http://www.faceoutbooks.com Faceout Books Wed, 18 Jul 2012 11:44:26 +0000 http://www.faceoutbooks.com en http://faceoutbooks.com/Miss-Peregrine-s-Home-for-Peculiar-Children http://faceoutbooks.com/following/faceoutbooks.com/Miss-Peregrine-s-Home-for-Peculiar-Children Wed, 18 Jul 2012 11:44:26 +0000 Faceout Books 3525662 <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_1.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_1_o.jpg" data-mid="19543627" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_3.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_3_o.jpg" data-mid="19543632" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_5_o.jpg" data-mid="19543650" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_7.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_7_o.jpg" data-mid="19543653" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_11.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_11_o.jpg" data-mid="19543660" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_13.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_13_o.jpg" data-mid="19543663" border="0" align="left"/> Miss Peregrine's Home for Peculiar Children Author / Filmmaker / Photographer: Ransom Riggs Designer (cover and interior): Doogie Horner Publisher: Quirk Books This is a book I kept picking up at the bookstore and am so excited to have an in-depth look into the making of Miss Peregrine's Home for Peculiar Children! Thank you Doogie and Ransom for your thoughts on this fantastic book! —Emily Weigel <img src="http://payload61.cargocollective.com/1/0/573/3525662/Doogie Horner.jpeg" width="356" height="471" width_o="356" height_o="471" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Doogie Horner_o.jpeg" data-mid="19544635" border="0" align="left"/> // Doogie Horner // How did you become a book cover designer? [D] I went to school at Tyler School of Art. I worked at a pharma company for a little, then did packaging for Mattel Toys. I always wanted to do publishing and after Mattel I got a job at Running Press, which is a publisher in Philly. I was there for about 4 years, then came to Quirk. I like reading books, owning books, just being around books. I read A LOT—constantly, compulsively—so I've always wanted to be involved with publishing. Can you tell us a little about the premise of the story? What was the initial direction you were given? [D] The book is about a group of kids who have incredible powers. They're hunted by bad guys called hollows. The story was written around a collection of creepy old photos that Ransom had obtained over the years. Our initial direction was pretty open, although it seemed logical to feature one of the peculiar kids on the cover. <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_original photo.jpg" width="670" height="907" width_o="802" height_o="1086" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_original photo_o.jpg" data-mid="19544221" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_2_o.jpg" data-mid="19543630" border="0" align="left"/> Where is the image from? [D] The author had a massive collection of old photos. I took this one and modified it so she looks like she's floating. I also adjusted the levels and lighting, gave her sort of a cameo effect, did some cloning, etc., but other than that I didn't modify the image too much. It's creepy, right? Interior images <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_9.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_9_o.jpg" data-mid="19543657" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_10.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_10_o.jpg" data-mid="19543659" border="0" align="left"/> <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_4.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_4_o.jpg" data-mid="19543633" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_12.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_12_o.jpg" data-mid="19543662" border="0" align="left"/> Were there any special treatments on the final printed jacket? [D] Yeah, the book is printed with two metallic inks and black. It's a subtle effect, but it makes the book look a little more like a tin type photo, and also prevents it from being too harsh and dark. <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_6.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_6_o.jpg" data-mid="19543652" border="0" align="left"/> Did the project have any unique struggles? [D] Some of the early versions of the cover looked too adult, too much like novels and not enough like YA. This was the first YA cover I designed, and I didn't know how to approach the genre. I wanted the cover to look cool, not cheesy, but still read as YA. That was challenging. I was resistant to the crayon type at first. I see that too often on books about creepy kids, it's a little bit of a cliché. But ultimately it was the best solution, because it communicated quickly and also contrasted nicely with the tightly-gridded Victorian type. Alternate cover designs <img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_1.jpg" width="373" height="589" width_o="373" height_o="589" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_1_o.jpg" data-mid="19572397" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_2.jpg" width="396" height="612" width_o="396" height_o="612" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_2_o.jpg" data-mid="19572399" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_5.jpg" width="373" height="589" width_o="373" height_o="589" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_5_o.jpg" data-mid="19572400" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_6.jpg" width="391" height="607" width_o="391" height_o="607" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_6_o.jpg" data-mid="19572403" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_7.jpg" width="360" height="576" width_o="360" height_o="576" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_7_o.jpg" data-mid="19572407" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/orphans_10.jpg" width="423" height="630" width_o="423" height_o="630" src_o="http://payload61.cargocollective.com/1/0/573/3525662/orphans_10_o.jpg" data-mid="19572417" border="0" align="left"/> Since this was the first YA book you've designed, what kind of research did you gather for the genre and other competitive titles? [D] I looked at a lot of other YA books and didn't like most of them. A lot seem joyless, melodramatic, with big, pretty faces staring at you significantly. We intentionally wanted Miss Peregrine to stand out and look different than other YA novels. We actually got a little push back from retailers because we were too successful in that respect! They said, "This doesn't fit into our YA section." <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_8.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_8_o.jpg" data-mid="19543655" border="0" align="left"/> Do you have any sketches of the hand drawn type to share? How did you go about searching for the right type? [D] Ah, I do have sketches, but they just look like the scrawls of a lunatic. I wanted the type to look a little juvenile, a little unstable, but not over the top. It's difficult to draw like a kid without looking like you're trying to draw like a kid. The beauty of their handwriting is its lack of artifice, its joyful confidence. What do you enjoy about your job? [D] I like giving a face to a story. Every book is a different challenge, so I never get bored. The design staff size here has fluctuated over the years. For most of my time here it's just been me and another designer, although now we're up to 3. I'm the only art director, but Jason Rekulak, our creative director, offers a lot of valuable design input. Being a writer and comedian helps me design covers at Quirk because a lot of our books are humorous. However the humor needs to be in line with the cover's narrative, otherwise it's distracting. It's easy to go too far. Taft 2012 is a good example of a cover that, if it was too silly, wouldn't accurately reflect the story, which is smart and satirical. So understanding humor and writing helps me understand the stories better. <img src="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_Ransom.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Miss Peregrine_Ransom_o.jpg" data-mid="19491554" border="0" align="left"/> // Ransom Riggs // Ransom, you go out and find interesting photographs as a hobby which is what inspired your book, correct? Did you alter these photographs in any way? Are any taken by you? [R] That's more or less it. I started finding these evocative vintage photos at swap meets and flea markets, then discovered there was a whole culture of collectors who'd been after this stuff for years and had some amazing images squirreled away. I got to know a lot of them, and they were kind enough to let me use them in my book! A few are altered in minor ways, but most of the nearly 50 pictures are as I found them. I believe Doogie found a stock image of a busdriver and put staples through his face—that's late in the story—which is the only photographic image in the book that isn't a found photo. Did your studies at the school for the gifted in Florida influence your writing in any way? Obviously being gifted is quite different than peculiar, but I thought I’d ask. [R] My school experience didn't really inform the book—at least, not in any conscious way. It's is an odd sort of coincidence, though! Did you create the trailer for the book yourself? [R] Yes, I wrote and directed the trailer myself. I went to film school and have made more short films than I care to count ... including another trailer for Quirk books, for Sense and Sensibility and Sea Monsters. So it was only fitting that I'd do my own trailer when my turn to need one came around. You shot a fair amount of footage for the trailer at your own house and then went to Europe to finish the rest. Are there any interesting stories you want to share about your trip or the search for Miss Peregrine’s home? [R] I still can't believe it, but somehow I convinced Quirk to fly me to the Netherlands to shoot half the trailer in old abandoned chateaus. It was amazing! Nothing too crazy happened—somehow we didn't get arrested or anything. I did accidentally eat brain stew, a direct result of ambitious restaurant ordering and my inability to speak French (we were in Belgium), but I ate fried bats in the South Pacific once, so all told it wasn't that shocking a meal. Pretty tasty, actually. Since 20th Century bought the movie rights do you think you’ll be involved in that production? [R] Uh, nope! But they've got some fantastic people working on it— Jane Goldman, who wrote X-Men: First Class and Kick-Ass, and Tim Burton, who need no introduction. So if I can't be involved, at least I know it's in good hands! More work by Doogie Horner. <img src="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle animation.gif" width="300" height="436" width_o="300" height_o="436" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle animation_o.gif" data-mid="19564911" border="0" align="left"/> <img src="http://payload61.cargocollective.com/1/0/573/3525662/Bedbugs.jpg" width="378" height="576" width_o="378" height_o="576" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Bedbugs_o.jpg" data-mid="19564895" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle_1a.jpg" width="342" height="513" width_o="342" height_o="513" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle_1a_o.jpg" data-mid="19564919" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle_1b.jpg" width="342" height="513" width_o="342" height_o="513" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Gargoyle_1b_o.jpg" data-mid="19564923" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Slither_1a.jpg" width="342" height="514" width_o="342" height_o="514" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Slither_1a_o.jpg" data-mid="19564926" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Slither_1b.jpg" width="342" height="514" width_o="342" height_o="514" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Slither_1b_o.jpg" data-mid="19564933" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Taft 2012.jpg" width="396" height="594" width_o="396" height_o="594" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Taft 2012_o.jpg" data-mid="19564944" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/0/573/3525662/Zombies.jpg" width="377" height="573" width_o="377" height_o="573" src_o="http://payload61.cargocollective.com/1/0/573/3525662/Zombies_o.jpg" data-mid="19564966" border="0" align="left"/> Check out Doogie's website Ministry of Secret Jokes for even more work, such as his hilarious charts. Check out more of Ransom's videos on his YouTube channel, his thoughts/announcements on his blog and photo essays on Mental Floss. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> Miss Peregrine's Home for Peculiar Children Author / Filmmaker / Photographer: Ransom Riggs Designer (cover and interior): Doogie Horner Publisher: Quirk Books ... http://faceoutbooks.com/The-Sacred-Wisdom-of-the-American-Indians http://faceoutbooks.com/following/faceoutbooks.com/The-Sacred-Wisdom-of-the-American-Indians Wed, 30 May 2012 13:03:41 +0000 Faceout Books 3448222 <img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_1.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_1_o.jpg" data-mid="17766175" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_2.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_2_o.jpg" data-mid="17766191" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_3.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_3_o.jpg" data-mid="17766206" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_4.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_4_o.jpg" data-mid="17766163" border="0" align="left"/> The Sacred Wisdom of the American Indians Author: Larry J. Zimmerman Designer: Allan Sommerville, Blok Graphic Publisher: Watkins, an imprint of Duncan Baird Publishers Art Director: Roger Walton This cover struck me in the culture/social sciences section immediately. It captures what we would all recognize as the American Indian culture. Thank you for sharing this great cover with us Allan! —Emily Weigel How did you become a book cover designer? Most of my work has been within the publishing world. Probably because my first degree was completed at Edinburgh Art School where I studied illustration (which I have always associated with books and print). My first job was at a typesetting firm in Cambridge and so I started off with books and it carried on from there. Eventually I moved to London and also went back to University to do an MA in Typography at the London College of Communication. I have worked freelance for the past couple of years setting up my company Blok Graphic. What do you enjoy about being a designer? I enjoy all forms of design but book jackets are especially satisfying. It’s nice to see your creations lined up in book shops with people picking them up and turning them over in their hands. <img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_5.jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_5_o.jpg" data-mid="17766434" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_10.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_10_o.jpg" data-mid="17766606" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_11.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_11_o.jpg" data-mid="17766522" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_6.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_6_o.jpg" data-mid="17766368" border="0" align="left"/> Were there any steps taken before starting, and was there a clear working process that led to the final? Any known influences? My first impulse was to design the cover like an American Indian artefact. I sourced patterns and designs and began drawing them in Illustrator. It soon seemed appropriate to combine the text and image as a whole. Originally my thoughts were to use only an outline but this didn’t give enough punch (see above sketch)—the early colours were also deemed as being too bright and primary. My vector artwork was distressed in photoshop which helped disguise it from being computer generated. The book itself underwent three title changes and eventually it was completed in-house at Duncan Baird Publishers (thanks Billy!). You can see some of my original designs which I submitted and I’m glad to see they were followed closely. <img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_7.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_7_o.jpg" data-mid="17766549" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_8.jpg" width="670" height="810" width_o="2048" height_o="2478" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_8_o.jpg" data-mid="17766566" border="0" align="left"/> What is The Sacred Wisdom of the American Indians about? Can you tell us any detailed information about the printing of the cover? The book is published by Watkins and is a chunky hardback on the history and culture of American Indians. The typeface is Geometric Slab 703, designed by Rudolf Wolf (1895–1942) who is probably best known for Memphis. The subject has no direct connection with the type but I was looking for something that would sit alongside the geometric patterns I had as source material. This seemed to fit and so the artwork came first and the type followed. The cover is printed directly onto the board (no jacket) and is de-bossed giving a nice tactile quality. <img src="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_9.jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload57.cargocollective.com/1/0/573/3448222/Sacred Wisdom_9_o.jpg" data-mid="17766637" border="0" align="left"/> What makes this cover an effective design? My involvement with the book was at presentation stage and so also included the interior page design (see above image). In this way I was able to give the book a coherent design from cover to interior—something which is always very pleasing and gives the book a strong identity. More work by Allan Sommerville. <img src="http://payload57.cargocollective.com/1/0/573/3448222/01 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/01 Allan Sommerville_o.jpg" data-mid="18016580" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/02 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/02 Allan Sommerville_o.jpg" data-mid="18016581" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/03 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/03 Allan Sommerville_o.jpg" data-mid="18016585" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/04 Able and Cole_new.jpg" width="670" height="502" width_o="2048" height_o="1535" src_o="http://payload57.cargocollective.com/1/0/573/3448222/04 Able and Cole_new_o.jpg" data-mid="18053354" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/05 NOW_new.jpg" width="670" height="502" width_o="2048" height_o="1535" src_o="http://payload57.cargocollective.com/1/0/573/3448222/05 NOW_new_o.jpg" data-mid="18053347" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/06 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/06 Allan Sommerville_o.jpg" data-mid="18016600" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/07 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/07 Allan Sommerville_o.jpg" data-mid="18016602" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/08 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/08 Allan Sommerville_o.jpg" data-mid="18016607" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/09 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/09 Allan Sommerville_o.jpg" data-mid="18016610" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/10 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/10 Allan Sommerville_o.jpg" data-mid="18016614" border="0" align="left"/><img src="http://payload57.cargocollective.com/1/0/573/3448222/11 Allan Sommerville.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload57.cargocollective.com/1/0/573/3448222/11 Allan Sommerville_o.jpg" data-mid="18016615" border="0" align="left"/> Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> The Sacred Wisdom of the American Indians Author: Larry J. Zimmerman Designer: Allan Sommerville, Blok Graphic Publisher: Watkins, an imprint of Duncan Baird... http://faceoutbooks.com/Le-Carre-series http://faceoutbooks.com/following/faceoutbooks.com/Le-Carre-series Mon, 05 Mar 2012 11:29:01 +0000 Faceout Books 2307568 <img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_1.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_1_o.jpg" data-mid="14812937" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_2.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_2_o.jpg" data-mid="14812939" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_3.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_3_o.jpg" data-mid="14812941" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_4.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_4_o.jpg" data-mid="14812942" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_5_o.jpg" data-mid="14812944" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_6.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_6_o.jpg" data-mid="14812945" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/leCarre_7.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307568/leCarre_7_o.jpg" data-mid="14812946" border="0" align="left"/> Le Carré Author: John le Carré Designer: Stuart Bache Publisher: Sceptre Typeface: Futura Printing Specs: The finishes are simple, minimal, to be in keeping with the design: printed back of the board (uncoated stock) with a deboss on the authors name. Thank you for letting us post this fantastic series Stuart! And what good timing with the recent release of Tinker Tailor Soldier Spy. I can't wait to see what you design next! — Emily Weigel How did you become a book cover designer? I worked for a couple of companies but nothing ever seemed to fit, so I decided to go travelling. I was considerably fortunate, after seven months of sleeping through some of the most beautiful scenery I’ve never seen, I flew home and moved to London where I was offered a job at Hodder & Stoughton as a Junior Designer. From there I became a Senior Designer at Puffin Books and then leapt into the scary world of freelance. It can be tough and I probably work longer hours now than I ever did before, but working for different publishers means I have a wider range of genres to play with and I can try my hand at different styles of design. <img src="http://payload.cargocollective.com/1/0/573/2307568/LeCarres.jpg" width="670" height="947" width_o="1240" height_o="1754" src_o="http://payload.cargocollective.com/1/0/573/2307568/LeCarres_o.jpg" data-mid="14813021" border="0" align="left"/> What is the Le Carré series about? These are the backlist of John le Carré, someone I’ve been a fan of since reading The Spy Who Came in from the Cold and A Murder of Quality long before I worked in the industry. They have had a few different covers over the years and this series was an opportunity to give them a new lease of life. <img src="http://payload.cargocollective.com/1/0/573/2307568/Ab_Friends.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Ab_Friends_o.jpg" data-mid="14813008" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Constant_G.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Constant_G_o.jpg" data-mid="14813009" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Drummer_Girl.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Drummer_Girl_o.jpg" data-mid="14813011" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Honourable_b_pb.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Honourable_b_pb_o.jpg" data-mid="14813013" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Mission_Song.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Mission_Song_o.jpg" data-mid="14813025" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Most_Wanted.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Most_Wanted_o.jpg" data-mid="14813026" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Naive.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Naive_o.jpg" data-mid="14813027" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Night_M.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Night_M_o.jpg" data-mid="14813029" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Our_Game.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Our_Game_o.jpg" data-mid="14813030" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Perfect_Spy.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Perfect_Spy_o.jpg" data-mid="14813031" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Single.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Single_o.jpg" data-mid="14813034" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Smiley.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/Smiley_o.jpg" data-mid="14813035" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/T_Panama.jpg" width="366" height="561" width_o="366" height_o="561" src_o="http://payload.cargocollective.com/1/0/573/2307568/T_Panama_o.jpg" data-mid="14813037" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Tinker.jpg" width="366" height="562" width_o="366" height_o="562" src_o="http://payload.cargocollective.com/1/0/573/2307568/Tinker_o.jpg" data-mid="14813043" border="0" align="left"/> Were there any steps taken before starting, and was there a clear working process that led to the final? Any known influences? I was lucky enough to have worked with the author's backlist before (back when I was a Junior) and always had an idea in mind of how I would want them to look if I were ever given the chance. Initially, I tried a few different concepts based on a couple of his better known novels. As far as I was concerned this had to be something you wanted to buy as a set, something that would look good on your shelves as well as stand out in the bookshop. I used blocks of strong colours, filling a third of the cover with semi-opaque blocks, coloured spines etc. But these never felt ‘classic’ enough. So I made them white, added a border and kept a hint of those strong colours in the type. <img src="http://payload.cargocollective.com/1/0/573/2307568/Tinker_Tailor_Cover.jpg" width="567" height="392" width_o="567" height_o="392" src_o="http://payload.cargocollective.com/1/0/573/2307568/Tinker_Tailor_Cover_o.jpg" data-mid="14813040" border="0" align="left"/> As they are reissues they would usually be placed spine-out on the shelves rather than show the cover, so I decided to make the spines completely white to stand out against a see of dark, brooding thrillers. I hope these have been successful as a series, at least from a design point of view, they were certainly a pleasure to work on. Check out the post on the Casual Optimist about Stuart's work for the John le Carré series as well. More work by Stuart Bache <img src="http://payload.cargocollective.com/1/0/573/2307568/Carrie_PB.jpg" width="406" height="623" width_o="406" height_o="623" src_o="http://payload.cargocollective.com/1/0/573/2307568/Carrie_PB_o.jpg" data-mid="14813237" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/CR_Extreme_PB.jpg" width="670" height="1030" width_o="1843" height_o="2836" src_o="http://payload.cargocollective.com/1/0/573/2307568/CR_Extreme_PB_o.jpg" data-mid="14813240" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Cypress_HousePB.jpg" width="670" height="1028" width_o="1528" height_o="2345" src_o="http://payload.cargocollective.com/1/0/573/2307568/Cypress_HousePB_o.jpg" data-mid="14813242" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Damaged_PB.jpg" width="670" height="1028" width_o="1528" height_o="2345" src_o="http://payload.cargocollective.com/1/0/573/2307568/Damaged_PB_o.jpg" data-mid="14813244" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Firestarter_PB.jpg" width="406" height="623" width_o="406" height_o="623" src_o="http://payload.cargocollective.com/1/0/573/2307568/Firestarter_PB_o.jpg" data-mid="14813245" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/FromBuick_PB.jpg" width="406" height="623" width_o="406" height_o="623" src_o="http://payload.cargocollective.com/1/0/573/2307568/FromBuick_PB_o.jpg" data-mid="14813246" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Oracle_Vis3.jpg" width="670" height="1030" width_o="1843" height_o="2836" src_o="http://payload.cargocollective.com/1/0/573/2307568/Oracle_Vis3_o.jpg" data-mid="14813247" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/SeatingArrangements.jpg" width="670" height="1030" width_o="1843" height_o="2835" src_o="http://payload.cargocollective.com/1/0/573/2307568/SeatingArrangements_o.jpg" data-mid="14813251" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/SuperCoop_PB.jpg" width="670" height="1028" width_o="1524" height_o="2339" src_o="http://payload.cargocollective.com/1/0/573/2307568/SuperCoop_PB_o.jpg" data-mid="14813257" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307568/Vulture.jpg" width="670" height="1020" width_o="1537" height_o="2340" src_o="http://payload.cargocollective.com/1/0/573/2307568/Vulture_o.jpg" data-mid="14813264" border="0" align="left"/> Please visit Stuart's website to see even more of his work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> Le Carré Author: John le Carré Designer: Stuart Bache Publisher: Sceptre Typeface: Futura Printing Specs: The finishes are simple, minimal, to be in keeping... http://faceoutbooks.com/Solo-1 http://faceoutbooks.com/following/faceoutbooks.com/Solo-1 Tue, 24 Jan 2012 11:47:06 +0000 Faceout Books 2307529 <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_1.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_1_o.jpg" data-mid="13130952" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_2_o.jpg" data-mid="13130953" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_3.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_3_o.jpg" data-mid="13130955" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_4.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_4_o.jpg" data-mid="13130957" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_5_o.jpg" data-mid="13130959" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_6.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_6_o.jpg" data-mid="13130960" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_7.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_7_o.jpg" data-mid="13130961" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_8.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_8_o.jpg" data-mid="13130964" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_9.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_9_o.jpg" data-mid="13130966" border="0" align="left"/> Solo Author: Rana Dasgupta Designer/Illustrator: The Heads of State Publisher: Houghton Mifflin Harcourt Typeface: The cover face is a found typeface scanned from an old spec book and then redrawn. Printing Specs: Nothing special with the printing however the cover stock is a nice dull stock that really compliments the cover aesthetic. I've been a long time fan of The Heads of State. Solo is a particular favorite of mine. Thanks to Jason and Dustin for taking the time to contribute to our blog! —Charles Brock How did you become a book cover designer? What do you enjoy about your job? We found our way to book cover design through poster design and editorial illustration. Book covers are sort of close cousins to posters, especially illustrative posters. Designing covers is always a big honor and an even bigger challenge. We're both avid readers, so seeing our work wrapped around a bound book is always quite a kick. But it's a unpredictable challenge. Digging in and finding the right cover for a story is a different errand every time and that is what makes it terrifying and exciting.. What is Solo about? The story is told partially from the perspective of a 100 year old man on his deathbed who recollects the pieces of his life as seen through the events of the 20th century. Did I mention he is also blind and Romanian? It's kind of like Murakami meets Garcia Marquez, Ionesco, and Terry Gilliam. Sort of. Were there any steps taken before starting, and was there a clear working process that led to the final? Any known influences? The story was too grandiose to be specific. We tried a lot of different imagery as symbolism for the main character. Eyeglasses. Soviet-era housing structures with many, many windows. In the end, we felt the solitary figure dissipating seemed to speak volumes on it's own. It had the right feel. It started out as a sketch that we actually passed on. But as our first few rounds of comps failed to resonate, we went back to our sketchbooks and found this idea. This is a big part of our process. We're always diving back into notes and doodles to see if we missed something interesting. <img src="http://payload.cargocollective.com/1/0/573/2307529/apartment_birds.jpg" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/apartment_birds_o.jpg" data-mid="12211534" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/bodyform_feather.jpg" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/bodyform_feather_o.jpg" data-mid="12211543" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/facepuzzle.jpg" width="670" height="1011" width_o="917" height_o="1385" src_o="http://payload.cargocollective.com/1/0/573/2307529/facepuzzle_o.jpg" data-mid="12211548" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307529/manyeyes.jpg" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/manyeyes_o.jpg" data-mid="12211550" border="0" align="left"/> What was the message behind the design? And what's something unique you learned while working on this project? With the scope of the story being so broad it was hard to sum it all up in one image but we feel the birds represent both the entirety of the character's life as well as his memories. A parrot also plays into the story so there is a literal nod as well. When you have a story with such a broad range with some many aspects that a person can get latched on to, we feel it's best to approach in in a more general manner. Simplicity can be an evocative device. When all else fails, go back over your thoughts and ideas. In this instance we went through a number of rounds and nothing seemed to work. We started paging back through sketch books and stumbled on a little tertiary sketch that never made it past this kind of after thought, didn't even make it into our internal crop of potential covers. But after all the dust settles that little spec of a sketch really encapsulated the story. Solo is in the AIGA Archives for 50 Books/50 Covers of 2010. Check out their website to see even more work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> Solo Author: Rana Dasgupta Designer/Illustrator: The Heads of State Publisher: Houghton Mifflin Harcourt Typeface: The cover face is a found typeface scanned from... http://faceoutbooks.com/An-Object-of-Beauty http://faceoutbooks.com/following/faceoutbooks.com/An-Object-of-Beauty Mon, 12 Dec 2011 10:39:02 +0000 Faceout Books 2307500 <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_1.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_1_o.jpg" data-mid="12203708" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_2_o.jpg" data-mid="12203709" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_3.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_3_o.jpg" data-mid="12203710" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_4.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_4_o.jpg" data-mid="12203712" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5_o.jpg" data-mid="12203713" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_6.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_6_o.jpg" data-mid="12203714" border="0" align="left"/> An Object of Beauty Author: Steve Martin Illustrator/Designer: Darren Booth Art Director: Anne Twomey Publisher: Grand Central Publishing Typeface: hand drawn Specials: The illustrated lettering was hit with an ultra high gloss and the paper stock emulated canvas texture. The thinking behind that was so it would actually feel like a piece of artwork. Steve Martin has some nice book covers, but this one is my favorite by far. The book title is also the perfect description of the books design. An Object of Beauty. Thank you to Darren for all his help and patience. —Charles Brock How did you become a book cover designer/illustrator? I'm an illustrator and letterer and graduated from Sheridan Institute's Illustration program back in 2001. Although I'm not a designer per say, I get opportunities to design and art direct, and when given them, I take them. Lately, I've been getting more opportunities to be a part of the overall design process. I'm not exactly sure why that is happening, but I'm not complaining. What do you enjoy about your job? I enjoy almost everything about my job except for writing estimates. Each part of the job has it's own challenges that I enjoy and I'm grateful to have known at an early age what my career was going to be. I'd be lost without it. Were there any steps taken before starting, and was there a clear working process that led to the final? Any known influences? The Creative Director, Anne Twomey, mentioned in one of early conversations, that Steve Martin enjoyed the work of Ed Ruscha and I kept that in mind when developing different approaches. Anne gave me an incredible amount of freedom to "do my thing" but the one constraint was to ensure the artwork didn't appropriate any one artist, it needed to have it's own identity. Ruscha's work gave me the idea to keep it simple and graphic. I've personally always enjoyed Robert Rauschenberg and Cy Twombly's work because there's often a lot going in small areas, which gave me the inspiration for some of the textures. My process is pretty much the same with every project I do—it's something I trust and have confidence in, it starts on paper and ends on paper and there's very little computer involved. Once upon a time I would cut and paste my sketches until they were ready for final. Nowadays that's where the computer does a bit of the work as it makes more sense to just cut and paste in Photoshop until the elements are in their right place. <img src="http://payload.cargocollective.com/1/0/573/2307500/sketches5.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches5_o.jpg" data-mid="12203813" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/sketches1.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches1_o.jpg" data-mid="12203810" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/sketches2.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches2_o.jpg" data-mid="12203811" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/sketches3.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches3_o.jpg" data-mid="12203812" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/endpaper1.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/endpaper1_o.jpg" data-mid="12203808" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/endpapers2.jpg" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/endpapers2_o.jpg" data-mid="12203809" border="0" align="left"/> Via Darren's blog. What was the message behind the design? And what's something unique you learned while working on this project? There's beauty in imperfections. The fact that the lettering is done by hand allows for that feeling of a human element to come across. In some of the letters, there's intentional and unintentional mistakes and that's one of the things I like about the design. On this project, I learned how to incorporate and juggle the differences between inspiration and influence. I knew what the differences were, but I needed to employ both of these things to personally consider the design a success. Normally I don't try to be influenced by something, I just try to stick to inspiration as it helps to create originality. To me, the simplicity of the lettering is influenced by Ruscha's work because without it, there would have been no design or approach. Inspiration on the other hand, came from Rauschenberg and Twombly's work because even if I didn't use them to pull from, the backbone of the piece would still be there, it would just have a different color palette or different textures. I found it difficult to juggle those two things because so much of a creative's work is done intuitively so when you have to be conscious of certain constraints, whether they're imposed by a client or self-imposed, it tends to create challenges that need to be met. Thoughts from art director Anne Twomey An Object of Beauty is a novel of an ambitious young woman set in Manhattan's high powered Art World during it's heady days of the early 1990's till now. It is also a history of modern art. The stated challenge was getting a cover for a celebrity author done and approved in little over a month. The unsaid challenges were that the finished book needed to be as distinctive and beautiful as a piece of art itself. With a strong title and beloved author, a text driven solution, seemed obvious. The author and I were both fans of Ed Ruscha's textual flat paintings and most periods of modern painting. I spent and afternoon at MOMA looking at several other pop artist: Larry Rivers, Robert Indiana, Robert Rauchenberg, and Jasper Johns all who had incorprated painted text to their work. My objective was to create a cover that emulated text driven art, without being derivitive of any one artist. My first concept called for the cover lettering to be stencil die-cut, allowing for a painting on the book case to be revealed. However, production proved to be too complicated. Next was an attempt to make the title look like a painted canvas. I even thought of attempting to paint it myself. Thankfully, Darren Booth's masterfully illustrated type, had been on my radar. I hired him to do sketches and was thrilled with what I saw so he went to final quickly. I envisioned a cover stock that emulated canvas. Much research was done to find a canvas stock that came in a version that looked like primed or unprimed canvas. Testing was done, particularly for the binding process as this plastic stock, typically used on book cases, had never been used as a book jacket before. Finally, Darren's painted lettering was hit with an ultra high gloss lamination that emulated an oil painting's linseed oil. For the end papers, the only direction I gave Darren was to paint something inspired by Abstract Expressionism or Color Field painting. <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_4.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_4_o.jpg" data-mid="12203712" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5_o.jpg" data-mid="12203713" border="0" align="left"/> The interior of the book, called for 4/c prints throughout. These prints of art work, follow the narrative of the book as opposed to being relgated to a central 4/c signature. Steve Martin, publisher, editor, and agent were thilled with the final book and cover. The book was well publicized and went on to be a New York Times Bestseller and hit every national bestselling list. <img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_1.jpeg" width="631" height="359" width_o="631" height_o="359" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_1_o.jpeg" data-mid="12204342" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_2.jpeg" width="631" height="353" width_o="631" height_o="353" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_2_o.jpeg" data-mid="12204344" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_3.jpeg" width="631" height="357" width_o="631" height_o="357" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_3_o.jpeg" data-mid="12204345" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_4.jpeg" width="631" height="356" width_o="631" height_o="356" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_4_o.jpeg" data-mid="12204346" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Regis and Kelly.jpeg" width="631" height="356" width_o="631" height_o="356" src_o="http://payload.cargocollective.com/1/0/573/2307500/Regis and Kelly_o.jpeg" data-mid="12204347" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Colbert Report.jpeg" width="631" height="355" width_o="631" height_o="355" src_o="http://payload.cargocollective.com/1/0/573/2307500/Colbert Report_o.jpeg" data-mid="12204341" border="0" align="left"/> An Object of Beauty has been featured on numerous television shows including The Late Show with David Letterman, Live! with Regis and Kelly, and The Colbert Report. An Object of Beauty is in the AIGA Archives for 50 Books/50 Covers of 2010. More work by Darren Booth. <img src="http://payload.cargocollective.com/1/0/573/2307500/13_44halonew72.jpg" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/2307500/13_44halonew72_o.jpg" data-mid="12208099" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/12_43jimidarrenbooth.jpg" width="636" height="600" width_o="636" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/2307500/12_43jimidarrenbooth_o.jpg" data-mid="12208097" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/Bright_Eyes_WEB_700.jpg" width="670" height="603" width_o="700" height_o="631" src_o="http://payload.cargocollective.com/1/0/573/2307500/Bright_Eyes_WEB_700_o.jpg" data-mid="12208102" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/3_10wl72.jpg" width="579" height="650" width_o="579" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/2307500/3_10wl72_o.jpg" data-mid="12208096" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/2307500/59_truthsite.jpg" width="465" height="650" width_o="465" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/2307500/59_truthsite_o.jpg" data-mid="12208100" border="0" align="left"/> Please visit Darren's website to see even more of his work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> An Object of Beauty Author: Steve Martin Illustrator/Designer: Darren Booth Art Director: Anne Twomey Publisher: Grand Central Publishing Typeface: hand drawn... http://faceoutbooks.com/Procession-of-the-Dead http://faceoutbooks.com/following/faceoutbooks.com/Procession-of-the-Dead Mon, 25 Apr 2011 10:47:49 +0000 Faceout Books 44677 <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0460(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0460(s)_o.jpg" data-mid="6570814" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0462(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0462(s)_o.jpg" data-mid="6570815" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0443(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0443(s)_o.jpg" data-mid="6570811" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0449(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0449(s)_o.jpg" data-mid="6570812" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0464(s).jpg" width="670" height="928" width_o="670" height_o="928" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0464(s)_o.jpg" data-mid="6570817" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0465(s).jpg" width="670" height="928" width_o="670" height_o="928" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0465(s)_o.jpg" data-mid="6570820" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0468(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0468(s)_o.jpg" data-mid="6570824" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0466(s).jpg" width="670" height="897" width_o="670" height_o="897" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0466(s)_o.jpg" data-mid="6570821" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0467(s).jpg" width="670" height="897" width_o="670" height_o="897" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0467(s)_o.jpg" data-mid="6570823" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0471(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0471(s)_o.jpg" data-mid="6570827" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0474(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0474(s)_o.jpg" data-mid="6570828" border="0" align="left"/> Procession of the Dead Author: Darren Shan Designer: Catherine Casalino Publisher: Grand Central Publishing Typeface: The title and author type are shadows cast by small metal letters. The spine is set in Trade Gothic and the flaps and back are in set in Whitney. Specials: The cover is printed on Neenah Linen stock. (see detail shot of the paper texture) It was a 4-color job with an extra hit of black. I got to go on press at Coral Graphics when it was printed and that was great. Thank you so much to Catherine for her patience. I've been wanting to post this for a while. It's difficult to pick a favorite of all our posts but this is the top for me. I love this jacket. It's beautiful. —Charles Brock How did you become a book cover designer? I moved to New York the Summer of 2003 to participate in NYU's Publishing Institute. I had an English degree and wanted to work in magazines, because of my interest in photography. During the NYU program, Rodrigo Corral and John Fulbrook came in to talk about book cover design. I really liked their presentation and wrote them both emails. Rodrigo invited me to drop by his studio to show him my photography portfolio. I had no graphic design experience (aside from a Pagemaker class in high school) but, miraculously, he asked me if I wanted to intern with him. I started out doing image research and retouching because I knew some Photoshop. I remember the first day I was there, Rodrigo handed me a stack of New Yorkers and had me cut out images I liked and file them according to illustration or photography style. I ended up working at Rodrigo Corral Design for about 3 years, getting promoted from intern to junior designer to designer. It was a phenomenal education. When I left Rodrigo's, I went to work with at Simon & Schuster where John Fulbrook was an Art Director— another phenomenal education. Imagine if I had skipped class the day of their NYU presentation! My life would be totally different! What do you enjoy about your job? The variety . . . and the books! I get to work on so many different kinds of books, so every day I have a completely new problem to solve. It really keeps you on your toes. I also like that I get to work with so many great photographers and illustrators. What is Procession of the Dead about? It's a post apocalyptical thriller that is set in a gotham-esque city. The main character, Capac, works for the city's ruler, a dark and mysterious man called The Cardinal. Were there any constraints from the client? Darren Shan is also the author of a very popular Young dult series called Cirque du Freak, so it was important that this book did not look too YA. Were there any steps taken before you started designing? I read the book and did some mood-boarding— pulling various images that I thought reflected the tone of the book. And lots of thinking! Was there a clear working process that led to the final? The process on this cover was a bit different than my normal process— very stop and start. The idea for the cover came right out of the book— there's a scene where Capac visits The Cardinal's office and notices that he has all these puppets hanging from the walls. And in the midst of all these puppets, The Cardinal is playing with this shadow puppet theater. While Capac is watching, The Cardinal moves his hands away from the shadow puppets . . . and they continue to move. I read that scene and thought, "Wow, something else is going on here . . ." I wanted to evoke that mood with the cover— something creepy that makes you wonder what's going on. Shadow Puppet image research <img src="http://payload.cargocollective.com/1/0/573/44677/01wikipedia_research1.jpg" width="670" height="300" width_o="963" height_o="432" src_o="http://payload.cargocollective.com/1/0/573/44677/01wikipedia_research1_o.jpg" data-mid="5585246" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/02wikipedia_research2.jpg" width="432" height="432" width_o="432" height_o="432" src_o="http://payload.cargocollective.com/1/0/573/44677/02wikipedia_research2_o.jpg" data-mid="5585248" border="0" align="left"/> So, I had this idea that I really liked. And then I didn't know how to take the next step, how to translate the idea of shadow puppets into a book cover. I finally came up with the idea that I could make "shadow puppets" out of the letters in the title. And then I had to figure out how to achieve that. As a graphic designer, I'm a huge collector of "things that might be useful." I had several boxes of small metal letters that I had picked up a few years ago at a Marshall's in Connecticut, and they ended up being perfect for the project. (I think they're intended for scrapbooking). I taped the letters to thin wooden skewers and stuck them in florist's foam. I placed the set up behind a sheet and lit everything from behind. <img src="http://payload.cargocollective.com/1/0/573/44677/03firstshoot_setup1.jpg" width="432" height="648" width_o="432" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/03firstshoot_setup1_o.jpg" data-mid="5585250" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/04firstshoot_setup2.jpg" width="432" height="648" width_o="432" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/04firstshoot_setup2_o.jpg" data-mid="5585251" border="0" align="left"/> Did you collaborate with anyone? How was that process? No. Although one sort-of collaborative thing happened: After I shot the cover, I showed my Creative Director, Anne Twomey, the images and explained where the idea came from. I had photoshopped a shadow puppet into the frame. It turned out that Anne had an actual shadow puppet from Thailand at home! She brought it in and I re-shot the cover with the puppet in place. <img src="http://payload.cargocollective.com/1/0/573/44677/05first_sketch(PhotoShop_puppet).jpg" width="464" height="648" width_o="464" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/05first_sketch(PhotoShop_puppet)_o.jpg" data-mid="5585252" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/06finalshoot_setup1.jpg" width="670" height="446" width_o="972" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/06finalshoot_setup1_o.jpg" data-mid="5585253" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/07finalshoot_setup2.jpg" width="648" height="648" width_o="648" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/07finalshoot_setup2_o.jpg" data-mid="5585254" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/08finalcover_front.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/44677/08finalcover_front_o.jpg" data-mid="5585256" border="0" align="left"/> Were there any known influences that led to your solution? I loved puppets as a kid! My mom still has them all. Did the project have any unique struggles? It took me a long time to get to the point where I started executing the idea— I really had to figure out how it would work technically, first. Getting the title and author name to be legible was really tough since the whole set up was so delicate. You'd move one letter and it would screw up the shadow of the letter next to it. It took many hours to get the set-up how I wanted it. Also, at first, they wanted to credit the author as "D. B. Shan" to differentiate from his YA books, but later they changed it to "Darren Shan," so I had to reshoot the whole thing. You can see some of the earlier process photos have the first version of the author name. Were there any other solutions outside the final? This was the only direction I pursued What 's something unique you learned while working on this project? Taking the time to plan out a cover is really important. I also think it's important not to compromise your vision, even if it means a lot more work. I could have done something like this in Photoshop, but it wouldn't have been as strong and natural looking. <img src="http://payload.cargocollective.com/1/0/573/44677/09finalcover_wrap.jpg" width="670" height="300" width_o="1445" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/09finalcover_wrap_o.jpg" data-mid="5585257" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/10finalprintedbook.jpg" width="478" height="648" width_o="478" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/10finalprintedbook_o.jpg" data-mid="5585258" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/11finalprintedbook_back.jpg" width="464" height="648" width_o="464" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/11finalprintedbook_back_o.jpg" data-mid="5585259" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/12linen_paper.jpg" width="430" height="648" width_o="430" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/12linen_paper_o.jpg" data-mid="5585261" border="0" align="left"/> More work by Catherine Casalino. <img src="http://payload.cargocollective.com/1/0/573/44677/01.13PosseQxd.jpg" width="280" height="429" width_o="280" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/01.13PosseQxd_o.jpg" data-mid="6570919" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/0743296532.jpg" width="282" height="429" width_o="282" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/0743296532_o.jpg" data-mid="6570920" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/0743297229.jpg" width="282" height="429" width_o="282" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/0743297229_o.jpg" data-mid="6570921" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/9780345439109.jpg" width="286" height="429" width_o="286" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780345439109_o.jpg" data-mid="6570922" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/9780345500885.jpg" width="278" height="429" width_o="278" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780345500885_o.jpg" data-mid="6570923" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/9780812973549.jpg" width="278" height="429" width_o="278" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780812973549_o.jpg" data-mid="6570924" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/9781400061990.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9781400061990_o.jpg" data-mid="6570926" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/Bracken_IHateToCook_lo.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Bracken_IHateToCook_lo_o.jpg" data-mid="6570928" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/dunn_dontyouforget_72.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/dunn_dontyouforget_72_o.jpg" data-mid="6570929" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/Dunn_Tattoo_rev2final.jpg" width="278" height="429" width_o="278" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Dunn_Tattoo_rev2final_o.jpg" data-mid="6570931" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/Groucho_letters.jpg" width="279" height="429" width_o="279" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Groucho_letters_o.jpg" data-mid="6570932" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/HellsHorizon.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/HellsHorizon_o.jpg" data-mid="6570933" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/image.jpg" width="242" height="364" width_o="242" height_o="364" src_o="http://payload.cargocollective.com/1/0/573/44677/image_o.jpg" data-mid="6570934" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0451_fnl_lo.jpg" width="304" height="429" width_o="304" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0451_fnl_lo_o.jpg" data-mid="6570935" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0469_fnl_lo.jpg" width="325" height="429" width_o="325" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/IMG_0469_fnl_lo_o.jpg" data-mid="6570936" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/Lombardo_2Arms.jpg" width="288" height="429" width_o="288" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Lombardo_2Arms_o.jpg" data-mid="6570937" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/MapofIreland.jpg" width="268" height="429" width_o="268" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/MapofIreland_o.jpg" data-mid="6570938" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/motherhood.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/motherhood_o.jpg" data-mid="6570939" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/OurDailyMeds_72.jpg" width="288" height="429" width_o="288" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/OurDailyMeds_72_o.jpg" data-mid="6570940" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/44677/whitepeople.jpg" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/whitepeople_o.jpg" data-mid="6570942" border="0" align="left"/> Please visit www.catherinecasalino.com to see even more of her work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> 4.25.11 // Ian said:I Wonderful. I've always been curious how Casalino came upon the brilliantly simple and powerful solution for The Act of Love—another post. Pulling this off effectively in PS would have been a process just as grueling as shooting it all—and you still would miss some of the fine nuances... Great post. <img src="http://faceoutbooks.com/media/13552/rule.jpg" margin=0px; /> Procession of the Dead Author: Darren Shan Designer: Catherine Casalino Publisher: Grand Central Publishing Typeface: The title and author type are shadows cast... http://faceoutbooks.com/Stuff http://faceoutbooks.com/following/faceoutbooks.com/Stuff Mon, 04 Apr 2011 18:46:50 +0000 Faceout Books 1160257 <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff1_2.jpg" width="670" height="863" width_o="670" height_o="863" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff1_2_o.jpg" data-mid="6126907" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff_NEW_no2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff_NEW_no2_o.jpg" data-mid="6127157" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/Stuff_4_20.jpg" width="670" height="486" width_o="670" height_o="486" src_o="http://payload.cargocollective.com/1/0/573/1160257/Stuff_4_20_o.jpg" data-mid="6106215" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff4_5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff4_5_o.jpg" data-mid="6126910" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff5.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff5_o.jpg" data-mid="6126913" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/IMG_0595(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/IMG_0595(s)_o.jpg" data-mid="6106204" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/IMG_0601(s).jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/IMG_0601(s)_o.jpg" data-mid="6106207" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff8.jpg" width="670" height="865" width_o="670" height_o="865" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff8_o.jpg" data-mid="6126918" border="0" align="left"/> Stuff Author: Randy O. Frost & Gail Steketee Designer: Patrick Barry Publisher: Houghton Mifflin Harcourt Specials: 4-color process on coated stock with gritty matte and spot gloss on the title This cover amazes me everytime I look at it. Thank you, Patrick for sharing. —Charles Brock How did you become a book cover designer? I have a lot of interests. In school I never considered working solely in publishing as a design option. When I graduated I had one book cover in my portfolio, along with several posters, some packaging, an identity, a website, a coffee table . . . I wasn't exactly sure what I wanted to be doing. I just wanted to work. Happily, I met Michaela Sullivan who hired me as an associate designer at Houghton Mifflin. I worked my way up from there, and now I'm a jacket designer who also does some interiors. What do you enjoy about your job? The designers I work with are consistently inspiring. I cherish working in print, and it's like Christmas every time something comes back from production. Also, we have a minimum of seven surprise fake birthday parties a year. So on any given day, it might be your birthday party. You just never know.  What is Stuff about? Stuff is a psychology book about compulsive hoarding. If you've seen the television shows on the subject, you may feel compelled to throw away everything you own. Can you tell us a little about your process on Stuff? After researching photos from real-life hoarding situations, I realized that it would be super easy to make a frightening book cover that no one would want to pick up. Illustration seemed like an appropriate method to discuss the darkness of the content, while presenting it in an approachable way. The title is so short and intriguing, and I had been spending much of my time thinking about hoarding (hoarding type, layering things, piles, and making a complete mess), I imagined there could be a clever way to marry type and image. The idea behind the current cover was one of my initial ideas, though its first incarnation was less than successful. There was this tower that said "Stuff," and then there was a jumble of objects sticking to it. In the first jacket meeting I defended the design and the rationale behind it (which I think is important, even if you're wrong). The marketing side liked the iconic value of the title, but not the gratuitous decoration getting in the way (it's important to recognize when you're wrong). I went back to my desk and blended two ideas together: the iconic 3D type and the layered effect from another comp. With some valuable feedback the problem was solved, but it was only after a lot of mechanical labor (and french press) that it would be completed. Each color space is a painted brush stroke, and the strata lines were tweaked individually with the shifting perspective. Alternate designs <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff1.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff1_o.jpg" data-mid="5582678" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff4.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff4_o.jpg" data-mid="5582686" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff3.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff3_o.jpg" data-mid="5582683" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/stuff2.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff2_o.jpg" data-mid="5582680" border="0" align="left"/> More work by Patrick Barry. <img src="http://payload.cargocollective.com/1/0/573/1160257/Torres_ANIMALS_HJ.jpg" width="414" height="666" width_o="414" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/Torres_ANIMALS_HJ_o.jpg" data-mid="5582725" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/Grotz_NEEDLE.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/Grotz_NEEDLE_o.jpg" data-mid="6110038" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/oz-reader_lo.jpg" width="444" height="666" width_o="444" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/oz-reader_lo_o.jpg" data-mid="5582730" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/epstein-loveSong_lo.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/epstein-loveSong_lo_o.jpg" data-mid="5582759" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/Bakopoulos-AmericanUnhappiness_LoRes.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/Bakopoulos-AmericanUnhappiness_LoRes_o.jpg" data-mid="5582754" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1160257/box1.jpg" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/box1_o.jpg" data-mid="5582758" border="0" align="left"/> Please visit Patrick's Design Related portfolio to see even more of his work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> Stuff Author: Randy O. Frost & Gail Steketee Designer: Patrick Barry Publisher: Houghton Mifflin Harcourt Specials: 4-color process on coated stock with gritty... http://faceoutbooks.com/New-Yorker-Stories http://faceoutbooks.com/following/faceoutbooks.com/New-Yorker-Stories Mon, 21 Mar 2011 10:30:13 +0000 Faceout Books 1159462 <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0416.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0416_o.jpg" data-mid="5579474" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0421_17.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0421_17_o.jpg" data-mid="5579755" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0413.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0413_o.jpg" data-mid="5579472" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0415.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0415_o.jpg" data-mid="5579473" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0406.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0406_o.jpg" data-mid="5579470" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0419.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0419_o.jpg" data-mid="5579476" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0425.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0425_o.jpg" data-mid="5579479" border="0" align="left"/> The New Yorker Stories Author: Ann Beattie Designer: Jason Heuer Publisher: Scribner Typeface: ITC Serif Gothic Light Specials: Double hit of PMS 185, deboss on type and graphics, soft-touch finish This is such a beautiful book and to hold it adds so much to the experience. Thank you, Jason for sharing. —Charles Brock How did you become a book cover designer? I was a double major in Design and Advertising at School of Visual Arts (attending after a previous career in offset web printing) when my teacher John Fulbrook III offered me an internship at Simon & Schuster for the summer before my senior year. When I started my last year at SVA my design teachers said I should drop advertising and become a designer and my advertising potfolio teachers said I shouldn’t bother with design and go into advertising. In October my funds were running low already so I called Jackie Seow, the Creative VP of Simon & Schuster, to ask for freelance and she said I should just come work for them full time. It was a relief to have a job before graduating. It was then I fell in love with publishing and didn’t pursue advertising after graduation. What do you enjoy about your job? I enjoy the variety of cover design, how each cover needs a different approach from the previous. That and collaborating with photographers, illustrators, and typographers to help answer the question that a blank cover poses. What is The New Yorker Stories about? The book is a collection of Ann Beattie’s short stories published in the New Yorker magazine from 1974 to 2006. About the process. When Rex Bonomelli assigned the project to me he said they were looking for a big, all type, yet literary solution. This was what I came up with in the first round, with some color and ornamental variations. Everyone liked it immediately, which doesn’t make for a good story, but it did get me the cover assignment for her next book, Mrs. Nixon, a fictional account of Pat Nixon’s life. When they showed Mrs. Nixon to the author she responded that she had never liked any of her covers previously in her 30 plus year career but she loved this one, and it really captured her story through the design. So I guess she didn’t like The New Yorker Stories as much, and didn’t know that I had designed both. Which I found pretty humorous. Alternate designs. <img src="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE2_22.jpg" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE2_22_o.jpg" data-mid="5779268" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE3_23.jpg" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE3_23_o.jpg" data-mid="5779269" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE4_24.jpg" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE4_24_o.jpg" data-mid="5779270" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/573/1159462/AB_PN_lo.jpg" width="501" height="750" width_o="501" height_o="750" src_o="http://payload.cargocollective.com/1/0/573/1159462/AB_PN_lo_o.jpg" data-mid="5578448" border="0" align="left"/> What’s something unique you learned while working on this project? Just that simple design and good color can still attract attention, I received inquiries from other cover designers asking about the font or how I got the color. I let them know it was just a double hit of the red with soft touch finish. Nothing too crazy. More work by Jason Heuer. <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.28.27 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.28.27 AM_o.png" data-mid="5578671" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.13 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.13 AM_o.png" data-mid="5578674" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.42 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.42 AM_o.png" data-mid="5578677" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.25 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.25 AM_o.png" data-mid="5578679" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.38 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.38 AM_o.png" data-mid="5578680" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.00 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.00 AM_o.png" data-mid="5578681" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.23 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.23 AM_o.png" data-mid="5578683" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.42 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.42 AM_o.png" data-mid="5578684" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.32.01 AM.png" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.32.01 AM_o.png" data-mid="5578685" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/HOH2.jpg" width="511" height="592" width_o="511" height_o="592" src_o="http://payload.cargocollective.com/1/0/573/1159462/HOH2_o.jpg" data-mid="5779067" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Klosterman bookshelf.jpg" width="670" height="601" width_o="1360" height_o="1220" src_o="http://payload.cargocollective.com/1/0/573/1159462/Klosterman bookshelf_o.jpg" data-mid="5779069" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Miracle Inc..jpg" width="576" height="628" width_o="576" height_o="628" src_o="http://payload.cargocollective.com/1/0/573/1159462/Miracle Inc._o.jpg" data-mid="5779070" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1159462/Nixon3D.jpg" width="511" height="628" width_o="511" height_o="628" src_o="http://payload.cargocollective.com/1/0/573/1159462/Nixon3D_o.jpg" data-mid="5779072" border="0" align="left"/> Please visit www.jasonheuer.com to see even more of Jason's work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> The New Yorker Stories Author: Ann Beattie Designer: Jason Heuer Publisher: Scribner Typeface: ITC Serif Gothic Light Specials: Double hit of PMS 185, deboss on... http://faceoutbooks.com/Down-and-Delirious-in-Mexico-City http://faceoutbooks.com/following/faceoutbooks.com/Down-and-Delirious-in-Mexico-City Tue, 08 Mar 2011 16:57:43 +0000 Faceout Books 1147653 <img src="http://payload.cargocollective.com/1/0/573/1147653/FRONT.jpg" width="670" height="596" width_o="899" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/FRONT_o.jpg" data-mid="5520768" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/SPREAD.jpg" width="670" height="595" width_o="900" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/SPREAD_o.jpg" data-mid="5520776" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/CLOSE_UP.jpg" width="670" height="602" width_o="890" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/CLOSE_UP_o.jpg" data-mid="5520764" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/BACK.jpg" width="670" height="595" width_o="900" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/BACK_o.jpg" data-mid="5520762" border="0" align="left"/> Down and Delirious in Mexico City Author: Daniel Hernandez Designer: Jennifer Heuer Publisher: Scribner Typeface: Berthold City and Gothic No 4 Thank you Jennifer for helping us get up and running again for 2011 with this beautiful cover. —Charles Brock How did you become a book cover designer? Not long after graduating from Pratt in communication design, I began looking to get my foot in the publishing door. Dave Caplan (now at Little, Brown) brought me into the young adult department of HarperCollins. Dave was an awesome mentor and taught me the ropes of basic book design. In that department we had to design the jacket and interior, which is a great way to learn about a book as a whole package. While the team there was wonderful, vampire covers began to lose their luster after about 4 years, so I gearing up to make a move. The team at S&S became my new home (thank you design:related) which gave me the fantastic opportunity to work with all of the talented art directors there. After almost 2 years with S&S, my husband Jed and I hit the Oregon trail. He's spending the year with Wieden+Kennedy12 in Portland, which, in turn launched my freelance career (and I'm loving it!). What do you enjoy about your job? So I pretty much love my job. I love reading, and I love researching. Honestly, design in general—not just book cover design—is a wonderful field that allows me to dip into so many different topics and partially become an expert for a day on something in which I'd never know I'd find an interest. I've read books I would never have picked up and am glad for it. Also, nothing beats freelancing! It can open up my schedule to give me the chance to take classes (just learned how to letterpress!), spend more time in book stores, go to museums and lectures, and work on my own personal projects (right now Jed and I are having a blast making a Pendletons-inspired cut paper piece for an upcoming Portland show!). What is Down and Delirious in Mexico City about? The author is a journalist living in Mexico City taking a look at the new urban youth cultures and the people who love them or sometimes violently hate them. This was directed at a young fresh audience interested in how certain, and sometimes similar subcultures can form and clash in different areas. The author introduces us to the new hyper-emo crowd, a fashion-forward crew, artists and musicians. It's in no way a tour book for the city, so the general direction was to aim in a fresh, modern and somewhat fashion-minded direction. Mexico City is set in a volcanic bowl which means the city can't physically grow outside it's borders. So the density within the city is intense, hot, polluted, and grounds for subcultural strife ready to boil over. Were there any steps taken before starting, and was there a clear working process that led to the final? Any known influences? I began by heading to the library (NYPL has a wonderful picture library and I'm lucky enough to have the Pratt library at my fingertips). I researched mainly aztec art, latin-american catholic art, Day of the Dead ephemera and so on. I also began setting up an online moodboard through Imgspark.com! <img src="http://payload.cargocollective.com/1/0/573/1147653/imgspark.png" width="670" height="425" width_o="982" height_o="623" src_o="http://payload.cargocollective.com/1/0/573/1147653/imgspark_o.png" data-mid="5520820" border="0" align="left"/> I tend to spend at least half of my time writing and sketching. I start by listing out categories within the book, then lists within those categories and see if there's anything interesting that pops out or crosses over(I find this works for fiction and nonfiction alike). It's also just good to get bad ideas and buzz words flushed out of the system so I can ignore their nagging. The final and usually most fluid step is sitting at the computer with sketches to scan and design. Lately I feel like I've been creating a lot more with my hands before I ever start designing on the computer. I tend to find a lot of happy accidents that way, and it slows down the process to allow me to think while I'm making something. For this cover, the final piece uses a cutout aztec-inspired pattern and beneath is an image of a volcano erupting. <img src="http://payload.cargocollective.com/1/0/573/1147653/Illo.jpg" width="670" height="459" width_o="875" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1147653/Illo_o.jpg" data-mid="5520827" border="0" align="left"/> Were there any other solutions outside the final? There were some other versions I was happy with, but being that the direction was to keep it clean and modern, I'm really happy with the way the final turned out. Below is another solution that had the same aztec reference. I ended up illustrating both the skull and then the type banners which had a look pulled from photos friends had taken during their trip to Mexico City (traveling is the best and most fun form of research). <img src="http://payload.cargocollective.com/1/0/573/1147653/ALT_1.jpg" width="407" height="625" width_o="407" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/ALT_1_o.jpg" data-mid="5520805" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/ALT_2.jpg" width="407" height="625" width_o="407" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/ALT_2_o.jpg" data-mid="5520808" border="0" align="left"/> What was the message behind the design? And what's something unique you learned while working on this project? To sum it up, the message from the book was about cultural divides and more specifically those based in an area seeped in ancient history and modern urbanization. It was fascinating to learn about the history, geology, and culture that makes up Mexico City. I basically learned what I always knew; which is to get away from my desk, go to the library, museums, read through fashion magazines and the newspaper, listen to the radio, watch documentaries and observe closely. Oddly enough, I started noticing aztec art, Mexican fashion, latin-american bands and related articles everywhere—pay attention and a specific subject matter will show up wherever you're looking. More work by Jennifer Heuer. <img src="http://payload.cargocollective.com/1/0/573/1147653/65_visibles.jpg" width="405" height="625" width_o="405" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/65_visibles_o.jpg" data-mid="5520834" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/20_carnegie.jpg" width="391" height="550" width_o="391" height_o="550" src_o="http://payload.cargocollective.com/1/0/573/1147653/20_carnegie_o.jpg" data-mid="5520833" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/10Command.jpg" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/10Command_o.jpg" data-mid="5520832" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/69_gena.jpg" width="404" height="625" width_o="404" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/69_gena_o.jpg" data-mid="5520835" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/75_sleepwalk.jpg" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/75_sleepwalk_o.jpg" data-mid="5520837" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/Butterfly.jpg" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/Butterfly_o.jpg" data-mid="5520838" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/CarnegieDigAge.jpg" width="421" height="650" width_o="421" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/1147653/CarnegieDigAge_o.jpg" data-mid="5520839" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/Health 2.jpg" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/Health 2_o.jpg" data-mid="5520840" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/1147653/NewAmHigh 1.jpg" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/NewAmHigh 1_o.jpg" data-mid="5520842" border="0" align="left"/> Please visit http://www.jenniferheuer.com/ to see even more of Jennifer's work. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> Down and Delirious in Mexico City Author: Daniel Hernandez Designer: Jennifer Heuer Publisher: Scribner Typeface: Berthold City and Gothic No 4 Thank you... http://faceoutbooks.com/The-Financial-Lives-of-Poets http://faceoutbooks.com/following/faceoutbooks.com/The-Financial-Lives-of-Poets Wed, 29 Sep 2010 17:40:04 +0000 Faceout Books 668387 <img src="http://payload.cargocollective.com/1/0/573/668387/front.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/668387/front_o.jpg" data-mid="3126278" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/668387/threequarter.jpg" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/668387/threequarter_o.jpg" data-mid="3126280" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/668387/mech.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/mech_o.jpg" data-mid="3126283" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/668387/flap.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/flap_o.jpg" data-mid="3126286" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/573/668387/flap2.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/flap2_o.jpg" data-mid="3126288" border="0" align="left"/> THE FINANCIAL LIVES OF THE POETS Author: THE FINANCIAL LIVES OF THE POETS Author: