Moon Witch, Spider King cover design by Helen Yentus; illustration by Pablo Gerardo Camacho
The New York Times takes a look at how books are made, following Moon Witch, Spider King, the second novel in the Dark Star trilogy by Marlon James, through its printing process:
The book jacket was manufactured first. The cover of “Moon Witch, Spider King,” printed at Coral Graphics Services in Hicksville, N.Y., was unusually complicated, with a vivid mix of bright colors. James, who used to be a graphic designer, joked that his previous profession — and accompanying opinions — made him “the worst type of person” to consult on the cover.
Most covers are printed using black, cyan, magenta and yellow ink, but two additional colors were used to print this one: Day-Glo green and a special blue. The machine above is loaded with 8,000 sheets of paper at a time, which are then fed through the press. Each section of the machine contains a separate tank of ink, one for each color.
There are some lovely behind the scenes images if that is your kind of thing.
There is a bit of story to this post. The short version is that I started it in 2018 to celebrate 10 years of the blog. When that deadline went whooshing past, I thought I would rework it for the end of 2019 as a look back at the decade. Now in 2020, with the risk of another deadline coming and going before I get it exactly right, I am just going to post this as it is — a collection of covers from the past 10 years1 that I quite like!
If you follow the Casual Optimist on Twitter, you will know that a couple of weeks ago design studio Aishima asked people to tweet about inspiring women graphic designers using the hashtag #celebratewomen. As today is International Women’s Day, I thought I would follow up my #celebratewomen tweets with a visual list of 52 inspiring women book cover designers (one for every week of the year!) — from influential veterans whose work I’ve admired for years to junior designers that have just appeared on my radar.
The names of all 52 designers can be found at the end of the post. With a few more hours in a day the list could easily have been many times longer, so apologies to anyone I have overlooked. Please let me know who you would’ve included in the comments or on Twitter.
All This Has Nothing To Do With Me; design by Justine Anweiler; illustration Daphne van den Heuvel
Souffles-Anfas edited by Olivia C. Harrison and Teresa Villa-Ignacio; design Anne Jordan and Mitch Goldstein (Stanford University Press / November 2015)
Capitalism in the Web of Life by Jason W. Moore; design by Anne Jordan and Mitch Goldstein (Verso / August 2015)
The Woman Who Read Too Much design Anne Jordan & Mitch Goldstein
Book designers, you do amazing work. Thank you. I am especially grateful to all the designers and art directors (not to mention publicists and other publishing folk) who have shared their wisdom, provided me with images, and helped me with design credits this year — these posts would not be possible without you. I also want thank my fellow book design bloggers, notably Book Covrs, Booketing, and Caustic Cover Critic, for their sterling work, and my local bookstores, Type, Book City on the Danforth, Ben McNally Books, and Indigo Bay & Bloor, for letting me browse their shelves.
Here are my covers of 2014:
All My Puny Sorrows by Miriam Toews; design by Sunra Thompson (McSweeney’s / November 2014)
Organized by Design Observer in association with AIGA and Designers & Books, 50/50, which recognizes the best work in contemporary book and book cover design, dates back to 1922, and is the oldest continuously operating graphic design competition in the United States. It is what you might call a ‘big deal.’
Of course, you can always quibble with lists like this — there are a some covers from last year that I loved that aren’t winners. But it’s wonderful to see book designers get some deserved recognition, and there are some great covers on the list that I overlooked.
It used to be enough for a book to idly stand out in a bookstore. Nowadays, however, new books must jostle for attention with everything. Thousands of distractions are just a click away. Is it any wonder that book-cover design is more important than ever?
In today’s Globe and Mail, I talks about recent trends in book cover design and pick a few of my favourite covers from the year so far. If you live in Canada you can find a lovely-looking print version of the article in the Arts pages.
As well posting great cover designs for books released in July, I’ve taken this month’s round-up as an opportunity to catch up on a few I missed earlier this year. Enjoy!
I’ve been thinking a lot about triangle patterns recently (that’s just how my mind works — don’t ask) and collecting together a few book covers (and related matter) that use them in their designs. I thought I’d share some of the things I’ve come across here…
Herbert Scarf’s Contributions to Economics, Game Theory and Operations ResearchVolumes 1-3 by Edited by Zaifu Yang (Palgrave Macmillan, September 2013)
It’s almost March and I’ve just realised that I haven’t posted very many book covers this year. To make up for this lapse, here are ten of my favourite covers from the last few months:
Helen Yentus, the art director of Riverhead Books, designed two covers for the recently published On Such a Full Sea by Chang-rae Lee. The regular hardcover — which is beautiful in itself (see below) — has a hand-lettered jacket. The second, for a limited edition of the novel, comes in a white slipcase made on a 3D printer. In this video, Helen talks about the 3D printed slipcase, designed in collaboration with the MakerBot Studio:
This isn’t the first time Helen’s worked with MakerBot. In 2011 she used the 3D printer to create the letters on the cover of The Innovator’s Cookbook by Steven Johnson:
