Hi. Hello. I hope you’re keeping safe and well. I’m getting this month’s post out at little earlier than usual (i.e. not the 11th hour), and on a Monday no less, because I’m going to be in NYC the rest of this week for work. Even though this is a little bit of a quick and dirty post, there are still lots of covers for you to peruse and admire. Apologies if I’ve missed anything obvious and/or spectacular. I will try to catch up next month.
The Palm House by Gwendoline Riley; design by Katy Homans; photo by Bill Brandt (NYRB Books / April 2026)Famesick by Lean Dunham; design by Teddy Blanks (I think?); photo by Anna Gaskell (Random House / April 2026)
Happy New Year! I hope you’re safe and well. As is now the tradition, the first post of the year is a look back at some of the young adult covers of last year. The usual caveats apply of course. Not much YA crosses my desk at work, which is mostly indie publishing, and it is not a category I follow closely apart from what my kids are reading, so my insight here is limited. Still, I think at some of the stuff I wrote about the industry in my 2023 post on adult covers probably holds true for YA too. The toll of the past few years has led to a certain amount of risk aversion from both publishers and designers (albeit for different reasons), and my sense is that folks are bracing for more of the same in 2024. I would guess that genre expectations within the broader YA category have limited the room for experimentation too. Some things need to look the same it seems. But even if there is some conservatism in the current design approaches (if it ain’t broke…), and things in general feel pretty grim, there is a remarkable amount of diversity and representation on the covers of YA books — and perhaps even among the designers and illustrators themselves — and that feels like something that should be celebrated. I’ve tried my best to get all the credits for the covers, but please let me know if I missed anyone out — I’ll be happy to update the post where necessary.
Her Radiant Curse by Elizabeth Lim; art direction by Angela Carlino; art by Tran Nguyen; lettering by Alix Northrup (Alfred A. Knopf Books for Young Readers / August 2023)
Tran Nguyen and Alix Northrup also worked on the covers for Elizabeth Lim’s previous books Six Crimson Cranesand The Dragon’s Promise, which appeared on the 2021 and 2022 lists respectively.
The Twenty-One by Elizabeth Rusch; design by Paul Zakris; illustration by Will Staehle (Greenwillow Books / September 2023)
The Voice Upstairs by Laura E. Weymouth; design by Debra Sfetsios-Conover; illustration by Marcela Bolivar (Margaret K. McElderry Books / October 2023)
I hope you’re keeping safe and well. There’s quite a nice mix of covers this month (I think?). There’s some fiction, nonfiction, and poetry. Some paperbacks and some hardcovers. Inevitably there are books from the big folks in NYC, but there’s also some indie titles, and a couple of covers from the UK. There is even some Canadian content for those of you who care about that sort of thing.1
This is the third Rodrigo Corral cover for New Direction’s editions of Dazai. I’m curious — can anyone can tell me the typeface? UPDATE: it’s not a typeface, it’s lettering! Thanks to Erik at New Directions for letting me know (and for sending the final cover)!
Oh and if you’re curious about the enduring popularity of Dazai (who died in 1948), Andrew Martin wrote a piece about it for the the New York Times.
Trace Evidence by Charif Shanahan; design by Beth Steidle (Tin House / March 2023)
If one of the fine folks at Tin House would like to send me a higher quality image, I’ll be glad to add it in! Thanks to the fine folks at Tin House for sending over the cover!
Voyager by Nona Fernández; design by Kapo Ng (Graywolf Press / February 2023)
2022. Twenty twenty-two. Two thousand and twenty-two… “Where did it go?” Or, sobbing, “ are we done yet?” It feels like both. It’s been a year that’s simultaneously dragged on interminably and disappeared in a cognitive blur.
I’m glad other people have already written about it.
At Creative Review, writer and editor Mark Sinclair picked his favourite covers of 2022 and reflected on industry trends in the UK, including the Design Publishing & Inclusivity mentorship program for under-represented creatives launched this year by Ebyan Egal, Donna Payne, and Steve Panton.
Literary Hub posted the best covers of the year as chosen by 31 designers. With a comprehensive 103 covers on the list, it tacitly poses the annual question “what do I have left to add to this conversation?” LitHub have been posting these lists for seven years apparently. I am an ancient desiccated husk.
Fast Company and the Washington Post asked slightly smaller groups of designers to write about their favourites covers.
Designer and art director Matt Dorfman chose the best book covers of 2022 for the New York Times, and empathized with the plight of the designers:
Most often, any personal stylistic expressions in their work are swallowed up in service to the multiple masters — editors, marketing directors, sales teams — who sign off on a book’s cover. There is also the matter of adhering to any one publisher’s dos and don’ts, which can inform mandates about typography, color palettes and production flourishes like embossing or metallic inks. For people employed in a theoretically creative pursuit, designers’ talents are often defined by how effortlessly they can make themselves disappear to serve the book.
Matt Dorfman, New York Times
No one captured the prevailing mood better than this Tom Gauld cartoon. A reminder, if one were needed, that nobody knows anything.
Earlier in the year, Australian reporter Rafqa Touma called out the trend of ‘well dressed and distressed’ young women on covers. As designer Mietta Yans notes, the covers often reflect their books’ stylish and sad protagonists, so I’m not sure this one is on the art departments.
Some of the trends I’ve talked about before spilled over into 2022. Collage, painting (contemporary, and historical — often tightly cropped), big skies, landscapes and seascapes, black and white photography (not just for LGBTQ+ trauma!), retro-ness, idiosyncratic display typefaces. Orange. Pink was in vogue too. The Instagram-ish combination of both pink and orange (sometimes with deep purple-ish blues too) seemed to be very much a thing this year. I suspect this is what happens when you ask designers to make things “pop” one too many times.
It is hard to know if these are genuine trends, or if it is just the stuff I notice. I’m sure there are things going on with commercial covers that I don’t pay enough attention to (although I will not be sad to see the popularity of that flat illustration style — the one that Slate pointed out in TWO THOUSAND AND FIFTEEN! — eventually fade away). I certainly don’t get the sense that everything looks the same, which is often the criticism. There is still room for a little weirdness and that can only be a good thing…
Ghost Music by An Yu; design Suzanne Dean (Harvill Secker / November 2022)Elizabeth Finch by Julian Barnes; design by Suzanne Dean (Jonathan Cape / April 2022)
The Julian Barnes cover also came in blue, and under the die-cut jacket is a beautiful photo from René Groebli’s photoessay The Eye of Love.
Pure Colour by Sheila Heti; design by Na Kim (Farrar, Straus & Giroux / February 2022)
Also designed by Na Kim:
Present Tense Machine by Gunnhild Øyehaug; design by Na Kim (Farrar, Straus & Giroux / January 2022)Run and Hide by Pankaj Mishra; design by Na Kim (Farrar, Straus & Giroux / March 2022)Either/Or by Elif Batuman; design by Na Kim (Penguin Press / May 2022)
You can read about Alban’s design process for Till the Wheels Come Off at Spine.
Worn by Sofi Thanhauser; design by Janet Hansen (Pantheon / January 2022)
Also designed by Janet Hansen:
A Country of Strangers by D. Nurkse; design by Janet Hansen (Knopf / April 2022)Sedating Elaine by Dawn Winter; design by Janet Hansen (Knopf / April 2022)
Yoga by Emmanuel Carrère; design by Rodrigo Corral (Farrar, Straus & Giroux / August 2022)
You know, I started 2022 with such good intentions and yet here we are again at the end of January on a paved road to hell. At least there are some lovely book covers to look at this month. Sigh.
Print Magazine did a piece last year on Amistad Books’ repackaging of Zora Neale Hurston’s work. I’ve featured a couple of the covers here in the past too.
These posts are such a last minute scramble I don’t usually offer much in the way of commentary. It is hard to ignore, however, how many of my selections this year are illustrated. This may be a reflection of my personal preferences. Certainly, it isn’t new. As I mentioned in my look back at the year’s adult covers, the trends in 2021 felt very much like a continuation of the previous couple of years. Even so, I was struck by the sophistication and the range of YA illustrations this year. There are some illustrators whose work appears here more than once, but I don’t get the sense that there is a dominant style across category. It seems to depend very much on the specifics of the genre and the age range of the readership. That said, there is, perhaps, a common theme of ornate detail and decoration.
I am also finding it harder to differentiate between covers for more mature YA readers and adult covers of the same genre these days. If the cover blurbs and other identifiers (“A Novel”) didn’t give it away, the combination of the typography, colour palette, and the apparent age of the protagonist depicted used to give me a clue. Now it seems to me that there is a blurring of the lines, and I’ve had to check a couple of times recently to be sure of the intended readership age. I’d be curious to know if this is intentional on the part of publishers.
Anyway, there are some fantastic covers this year. Buzzfeed has a really decent list with design and illustration credits too if you’re looking for a second opinion (not that they need any clicks from me!). You can find my 2020 list here if you are interested.
Drawn That Wayby Elissa Sussman; design by Sarah Creech; lettering and illustration by art lettering Francesca Protopapa (Simon & Schuster Books for Young Readers / September 2021)
Aside from generally being a terrific SFF illustrator, I believe Matt Griffin illustrated the cover of Ace Books’ deluxe hardcover edition of Dune by Frank Herbert a couple of years ago, so he seems like an inspired choice here.
Love is for Losers by Wibke Brueggemann; design by Rachel Vale (Macmillan Children’s Books / January 2021)
The cover of the US edition, published by Farrar, Straus and Giroux (BYR) in February, was designed by Aurora Parlagreco with an illustration by Sally Nixon. I like it a lot too. It’s interesting to see the contrast between the UK and US markets.
Me (Moth) by Amber McBride; design and illustration by Richard Deas (Feiwel & Friends / August 2021)
(Another cover image with a roundel. Apologies. At least it is somewhat less obtrusive here.)
Yolk by Mary H. K. Choi; design Lizzy Bromley; cover art by gg (Simon & Schuster Books for Young Readers / March 2021)
The covers of Emergency Contact and Permanent Record by Mary H.K. Choi designed by Lizzy Bromley with art by gg have featured in previous year’s lists.
The don’t look that similar side by side, by I was reminded of Will Staehle‘s 2018 cover for Circe by Madeline Miller, and the UK cover of the more recent Sistersong by Lucy Holland, designed by Melissa Four (I’m fairly sure I’ve seen an orange/red version of the Sistersong cover. Perhaps it was an ARC?).
Circe by Madeline Miller; design by Will Staehle (Little Brown & Co / April 2018)
When I first saw this cover I immediately thought there was some kind of link to Josef Albers ‘Homage a Square’ series, but nobody else seems to have mentioned it, so perhaps it is coincidental? Is that possible? I should probably pick up the book!
As it is almost the end of October this is going to be my last monthly round-up for 2020. I will endeavour to put together a post on the book covers of year soon, but I am sure a lot of great work skimmed under my radar, so designers please drop me a line if I have missed a cover (or two!) you really loved working on (the book has to have been published this year), especially if it was for an independent or university press. In the meantime, I hope you enjoy this month’s selections.
They’re really not all that alike (it’s funny how memory constantly plays this trick on me), but the colour palette and the typographic approach of Alex’s cover reminded me Luke Bird’s 2017 cover for Vivek Shanbhag’s Ghachar Ghochar:
Ghachar Ghochar by Vivek Shanbhag; design by Luke Bird (Faber & Faber / April 2017)
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!
Apparently it is June already. I’m pretty sure it’s a terrible mistake.
Here are your book covers of note.
Aug 9 — Fog by Kathryn Scanlan; design by Na Kim (Farrar Straus & Giroux MCD / June 2019)
Cogito by Victor Dixen; design by Jim Tierney (Collection R / May 2019)
This reminded me of something. I’m not sure exactly what. The best I could up with was Nicole Caputo‘s stripey op-art cover for Liveblog by Megan Boyle, but that’s not it at all…
The Girl at the Door by Veronica Raimo; design by Julian Humphries (Fourth Estate / June 2019)
Are we seeing a trend for close cropped photographs of… arms? (Don’t get me wrong, these are both beautiful photographs / covers.)
Also of note in a compare-and-contrast sort of way, the cover of the UK edition of On Earth We’re Briefly Gorgeous published by Jonathan Cape was designed by Suzanne Dean:
I feel like I should at least try to collect some of the best political covers from the past year or so together into a post at some point. On the other hand, I really don’t want to…
I’m not entirely sure why, but cover of Something Great and Beautiful brought to mind the 2014 cover of the UK edition of The Empathy Exams by Leslie Jamison, designed by Tom Darracott for Granta. They’re really not that similar, and yet…
Son of Amity by Peter Nathaniel Malae; design by David Drummond (Oregon State University Press / October 2018)
Thanks to a combination of disk storage issues, the AUPresses Book, Jacket, and Journal Show, breaking my wrist, general anxiety, and utter despair at the latest round of horror, corruption and lies to the south, this month’s covers post is…well, late. Fuck it. Donate to a good cause. 1
Aroused by Randi Hutter Epstein; design Zoe Norvell (W.W. Norton / June 2018)
There have been a number of covers making use of work by famous photographers in recent months. I think the risk of this approach is that the image overwhelms the text. If the photograph is so important, perhaps it is better to just to get out of the way and let it speak for itself? (If, ahem, the ‘interested parties’ will let you, of course!)
The cover for the US edition, published by Henry Holt, was designed by Nicolette Seeback. For me, it’s made by the cat wrapping around the spine onto the back cover. Listing the ten arguments on the back is also a really nice touch.
The Canadian edition, published by Knopf Canada and designed by Leah Springate, takes a photographic approach. I think it’s a good example of how the Canadian market can be quite different from the UK (and the US)…
