http://www.faceoutbooks.com Faceout Books Tue, 24 Jan 2012 17:47:06 +0000 http://www.faceoutbooks.com en http://faceoutbooks.com/2307529 http://faceoutbooks.com/following/faceoutbooks.com/2307529 Tue, 24 Jan 2012 17:47:06 +0000 Faceout Books 2307529 <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_1.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_2.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_3.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_4.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_5.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_6.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_6_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_7.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_7_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_8.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_8_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/Solo_9.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/2307529/Solo_9_o.jpg" 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" border="0" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/apartment_birds_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/bodyform_feather.jpg" border="0" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/bodyform_feather_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/facepuzzle.jpg" border="0" width="670" height="1011" width_o="917" height_o="1385" src_o="http://payload.cargocollective.com/1/0/573/2307529/facepuzzle_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307529/manyeyes.jpg" border="0" width="670" height="1011" width_o="919" height_o="1387" src_o="http://payload.cargocollective.com/1/0/573/2307529/manyeyes_o.jpg" 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; /> http://faceoutbooks.com/An-Object-of-Beauty http://faceoutbooks.com/following/faceoutbooks.com/An-Object-of-Beauty Mon, 12 Dec 2011 16:39:02 +0000 Faceout Books 2307500 <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_1.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_2.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_3.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_4.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_6.jpg" border="0" 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" 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" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/sketches1.jpg" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/sketches2.jpg" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/sketches3.jpg" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/sketches3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/endpaper1.jpg" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/endpaper1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/endpapers2.jpg" border="0" width="650" height="433" width_o="650" height_o="433" src_o="http://payload.cargocollective.com/1/0/573/2307500/endpapers2_o.jpg" 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" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Object of Beauty_5.jpg" border="0" 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" 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" border="0" width="631" height="359" width_o="631" height_o="359" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_1_o.jpeg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_2.jpeg" border="0" width="631" height="353" width_o="631" height_o="353" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_2_o.jpeg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_3.jpeg" border="0" width="631" height="357" width_o="631" height_o="357" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_3_o.jpeg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Letterman_4.jpeg" border="0" width="631" height="356" width_o="631" height_o="356" src_o="http://payload.cargocollective.com/1/0/573/2307500/Letterman_4_o.jpeg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Regis and Kelly.jpeg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Colbert Report.jpeg" border="0" width="631" height="355" width_o="631" height_o="355" src_o="http://payload.cargocollective.com/1/0/573/2307500/Colbert Report_o.jpeg" 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" border="0" width="600" height="600" width_o="600" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/2307500/13_44halonew72_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/12_43jimidarrenbooth.jpg" border="0" width="636" height="600" width_o="636" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/2307500/12_43jimidarrenbooth_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/Bright_Eyes_WEB_700.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/3_10wl72.jpg" border="0" width="579" height="650" width_o="579" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/2307500/3_10wl72_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/2307500/59_truthsite.jpg" border="0" width="465" height="650" width_o="465" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/2307500/59_truthsite_o.jpg" 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; /> http://faceoutbooks.com/Procession-of-the-Dead http://faceoutbooks.com/following/faceoutbooks.com/Procession-of-the-Dead Mon, 25 Apr 2011 15:47:49 +0000 Faceout Books 44677 <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0460(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0462(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0443(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0449(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0464(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0465(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0468(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0466(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0467(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0471(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0474(s).jpg" border="0" 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" 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" border="0" width="670" height="300" width_o="963" height_o="432" src_o="http://payload.cargocollective.com/1/0/573/44677/01wikipedia_research1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/02wikipedia_research2.jpg" border="0" width="432" height="432" width_o="432" height_o="432" src_o="http://payload.cargocollective.com/1/0/573/44677/02wikipedia_research2_o.jpg" 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" border="0" width="432" height="648" width_o="432" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/03firstshoot_setup1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/04firstshoot_setup2.jpg" border="0" width="432" height="648" width_o="432" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/04firstshoot_setup2_o.jpg" 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" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/06finalshoot_setup1.jpg" border="0" width="670" height="446" width_o="972" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/06finalshoot_setup1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/07finalshoot_setup2.jpg" border="0" width="648" height="648" width_o="648" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/07finalshoot_setup2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/08finalcover_front.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/44677/08finalcover_front_o.jpg" 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" border="0" width="670" height="300" width_o="1445" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/09finalcover_wrap_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/10finalprintedbook.jpg" border="0" width="478" height="648" width_o="478" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/10finalprintedbook_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/11finalprintedbook_back.jpg" border="0" width="464" height="648" width_o="464" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/11finalprintedbook_back_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/12linen_paper.jpg" border="0" width="430" height="648" width_o="430" height_o="648" src_o="http://payload.cargocollective.com/1/0/573/44677/12linen_paper_o.jpg" align="left" /> More work by Catherine Casalino. <img src="http://payload.cargocollective.com/1/0/573/44677/01.13PosseQxd.jpg" border="0" width="280" height="429" width_o="280" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/01.13PosseQxd_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/0743296532.jpg" border="0" width="282" height="429" width_o="282" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/0743296532_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/0743297229.jpg" border="0" width="282" height="429" width_o="282" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/0743297229_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/9780345439109.jpg" border="0" width="286" height="429" width_o="286" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780345439109_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/9780345500885.jpg" border="0" width="278" height="429" width_o="278" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780345500885_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/9780812973549.jpg" border="0" width="278" height="429" width_o="278" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9780812973549_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/9781400061990.jpg" border="0" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/9781400061990_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/Bracken_IHateToCook_lo.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/dunn_dontyouforget_72.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/Dunn_Tattoo_rev2final.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/Groucho_letters.jpg" border="0" width="279" height="429" width_o="279" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Groucho_letters_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/HellsHorizon.jpg" border="0" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/HellsHorizon_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/image.jpg" border="0" width="242" height="364" width_o="242" height_o="364" src_o="http://payload.cargocollective.com/1/0/573/44677/image_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0451_fnl_lo.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/IMG_0469_fnl_lo.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/Lombardo_2Arms.jpg" border="0" width="288" height="429" width_o="288" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/Lombardo_2Arms_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/MapofIreland.jpg" border="0" width="268" height="429" width_o="268" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/MapofIreland_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/motherhood.jpg" border="0" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/motherhood_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/OurDailyMeds_72.jpg" border="0" width="288" height="429" width_o="288" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/OurDailyMeds_72_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/44677/whitepeople.jpg" border="0" width="284" height="429" width_o="284" height_o="429" src_o="http://payload.cargocollective.com/1/0/573/44677/whitepeople_o.jpg" 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; /> http://faceoutbooks.com/Stuff http://faceoutbooks.com/following/faceoutbooks.com/Stuff Mon, 04 Apr 2011 23:46:50 +0000 Faceout Books 1160257 <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff1_2.jpg" border="0" width="670" height="863" width_o="670" height_o="863" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff1_2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff_NEW_no2.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/Stuff_4_20.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff4_5.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff4_5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff5.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/IMG_0595(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/IMG_0601(s).jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff8.jpg" border="0" width="670" height="865" width_o="670" height_o="865" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff8_o.jpg" 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" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff4.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff3.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/stuff2.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/stuff2_o.jpg" align="left" /> More work by Patrick Barry. <img src="http://payload.cargocollective.com/1/0/573/1160257/Torres_ANIMALS_HJ.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/Grotz_NEEDLE.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/Grotz_NEEDLE_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/oz-reader_lo.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/epstein-loveSong_lo.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/Bakopoulos-AmericanUnhappiness_LoRes.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1160257/box1.jpg" border="0" width="441" height="666" width_o="441" height_o="666" src_o="http://payload.cargocollective.com/1/0/573/1160257/box1_o.jpg" 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; /> http://faceoutbooks.com/New-Yorker-Stories http://faceoutbooks.com/following/faceoutbooks.com/New-Yorker-Stories Mon, 21 Mar 2011 15:30:13 +0000 Faceout Books 1159462 <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0416.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0416_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0421_17.jpg" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0413.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0413_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0415.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0415_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0406.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0406_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0419.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0419_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/IMG_0425.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/1159462/IMG_0425_o.jpg" 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" border="0" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE2_22_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE3_23.jpg" border="0" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE3_23_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE4_24.jpg" border="0" width="501" height="761" width_o="501" height_o="761" src_o="http://payload.cargocollective.com/1/0/573/1159462/BEATTIE4_24_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/AB_PN_lo.jpg" border="0" 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" 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" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.13 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.29.42 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.25 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.30.38 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.00 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.23 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.31.42 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Screen shot 2011-03-11 at 9.32.01 AM.png" border="0" 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" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/HOH2.jpg" border="0" width="511" height="592" width_o="511" height_o="592" src_o="http://payload.cargocollective.com/1/0/573/1159462/HOH2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Klosterman bookshelf.jpg" border="0" width="670" height="601" width_o="1360" height_o="1220" src_o="http://payload.cargocollective.com/1/0/573/1159462/Klosterman bookshelf_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Miracle Inc..jpg" border="0" width="576" height="628" width_o="576" height_o="628" src_o="http://payload.cargocollective.com/1/0/573/1159462/Miracle Inc._o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1159462/Nixon3D.jpg" border="0" width="511" height="628" width_o="511" height_o="628" src_o="http://payload.cargocollective.com/1/0/573/1159462/Nixon3D_o.jpg" 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; /> 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 22:57:43 +0000 Faceout Books 1147653 <img src="http://payload.cargocollective.com/1/0/573/1147653/FRONT.jpg" border="0" width="670" height="596" width_o="899" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/FRONT_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/SPREAD.jpg" border="0" width="670" height="595" width_o="900" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/SPREAD_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/CLOSE_UP.jpg" border="0" width="670" height="602" width_o="890" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/CLOSE_UP_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/BACK.jpg" border="0" width="670" height="595" width_o="900" height_o="800" src_o="http://payload.cargocollective.com/1/0/573/1147653/BACK_o.jpg" 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" border="0" width="670" height="425" width_o="982" height_o="623" src_o="http://payload.cargocollective.com/1/0/573/1147653/imgspark_o.png" 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" border="0" width="670" height="459" width_o="875" height_o="600" src_o="http://payload.cargocollective.com/1/0/573/1147653/Illo_o.jpg" 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" border="0" width="407" height="625" width_o="407" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/ALT_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/ALT_2.jpg" border="0" width="407" height="625" width_o="407" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/ALT_2_o.jpg" 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" border="0" width="405" height="625" width_o="405" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/65_visibles_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/20_carnegie.jpg" border="0" width="391" height="550" width_o="391" height_o="550" src_o="http://payload.cargocollective.com/1/0/573/1147653/20_carnegie_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/10Command.jpg" border="0" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/10Command_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/69_gena.jpg" border="0" width="404" height="625" width_o="404" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/69_gena_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/75_sleepwalk.jpg" border="0" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/75_sleepwalk_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/Butterfly.jpg" border="0" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/Butterfly_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/CarnegieDigAge.jpg" border="0" width="421" height="650" width_o="421" height_o="650" src_o="http://payload.cargocollective.com/1/0/573/1147653/CarnegieDigAge_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/Health 2.jpg" border="0" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/Health 2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/1147653/NewAmHigh 1.jpg" border="0" width="417" height="625" width_o="417" height_o="625" src_o="http://payload.cargocollective.com/1/0/573/1147653/NewAmHigh 1_o.jpg" 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; /> http://faceoutbooks.com/The-Financial-Lives-of-Poets http://faceoutbooks.com/following/faceoutbooks.com/The-Financial-Lives-of-Poets Wed, 29 Sep 2010 22:40:04 +0000 Faceout Books 668387 <img src="http://payload.cargocollective.com/1/0/573/668387/front.jpg" border="0" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/668387/front_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/668387/threequarter.jpg" border="0" width="480" height="729" width_o="480" height_o="729" src_o="http://payload.cargocollective.com/1/0/573/668387/threequarter_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/668387/mech.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/mech_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/668387/flap.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/flap_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/668387/flap2.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/573/668387/flap2_o.jpg" align="left" /> THE FINANCIAL LIVES OF THE POETS Author: http://faceoutbooks.com/30th-Anniversary-Hitchhiker-s-Series http://faceoutbooks.com/following/faceoutbooks.com/30th-Anniversary-Hitchhiker-s-Series Tue, 14 Sep 2010 19:04:19 +0000 Faceout Books 634024 <img src="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_allbooks.jpg" border="0" width="660" height="439" width_o="660" height_o="439" src_o="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_allbooks_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_stickers_01.jpg" border="0" width="660" height="439" width_o="660" height_o="439" src_o="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_stickers_01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_stickers_02.jpg" border="0" width="660" height="439" width_o="660" height_o="439" src_o="http://payload.cargocollective.com/1/0/573/634024/RS HHGG_stickers_02_o.jpg" align="left" /> 30th Anniversary Douglas Adams Hitchhikers Series Author: Douglas Adams Art Direction: Carl Rush Designer: Chris Pelling from Crush Creative Illustration: Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> http://faceoutbooks.com/You-re-a-Horrible-Person-But-I-Like-You http://faceoutbooks.com/following/faceoutbooks.com/You-re-a-Horrible-Person-But-I-Like-You Mon, 23 Aug 2010 21:28:19 +0000 Faceout Books 582344 <img src="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 1.jpg" border="0" width="670" height="486" width_o="670" height_o="486" src_o="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 2.jpg" border="0" width="670" height="486" width_o="670" height_o="486" src_o="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 3.jpg" border="0" width="670" height="486" width_o="670" height_o="486" src_o="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 4.jpg" border="0" width="670" height="486" width_o="670" height_o="486" src_o="http://payload.cargocollective.com/1/0/573/582344/Horrible Person 4_o.jpg" align="left" /> final <img src="http://payload.cargocollective.com/1/0/573/582344/Sketches-1.jpg" border="0" width="427" height="640" width_o="427" height_o="640" src_o="http://payload.cargocollective.com/1/0/573/582344/Sketches-1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Sketches-2.jpg" border="0" width="427" height="640" width_o="427" height_o="640" src_o="http://payload.cargocollective.com/1/0/573/582344/Sketches-2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Sketches-3.jpg" border="0" width="427" height="640" width_o="427" height_o="640" src_o="http://payload.cargocollective.com/1/0/573/582344/Sketches-3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Sketches-4.jpg" border="0" width="427" height="640" width_o="427" height_o="640" src_o="http://payload.cargocollective.com/1/0/573/582344/Sketches-4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/582344/Sketches-5.jpg" border="0" width="427" height="640" width_o="427" height_o="640" src_o="http://payload.cargocollective.com/1/0/573/582344/Sketches-5_o.jpg" align="left" /> sketches You're a Horrible Person, But I Like You Designer: Christopher King Publisher: Vintage Typeface: Clarendon Art Director: John Gall Beautiful cover. Thanks for participating Christopher! —Charles Brock How did you become a book cover designer? Since I'm a librarian's kid and I grew up surrounded with books, sometimes it seems like it was fated to be. But I really discovered my own love for literature when I went off to school, where I studied English along with my concentration in graphic design. Although the notion of working in publishing had been knocking around in my brain for a while, it wasn't until I was, improbably, asked to intern with Rodrigo Corral that the idea firmly took root and I decided to devote myself to it. The incredible work that was coming out of the studio while I was there—not only from Rodrigo, who'd designed several of my favorite books, but also from some of the other great talents working in design today, Jason Ramirez, Chris Brand, and Ben Wiseman—it was a huge inspiration, and they all still make me feel like giving up on a regular basis. What is the book's audience? This was a fun project for any number of reasons, not least of which was John's smart direction, but I was especially excited to work on it because it meant appealing to the readers of The Believer magazine—people who like their highbrow literary criticism mixed with a healthy dose of comics and boner jokes. The book is a collection of articles from Sedaratives, a sort of twisted advice column created by Amy Sedaris and written by an array of the world's funniest performers, writers and comedians. Even the title is brilliant, and one of the greatest challenges was to create a cover that amplified its meaning without merely illustrating it. I saw a great opportunity to do something cerebral, a cover that didn't have to be quite so direct and immediate. Was there a clear working process that led to the final? The process was pretty smooth from start to finish, and was mainly about finding the right tone for the cover to match the humor of the book. Looking back on my initial sketches, several of my ideas were either too complicated and obscure or too simple and straightforward, and it took a little time to find the right balance. I was most enthusiastic about the idea of a hand holding out a bouquet of dead roses. We were on a tight schedule, and I spent much of an anxious Saturday trying to find dead flowers, much to the horror of the florists in my neighborhood. I finally found the perfect bunch of dried roses at a Michael's outlet in Queens, quickly shot a mock-up of the cover, and added lettering to finish it out. Although I still like this idea, in the end I think it was too straightforward an illustration of the title—it didn't add anything new—and it wouldn't appeal aesthetically to people who read the magazine. John saw potential in the banana cover, but the joke was too obscure. I'd intended it as a winking allusion to a particular column by Martha Plimpton offering advice for women who want to attract men (the book's title comes from the same column), but no one was making the connection, and on reflection I realized I didn't totally get the joke I was making either. John asked me to rethink this layout with a new image, and after a couple days spent hitting my head against the wall trying to shake something loose, at the last minute I hit on the idea of a rag soaked in chloroform. Not having any handy, I drew up a quick two-color treatment and sent it off with fingers crossed. Miraculously, this version clicked with everyone at The Believer and the cover made it through with just a few tweaks to the type. I still can't exactly explain why the gag works, but I think there's a push and pull between the title and illustration, each transforming the other's meaning, that gives the cover depth. Of course, any cover is a collaborative effort and I can't take all the credit—I'm greatly indebted to John Gall (a real American hero!) and everyone at Vintage, as well the brilliant people at The Believer, for getting behind this idea and seeing it through. I loved working on this project and I can only hope my cover does justice to the writing inside. Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> http://faceoutbooks.com/Glover-s-Mistake http://faceoutbooks.com/following/faceoutbooks.com/Glover-s-Mistake Tue, 27 Jul 2010 17:42:19 +0000 Faceout Books 522333 Final Hardcover and Paperback designs <img src="http://payload.cargocollective.com/1/0/573/522333/Glovers Mistake_HARDCOVER.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/Glovers Mistake_HARDCOVER_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/GloversMistake_PBK.jpg" border="0" width="426" height="652" width_o="426" height_o="652" src_o="http://payload.cargocollective.com/1/0/573/522333/GloversMistake_PBK_o.jpg" align="left" /> Glover's Mistake Author: Nick Laird Designer: Christopher Brand Publisher: Penguin Genre: Fiction Typeface: Hand lettering Illustration for hardcover: David Johnson Illustration for paperback: Janet Hansen I'm a fan of both the paperback and the hardcover design's for Glover's Mistake as well as a fan of all Chistopher's work. A big thanks to Christopher for taking the time to share —Charles How did you get into book design? I had the idea that I wanted to get into designing book covers when I was still in school. I studied at The School of Visual Arts and while I was there I took an independent study with John Fulbrook III. He was the art director at Scribner at the time and my class with him focused on designing book covers. I also had two internships senior year that introduced me a little more to the world of publishing. One was at The Office of Paul Sahre and the other was at FSG. When I graduated I was lucky enough to find a position at Rodrigo Corral Design. I stayed there for a year and a half and went on to spend some time at Penguin Books and now I'm currently working as a freelancer. What is Glover's Mistake about? David Pinner bumps into his former teacher Ruth Marks, a beautiful and famous American artist. He develops a crush on her but Ruth falls for Glover (David's younger, cooler, and better looking roommate). This sets off a love triangle packed with tension, guilt, and heartbreak. Can you share a little about your process? For the hardcover, I worked with illustrator David Johnson. We were trying to find a way to show the interaction between the characters so David worked out a few sketches with the three of them at an art gallery. After he sent me these pencil drawings I got the idea to chop them up and create a grid out of different situations that the characters could be in. By repeating them over and over you could start to see the back and forth of their relationships. Hardcover sketches <img src="http://payload.cargocollective.com/1/0/573/522333/Glovers Mistake_HARDCOVER.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/Glovers Mistake_HARDCOVER_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/cover sketch 1.jpg" border="0" width="426" height="578" width_o="426" height_o="578" src_o="http://payload.cargocollective.com/1/0/573/522333/cover sketch 1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/cover sketch 2.jpg" border="0" width="426" height="574" width_o="426" height_o="574" src_o="http://payload.cargocollective.com/1/0/573/522333/cover sketch 2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/Yellow_Sketch.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/Yellow_Sketch_o.jpg" align="left" /> The editor, publisher and author all liked this idea, but they didn't like the bright colors that we presented it in. After the first meeting we spent a lot of time looking at different color variations and we finally ended up with this dark green. These are a few of the many other color combinations that we presented. Color options<img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-1.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-2.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-3.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-4.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-5.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-6.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-6_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-7.jpg" border="0" width="426" height="643" width_o="426" height_o="643" src_o="http://payload.cargocollective.com/1/0/573/522333/HARDCOVER_colors-7_o.jpg" align="left" /> When it came time for the paperback version of this book, the publisher wanted to see something that was a little more humorous. With the help of illustrator Janet Hansen (who also happens to be my girlfriend) we came up with a few new ideas. The new illustrations were just of the characters faces instead of their entire bodies and we tried to make everything a bit more wonky and fun. I tried a version with a giant X to cross out the the character who loses the girl to his roommate, but we ended up with a cover that is pretty similar to the hardcover. Rejected design <img src="http://payload.cargocollective.com/1/0/573/522333/REJECT_GloversMistake.jpg" border="0" width="426" height="652" width_o="426" height_o="652" src_o="http://payload.cargocollective.com/1/0/573/522333/REJECT_GloversMistake_o.jpg" align="left" /> Final Paperback design <img src="http://payload.cargocollective.com/1/0/573/522333/GloversMistake_PBK.jpg" border="0" width="426" height="652" width_o="426" height_o="652" src_o="http://payload.cargocollective.com/1/0/573/522333/GloversMistake_PBK_o.jpg" align="left" /> Add Comment<img src="http://faceoutbooks.com/media/53383/rule_all_o.jpg" margin=0px; /> 7.27.10 // Charlotte Strick said:Love these Chris! Great work. <img src="http://faceoutbooks.com/media/13552/rule.jpg" margin=0px; /> 7.27.10 // Ian S. said:Dipping into Penguin 75 are we? Great cover. Love the lightness of the illios and the final color option. PB colors shout nicely too. Is it possible to shout nicely? Yes, Yes it is... <img src="http://faceoutbooks.com/media/13552/rule.jpg" margin=0px; />