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Book Covers of Note, September 2021

A big, messy post this month as I catch up on the new releases and some of the covers I missed over the summer. I expect the next couple of month’s might be a bit like this as I work towards my round-up of the year, so feel free to let me know about stuff that you think I’ve overlooked in 2021.

The Afghanistan Papers by Craig Whitlock; design by David Litman (Simon & Schuster / August 2021)

The Book of Form and Emptiness by Ruth Ozeki; design by Gill Heeley (Canongate Books / September 2021)

A Calling for Charlie Barnes by Joshua Ferris; design by Gregg Kulick (Little Brown and Company / September 2021)

The China Room by Sunjeev Sahota; design by Tyler Comrie (Viking / July 2021)

Disorientation by Ian Williams; design by Lisa Jager (Random House Canada / September 2021)

The Hunter and the Old Woman by Pamela Korgemagi; design by Alysia Shewchuk (House of Anansi / August 2021)

King Richard by Michael Dobbs; design by Tyler Comrie (Knopf / May 2021)

Tyler Comrie also designed the cover of The Unwanted by Michael Dobbs. I like how the covers look related without looking the same.

Last Words on Earth by Javier Serena; design by Jack Smyth (Open Letter / September 2021)

Matrix by Lauren Groff; design by Grace Han (Riverhead / September 2021)

The cover of the UK edition was designed by Henry Petrides. He wrote about his process for SPINE.

Once More With Feeling by Sophie McCreesh; design by Jennifer Griffiths (Anchor Canada / August 2021)

Probably Ruby by Lisa Bird-Wilson; design Jennifer Griffiths (Doubleday Canada / August 2021)

The sweeps of paint brought to mind the snake on Anna Morrison‘s cover for the Pushkin Press edition of My Cat Yugoslavia from a couple of year’s ago…

Red Milk by Sjón; design by Natalie Chen; illustration by Owen Gent (Sceptre / May 2021)

The UK cover of CoDex 1962 by Sjón also features artwork by Owen Gent.

The Shimmering State by Meredith Westgate; design Chelsea McGuckin (Atria / August 2021)

Something Under the Sun by Alexandra Kleeman; design by Emma Pidsley (Fourth Estate / August 2021)

The cover of the US edition was designed by Donna Cheng.

Songs for the Flames by Juan Gabriel Vásquez; design by Alex Merto (Riverhead / August 2021)

Stranger to the Moon by Evelio Rosero; design by Janet Hansen (New Directions / September 2021)

For some reason, I was reminded of this saucy Jacob Covey cover, which I thought was killed in favour of something more (ahem) traditional, but it still exists on Amazon, so who knows? (Jacob probably knows; I do not).

The War for Gloria by Atticus Lish; design by Linda Huang (Knopf / September 2021)

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PRINT’s Next Chapter

This animation by creative agency Pearlfisher for the relaunch of PRINT is fun.

When PRINT launched in June 1940 (!), its first issue was a technical powerhouse from the foremost minds of the graphic arts. Then, in 2019, something remarkable happened: PRINT died. The company that owned it declared bankruptcy, and PRINT suddenly disappeared into the publishing ether from which it came.⁠

⁠And then, later that year, something even more remarkable happened: Debbie Millman, Steven Heller, Andrew Gibbs, Jessica Deseo, Laura Des Enfants, and Deb Aldrich banded together and formed an independent enterprise to save PRINT from its demise and former besuited overlords. ⁠

⁠Now, in 2021, PRINT has moved on to its next chapter. So, yes, PRINT is dead. But it’s also more alive than ever.

PRINT

While I am glad that PRINT is back from the dead (congratulations to all involved!), it is a bit disheartening that their first book cover design article is on a trend that has been widely written about elsewhere (as recently as last month!). :-(

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More Jacket and Spine

Design by Anna Morrison

Following on from my post about Jack Smyth earlier this month, I didn’t realise that the interview with Totally Dublin was part of a short series of Q & As with Irish book cover designers (I am not the brightest).

Anna Morrison and Sarahmay Wilkinson, both of whose work has featured here, and Fiachra McCarthy and Graham Thew, whose work is new to me, also answered the magazine’s questions about their design process.

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Jack Smyth: Jacket and Spine

Irish designer Jack Smyth, whose work has featured here more than a few times, talked to Totally Dublin about his process for designing book covers:

The best briefs are the ones that give you everything you need but prescribe nothing, and are genuinely trying to achieve something new… When I’m working on fiction, tone is the thing that really interests me. I think trying to capture the tone of the author’s writing can be a really powerful way of communicating with the viewer and, as a result, I often try to avoid leaning too much specific imagery. Of course, this isn’t always the case, but I do always try to keep tone/the author’s voice as the main directive element. I think this is what makes or breaks a book for a reader, not necessarily the location, any element or makeup of characters… I try not to rely on figurative elements too much in the hope that I can draw people in in more subtle ways.

Jack also recently chatted to The Resting Willow blog about book covers, including his design Pure Gold by John Patrick McHugh:

The cover is quite simple – it’s type and colours and textures, but hopefully it captures the tone of John’s voice and the character of the stories. I think these are my favourite types of covers, the ones where there’s almost no figurative elements, but they feel right.

Nice work, Jack. :-)

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The Trend Cycle

Alana Pockros talked to designers and others in the publishing community about trends in book cover design for the AIGA blog Eye on Design:

The guiding principle of like that book but different cover design has existed for decades. In the 1960s, the late book designer Paul Bacon pioneered the “Big Book Look,” which we might associate with Philip Roth’s Portnoy’s Complaint or Joan Didion’s The White Album: type-driven covers with large author names and ample negative space  that rely more on hue and font than imagery. Philip DiBello and Devin Washburn, founders of the design studio No Ideas, believe we’re currently seeing an evolution of the Big Book Look. “[There’s] a wave of similar covers that play with type intertwined with a key visual in a striking way,” they suggested. In The Look of the Book, Peter Mendelsund and David Alworth’s 2020 monograph, the authors call this mutative style “the interchangeable, big-type, colorful cover.” It’s a look Mendelsund and Alworth first noticed on the 2015 novel, Fates and Furies, and the style they see as the progenitor of the tired “it will work well as a thumbnail on Amazon” rationale. 

It is always interesting to hear designers talk about how they view the process and why we get certain trends. But the post itself, entitled “The Endless Life Cycle of Book Cover Trends”, is a variation on the well-worn, trend-focused ‘why do book covers look the same?’ article that has appeared in various guises over the years. Pokros herself references a New York Times article from 1974(!) that explains that jackets must be identifiable on television, and a Vulture piece from 2019 that postulates that book covers are now being designed for Amazon and Instagram. You could also read this post on Eye on Design from 2019 about the ubiquity of stock images, or this The New Yorker piece on design by committee from 2013, or this story in The Atlantic from 2012 (it’s e-readers fault!) among others.

It’s not that they’re necessarily wrong. There are clearly trends and tropes in book cover design as there are in any other kind of design (and pointing them out is fun — I do it frequently!). And there are lots of designs that aren’t great. That’s true of everything. It’s just that on the whole, book covers (like movie posters) don’t all look the same. Not really. Sure, books in the same genre frequently do. Covers sharing similar traits helps readers identify what kind of books they are buying. It doesn’t mean they are B-A-D. Perhaps part of what gets people so twitchy about high-profile literary fiction covers looking familiar is that they don’t like to think of certain kinds of literary fiction as genres?

I don’t know… I’m one of the marketing people whose fault this usually is.

I guess if you really want to get into it, trends in book covers often reflect trends in publishing itself. When similar books intended to appeal to similar readers are published by similar people at similar imprints that are part of similar, very large publishing conglomerates, maybe the issue isn’t really that they have similar covers?

Anyway TL: DR, if you’re seeing a lot of covers that look the same maybe it says more about the kind of books we are exposed to in our daily lives than about the range of covers that are actually out there?

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Book Covers of Note, August 2021

Here are this month’s cover selections with a few more words than are strictly necessary…

After the Sun by Jonas Eika; design by Lauren Peters-Collaer; art by Dorian Legret (Riverhead / August 2021)

They look very different, but I was reminded of another sunset sky cover designed by Lauren from earlier this year. It’s interesting to see the (presumably) coincidental themes in a designers work.

Blind Man’s Bluff by James Tate Hill; design by Sarahmay Wilkinson (W. W. Norton / August 2021)

Damnation Spring by Ash Davidson; design by Jaya Miceli; art by Jeremy Miranda (Scribner / August 2021)

I quite enjoy seeing contemporary painting being used on book covers. A couple of other recent examples that come to mind are Jennifer Carrow’s recent cover for Lorna Mott Comes Home with art by Barbara Hoogeweegen, and Stephen Brayda’s cover for last year’s The End of the Ocean by Maja Lunde with art by Scott Naismith (another sunset sky cover! I guess After the Sun could also be included in this trend broadly speaking. It is not quite the kind of painterly art I am thinking of though…).

Don’t Shed Your Tears for Anyone Who Lives on These Streets by Patricio Pron; design by Tyler Comrie (Vintage / April 2021)

I’m drawing lots of unnecessary comparisons today, but I was reminded of this Oliver Munday cover from a while back if only for the similar-ish colour combinations (I was going to say palette, but… ). It reminds me of something else too, I just can’t quite put my finger on it…

The Good Hand by Michael Patrick F. Smith; design by Jon Bush (Viking / February 2021)

If I didn’t already know who the publisher was, I would not have been able to tell you if this was an American or British cover despite the subtitle and very American imagery. I don’t think it would like out of place on the Allen Lane list for example.

Immediate Family by Ashley Nelson Levy; design by Thomas Colligan (Farrar, Straus & Giroux / August 2021)

Mrs. March by Virginia Feito; design by Jaya Miceli (Liveright / August 2021)

Nightbitch by Rachel Yoder; design by Emily Mahon (Doubleday / July 2021)

Paradise by Lizzie Johnson; design by Elena Giavaldi (Crown / August 2021)

The Republic of False Truths by Alaa Al Aswany; design John Gall (Knopf / August 2021)

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Better Luck Next Month

Apologies — I don’t know who the designer for Businessweek Europe is (let me know if you do!), but the cover of the August 30th edition touched a nerve. I am sure anyone who intended to go back to the office at some point will relate… (via Ian Birch, author of Uncovered: Revolutionary Magazine Covers).

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Book Covers of Note, July 2021

I’m unplugging for a bit, so just a cheeky quick one this month…

Astra by Cedar Bowers; design by Lisa Jager (McClelland and Stewart / June 2021)

Believers by Lisa Wells; design Na Kim; art by Lisa Ericson (Farrar, Strauss & Giroux / July 2022)

The Coward by Jarred McGinnis; design by Valeri Rangelov; photograph by Peter van Agtmael (Canongate / July 2021)

Falling by T. J. Newman; design by David Litman (Simon & Schuster / July 2021)

I get big 1970s disaster movie vibes from this… Airport and its sequels come to mind.

The Final Girl Support Group by Grady Hendrix design by David Litman (Berkley Books / July 2021)

If I remember correctly, David actually dipped a miniature folding chair in paint and photographed it for this… (I don’t think I’m making that up)

Anyway a nice Litman double…

Like Me by Hayley Phelan; design Emma Dolan (Doubleday Canada / July 2021)

Lorna Mott Comes Home by Diane Johnson; design by Jenny Carrow; art by Barbara Hoogeweegen (Knopf / June 2021)

On Time and Water by Andri Snær Magnason; design Zoe Norvell (Open Letter / March 2021)

Something Wild by Hanna Halperin; design by Lynn Buckley (Viking / June 2021)

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Penguin Great Ideas Volume VI

You can tell that I am not at all on top of things because it has taken me almost a month to post about the return of the Penguin Great Ideas series. Apparently it’s been 10 years since the last set was released, and the 20 new titles include works by Audre Lorde, Sojourner Truth, Hannah Arendt, Simone Weil, and Martin Luther King among others.

Jim Stoddart continues to art direct the series, and David Pearson has once again designed many of the typographic covers with the help of Catherine Dixon, Phil Baines, and Alistair Hall. There are, needless to say, some absolute belters.

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Book Covers of Note, September 2020

Another rather rushed update this month I’m afraid, which is especially disappointing given how many new books there out at this time of year. I’m sure I’ve missed more than a few great covers here, but hopefully I will catch them before the end of the year…

Carry by Toni Jensen; design by Emily Mahon; illustration by Carmi Grau (Ballantine / September 2020)

The Clerk by Guillermo Saccomanno; design by Alban Fischer (Open Letter Books / September 2020)

The wobbly text here reminded me of Janet Hansen’s cover for Beyond the Sea by Paul Lynch from earlier this year.

Gloria by Branden Jacobs-Jenkins; design by Mark Melnick (Theatre Communications Group / August 2020)

Howdunit edited by Martin Edwards; design by Steve Leard (HarperCollins / September 2020)

You can see the rubber stamp Steve used for this design on Instagram.

The Hype Machine by Sinan Aral; design by Steve Leard (HarperCollins / September 2020)

Lobizona by Romina Garber; design by Kerri Resnick; illustation by Daria Hlazatova (Wednesday Books / August 2020)

Ordinary Matter by Laura Elvery; design by Design by Committee (University of Queensland Press / September 2020)

The gradient and colour palette reminded me of the cover for Sensation Machines  by Adam Wilson, designed by David Litman, featured in July.  

Reading While Black by Esau McCaulley; design by David Fassett (IVP Academic / September 2020)

Red Pill by Hari Kunzru; design by John Gall (Knopf / September 2020)

This cover is bonkers. The cover of the UK edition of Red Pill published by Scribner (also bonkers but in a different, laser eyes, way), was designed by Craig Fraser.

Strange Flowers by Donal Ryan; design by Owen Gent (Doubleday / August 2020)

This is very pretty. Obviously.

These Vengeful Hearts by Katherin Laurin; design Elita Sidiropoulou (Inkyard Press / September 2020)

The Topeka School by Ben Lerner; design by Gray318 (Granta / September 2020)

When My Body Was a Clinched Fist by Enzo Silon Surin; design Zoe Norvell; painting by Carlos Rancaño (Black Lawrence Press / July 2020)

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Book Covers of Note, August 2020

A quick update for August…

All Men Want to Know by Nina Bouraoui; design by Holly Ovenden (Viking / August 2020)

Analogia by George Dyson; design by Tom Etherington; illustration by Andy Bridge (Allen Lane / August 2020)

The Death of Vivek Oji by Akwaeke Emezi; design by Grace Han (Riverhead / August 2020)

Must I Go by Yiyun Li; design by Gray318 and Richard Bravery (Hamish Hamilton / August 2020)

The Last Great Road Bum by Héctor Tobar; design by Rodrigo Corral; illustration by Matt Buck (MCD / August 2020)

Life of a Klansman; design by Rodrigo Corral (Farrar, Straus and Giroux / August 2020)

I believe this illustration is also by Matt Buck.

Luster by Raven Leilani; design by Na Kim (Farrar, Straus and Giroux / August 2020)

Moss by Klaus Modick; design by Alban Fischer (Bellevue Literary Press / August 2020)

The New American by Micheline Aharonian Marcom; design Dave Litman (Simon & Schuster / August 2020)

Scabby Queen by Kirstin Innes; design by Jack Smyth (Fourth Estate / July 2020)

Sisters by Daisy Johnson; design by Suzanne Dean; photograph Simon Kerola (Jonathan Cape / August 2020)

The cover of the US edition of Sisters, published by Riverhead this month, was designed by Jaya Miceli. The painting is by Jeremy Olson. (Thank you to the folks on Twitter who helped me with this!)

You Will Never Be Forgotten by Mary South; design by Jamie Keenan (Picador / August

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David Pearson’s Penguin Camus

David Pearson has designed three new covers for the Penguin editions of Albert Camus’ novels The Plague, The Outsider, and The Fall. The typeface is apparently Portrait, designed by Berton Hasebe for Commercial Type, and the covers are printed on Colorplan Dapple embossed paper from G. F. Smith. The new editions were published July 30, 2020.

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