. It has to show you what you’re in for, without spelling it out.”

Designer Paul Sahre discusses his work with Mieke Chew for the New Directions blog:

I have a ridiculous one-of-a-kind book collection, which has a lot of fantastic reference material: books on how to make balsa wood airplanes, to encyclopedias of infectious rashes from the Vietnam War era. You never know what you’re going to find. Sometimes while you’re reading a book you just start looking at things. If you’re stumped, that’s one way to do it. I used to need to “make it happen” more. I’d go to the library and pull books off the shelves randomly without looking, and then I’d just look. It could be a book on the geography of the great lakes and there’s something in there visually that makes you go, “Oh yeah! I can use this.” So much design research now is Google image searches. I never go there for material because that’s where everyone else is going.

October 2, 2014
by Dan

Book Covers of Note October 2014

It’s October and the fall book season is in full swing. It’s kind of bonkers in the trade from now until Christmas, so this is the second to last (if not the actual last) cover round-up for 2014. I think I can probably squeeze in one more next month, but then we will be well into ‘covers of the year’ territory so we’ll have to see. I also have more posts in the Beasts! series (and goodness know what else) to fit in somehow! While I figure that out, however, here is this month’s collection of notable book covers…

Lerner 1004
10:04 by Ben Lerner; design by Scott Richardson (McClelland & Stewart / September 2014)

All My Puny Sorrows by Miriam Toews; design by Helen Crawford-White / Studio Helen (Faber & Faber / June 2014)

Book of Strange New Things
The Book of Strange New Things by Michel Faber; art direction and design Rafi Romaya;  illustration Yehrin Tong (Canongate / October 2014)

The Bookshop Book by Jen Campbell; design by Leo Nickolls (Constable / October 2014 )

Broken Monsters by Lauren Beukes; design by Keith Hayes (Mulholland Books / September 2014)

Charming Billy by Alice McDermott; design by Henry Sene Yee; illustration by Bill Mudron  (Picador / October 2014)

Flings by Justin Taylor; design by Oliver Munday (Harper / August 2014)

I Am China by Xiaolu Guo; design Emily Mahon; photograph Masha Sardari (Nan A. Talese / September 2014)

Fields of Blood by Karen Armstrong; design by Oliver Munday (Knopf / October 2014)

The Intervals of Cinema by Jacques Rancière; design by Jessica Svendsen (Verso / October 2014)

Limonov by Emmanuel Carrère; design by Yang Kim and Tyler Comrie (FSG / October 2014)
Limonov by Emmanuel Carrère; design by Yang Kim and Tyler Comrie (FSG / October 2014)

Limonov by Emmanuel Carrère; design by Richard Green (Allen Lane / September 2014)
Limonov by Emmanuel Carrère; design by Richard Green (Allen Lane / September 2014)

A Man Lies Dreaming by Lavie Tidhar; design by Ben Summers (Hodder / October 2014)

Mr. Gwyn by Alessandro Baricco; design by Sunra Thompson (McSweeney’s / July 2014)

Napoleon the Great by Andrew Roberts; design by Isabelle De Cat (Penguin / October 2014)

The New Annotated H. P. Lovecraft edited by Leslie S. Klinger; design by gray318 (W. W. Norton / October 2014)

Notre Duplex by Éléonore Létourneau; design by David Drummond (Éditions XYZ / August 2014)

Not That Kind of Girl by Lena Dunham; design by CHIPS (Random House / September 2014)

Playing for the Commandant by Suzy Zail; design by Matt Roeser (Candlewick / October 2014)

Radio Benjamin edited by Lecia Rosenthal; design by Isaac Tobin (Verso / October 2014)

Specter of Capital by Joseph Vogl; design by Anne Jordan (Stamford University Press / October 2014)

The White Van by Patrick Hoffman; design by Walter Green (Grove Atlantic / September 2014)

September 29, 2014
by Dan

Q & A with Dan Mogford

Filthy English
If you’ve followed this blog for a while, you will surely have a come across the work of London-based freelance designer Dan Mogford before. His work — including covers for 419 by Will Ferguson, All Over the Map by Michael Sorkin, and Filthy English by Peter Silverton (pictured above, and now available as a poster should need the swears on your wall) — has been featured here on numerous occasions over the years. A longer feature on Dan’s work has felt overdue for some time now, and so I’m very pleased to finally have Q & A with the designer himself on the blog today. Dan and I corresponded by email…


Do you remember when you first became interested in design?
Although I was exposed to design from a young age. I was always sure I would end up in a scientific career – I was all set on becoming an oceanographer or marine biologist, then around the age of 16 I was given a black and white darkroom kit by a friend of the family and was hooked on the whole process immediately. Within a year I’d applied and been accepted onto a foundation art course despite the fact I was doing science and maths A-levels. This was also around the time that Pixies came screaming onto the indie music scene and Vaughan Oliver and Simon Larbalestier’s bonkers, twisted, dark and sexy artwork for the albums struck a chord with my tortured 18-year-old psyche…

Was anyone else in your family creative?
My father was an engraver for The Royal Mint, first in London then later in Wales where we relocated when I was 4. He designed and engraved coins and commemorative medals for a variety of countries and organisations around the world so I spent a lot of time watching him hand-lettering then intricately carving type and images into these large plaster discs, which would later be somehow magically turned into little metal stamps for coin minting.

Did you study design at school?
When I finished secondary (high) school I went off to do a one year art foundation course with a fantastic array of tutors and access to screen printing, etching and some very clunky early Macs (1991!) which eventually lured me away from the darkrooms. From there I went to Central Saint Martins to study Graphic Design after I realised that type didn’t just belong on a label underneath photographs.


Are your kids interested in design?
My wife is a textile designer so their exposure to art & design has been a constant, whether it’s books at home or trips to galleries and visits to friends who work in similar fields. I’m secretly hoping one or all of them will rebel and go into law or marine biology though.

Where did you start your career?
During the second year of my degree course I wrote to the art departments of virtually every major publishing house in London asking for a summer holiday work placement/internship – only one of them replied! I did 3 seperate placements with the Pan Macmillan design crew thanks to the lovely Art Director Fiona Carpenter. When I left college Fiona put me in touch with a design studio called The Senate where I ended up working for 4 years on predominantly book related projects for the likes of Penguin, Random House and Macmillan – among many others.


Why did you decide to go freelance?
I went freelance in January 2000, bitten by millenium fever and the realisation that I’d gone about as far as I could in the small design studio I was at. I think being freelance was for me inevitable as I’ve never been very good at being told what to do by other people! I’m lucky it worked out for me, I’ve had certain clients since I went freelance fourteen (!) years ago and have worked with a huge variety of brilliant people in that time. Also some idiots.

What advice would you give a designer thinking about going out own on their own?
If you’re considering it then you’re halfway there. Don’t overthink it, don’t fret, go for it. What’s the worse that could happen?

Sicilian Uncles

What are your favourite kinds of projects?
I seem to have worked on quite a few series designs in the last couple of years and have realised that I really enjoy the challenge and constraints that entails. I like solving the problem of branding a set of books that hang together while still letting each have their own distinct, individual voice – and it really appeals to the collector in me.


What kind of books present the greatest creative challenges?
Again a series design can be challenging but very rewarding if you crack it. I’m really not a fan of the hastily written brief with a scattering of Amazon thumbnails ‘for reference’ and a ‘do whatever’ undertone. You’d think that carte blanche was a gift to a designer but those jobs always end up rumbling on and becoming headaches as there’s been no thought about a clear direction or postioning for the book. Some constraints are a good thing to rub against and work with.

Can you describe your process for designing a book cover?
Sketching and doodling and hot shower meditation. I always draw lots of scrappy little thumbnails of ideas as they occur to me along with word lists and diagrams with arrows linking things. Lots of arrows for some reason… When I have a good feeling about an idea I’ll refine it to a more polished visual on the Mac to a point where it can go into a cover meeting by itself and face the scrutinity of the meeting without me there to defend or excuse it. Then of course comes the email requesting a few tweaks and so it goes on. Occasionally a great idea will survive the sales department waterboarding unscathed – that makes it all worthwhile.


Do you approach music packaging differently from book covers?
I think they’re actually very similar disciplines in that you’re trying to distill the essence of the thing into a visual that will connect with people in some way while respecting the content that another person has poured a good chunk of their life into creating. I think as with great book designs the conent and the package can become inextricably linked but record design can only do so much – music can be quite resistant to visual interpretation, more so than the written word I think.

A Human Being Died

You were suddenly taken ill at the end of 2012. Have you fully recovered?
For anyone who hasn’t yet been bored to tears by my health history, I had a heart infection which came out of the blue and very nearly killed me. I had open-heart surgery followed by several months of hospitalisation and recovery but can safely say I’m 99% back to the stubborn, easily distracted muppet I was before my illness. Thanks for asking.

Did your illness change your approach to work? Do have a different perspective on it than before?
Absolutely. I’m a lot less tolerant of bad clients! I sacked a few within a couple of months of getting back to work properly and am much more picky about who I work with and what on. Life actually is too short. I’ve also started a little sideline business producing art prints from my collection of printed ephemera and packaging because it makes me happy and the marketing department consists of ME.

Who are some of your design heroes?
Vaughan Oliver is the main reason I got into this graphic design lark. He let me shadow him at 4AD for a day while I was doing my design degree which only confirmed his likeability and genius.

Also: Lustig, Sagmeister, Conran, Kidd.


Who do you think is doing interesting work right now?
In terms of book design, I’m not going to stroke/stoke the egos of the UK book design Mafia anymore, they know who they are and they’re all bloody fabulous people and constanly inspiring. Same goes for that lot over the pond. Bastards. Also more generally: Dan Cassaro, Elana Schlenker, Rob Lowe, Marcus Walters, Steven Wilson, Dan Matutina

What‘s in your ‘to read’ pile?
I’m gradually working my way through a list of classics I feel I should really have read by this point in my life – I’ve just finished Jamaica Inn and made a start on Love in the Time of Cholera. I also have a few classic ghost stories lined up for the darkening autumn evenings…


Do you have system for organizing your books?
None whatsoever. I love having slippery piles of books all around my studio. They give off a barely discernible warmth and are good company now I work alone.

Do you have a favourite book?
Enid Blyton’s Faraway Tree series were the first books I remember my mum reading to me as a child. She carefully kept them in pristine condition and I’ve just finished reading them to my son Milo who adored them too.

What does the future hold for book cover design?
I think we’re at an interesting point in the story of books and their covers. I’m certainly being asked to consider the whole book package more frequently than I once was – things like cloth colours and foils on hardbacks as well as endpaper designs, varnishes and other little flourishes that make the physical book the covetable item an ebook can never be. Some design briefs demand that the cover works strongly as an Amazon thumbnail which is an interesting constraint akin to designing stamps or matchbox labels – a reductive process and simplification that isn’t necessarily a bad thing. I don’t think books as objects are going to vanish any time soon and whatever happens down the line – products physical or digital – will always be packaged.

Thanks Dan!

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