Interview with Jim Kay

Jim Kay is an illustrator who has produced wonderful mainly black-and-white designs for children's books, such as The Monster Calls. 

1: Due to the recent rise in digital publishing do you think the physical book is losing popularity?

Not in children's books. We talk about this a lot. Oddly it seems to make publishers far more aware of what makes a physical book appealing, and they have been pushing some books down the tactile route with some higher production value books. So for example, look at what Templar is doing with its 'Ology' series, which are books very much celebrating the nineteenth century compendiums, using hardback boards, with foils, spot varnishes, jewel encrusted covers and a high illustrations to text ratio. Also a number or publishers have released sort of 'collectors items' books, so high production, expensive retellings of classic stories (again, Templar are masters at this, see Dracula). At the same time these publishers have been using multimedia to promote and augment these books. Templar again provide good examples, the Ology series has a strong online commitment, and the books themselves have been quite groundbreaking in using 'augmented reality' software (see Dragonology). A Monster Calls was very much designed as a physical object, but was promoted online using animated commercials.

2: How does this affect your design? Does it influence your approach to designing the physical book?

It does effect your design, because it is instrumental in your efforts to do the text justice. You want to complement the story to the best of your abilities in the format you are commissioned to illustrate in. You have to get a handle on the format before you can start, as you need to know the limitations of the mechanics of the book, and of the printing methods being employed.

3: Would you find the front cover of a digital book more limiting to design for?

Not really, in fact there would be far fewer problems because a digital book is backlit, and this would do my darker illustrations far more justice than the printed versions. A Monster Calls has been a bit of a headache for a number of publishers, getting the dark tones correct. I get a bit peeved when publishers see a dark illustration and immediately turn up the contrast so they can see everything....some things aren't meant to be seen!

4: In contrast to the digital copy, a book is 3D. Do you use this to your advantage in your design?

Yes, there is definitely a conscious decision about the design of a tactile object. The art director is hugely important at this stage. A lot of A Monster Calls design and appearance is down to Ben Norland, who is a brilliant art director.

5: Are you interested in the Gothic genre of literature? Is it an interesting genre to design for?

I suffer from bipolar disorder, which has been life changing, and looking back I think it made me search for stories that addressed the darker aspects of the human condition. The gothic genre is quite a broad spectrum, but certainly I'd say many of my favourite yarns, films, music, artworks would fall within its shades. It was mostly because I felt that the cheerful boys adventure stories just had no connection to my experiences. Same with music, I tend to gravitate to things that deal  with the darker, grubbier side of the human condition. I hated most of the pop music my friends listened to in the sixth form. As someone once sang "It says nothing to me about my life".

6: Do you think your individual techniques and the medium you use compliment the Gothic genre?

I tend to change technique to fit the brief....believe me I have done some pretty saccharine stuff before for people like mothercare. I do however, tend to think in black and white, which helps. I think it's all about what you don't see, than what you do. If you look at Ridley Scott's first Alien film, you hardly see the alien, which makes it more frightening than the later versions when they are fully rendered in CG. When I was young I was really influenced by the artist Ian Miller, who you should check out, he's now a good friend of mine. I was also influenced by the Czech animator Jan Svankmajer, in particular his film Alice, which is amazing

7: How do you transfer your hand-drawn illustrations to a graphical format? Do you think any effect is lost through this?

Do you mean how do I go from drawing board to screen? Well scanning, and yes, you inevitably lose something. 

8: Do you have an agent who helps you find work for book design?

Yes, she is amazing. More importantly she has become a good friend and hugely supportive, which is vital for a business that can be very solitary. Her name is Alison Eldred, she is extremely well connected as she used to run Arena. She is sort of semi retired now.

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I pleased I decided to interview Jim Kay - not only because he was friendly and helpful and provided some great insight - but also because it was interesting to see the perspective of a children's book designer.  I found it particularly interesting to find out that the colours of a digital book would actually compliment Kay's design more. However, he did mention the same thing that Joe McLaren did: "Oddly it seems to make publishers far more aware of what makes a physical book appealing, and they have been pushing some books down the tactile route with some higher production value books."

Interview with Joe McLaren

One of my all-time favourite illustrators, Joe McLaren, has designed book covers for Hodder Headline and Portobello, while he also produces handmade picture books. He has designed for a range of gothic classics, including Jane Eyre and Wuthering Heights, and his unique, colour-constrasting designs immediately caught my eye when browsing a bookstore. 

 

I got in touch with him through email and he was nice enough to reply, to which I was very excited.

 

1: Due to the recent rise in digital publishing do you think the physical book is losing popularity?

In a way, that's probably true, but I'd rephrase it. I think it isn't losing popularity as much as it's losing proliferation. There will, inevitably, be fewer physical books around in the future, but that will mean that the ones that are produced will be more highly prized. The same is true of the horse- there were far more horses around 100 years ago; it was the only way to move stuff around. There are now far fewer horses, but those that are about are kept in relative luxury and highly prized as expensive, desirable commodities. The book, like the horse and the Polaroid camera will find a new, more select audience more interested in essence than utility.

2: How does this affect your design? Does it influence your approach to designing the physical book?

Around half of the commissions I receive for book cover design now are for 'luxury hardback' editions of previously published books. Typically these will be bought as gifts, or by people who have a great fondness for the book in question and want to dignify it with a special purchase. Those commissions tend to revel in textures, materials and processes associated with 'traditional' book design- foil printing, registers, belly-bands etc;  all of which fetishise the book as an object, and none of which really serve the content in a physical way. This suits me- I resonate with tradition, and find that it often gives the greatest scope for playfulness in a subtle way. I also understand the concept of wanting to house a precious book in a precious case. That said, I reacted with initial hostility to the appearance of the eBook- I have a house full of thousands of books, and I suppose I felt in some way that I had an emotional investment in physical literature that I didn't want to see threatened, but that's nonsense. Ebooks are here to stay, and for the most part, that's an excellent thing. More people will read more things, and people can self-publish with far less difficulty and financial risk, which I think is a fine thing. It may mean that book illustration as an industry wanes, but then it always has waned and waxed- for hundreds of years.

3: Would you find digital books more limiting to design for?

Yes, and that's fine. It's a mistake to think of limitations on design as a bad thing. My creativity is always excited most by a very restrictive brief. An 'L' shaped illustration for an article about incontinence that needs to be both amusing and sympathetic, and needs to go to print at 3pm today is a far more demanding and exciting brief to me than an illustration about 'love' with no direction that can be done any time before Christmas. Where would you start? On the other hand, any limitations imposed by digital books will be outweighed by new freedoms and possibilities. I'm already having to engage with briefs that demand illustrations that move slightly, almost unnoticed. Imagine reading a horror story on an iPad late at night, and suddenly the curtain in a small illustration which you've barely looked at for the last three minutes flutters in the wind quite unexpectedly- wonderful stuff!

4: In contrast to the digital copy, a book is 3D. Do you use this to your advantage in your design?

It's always a consideration- particularly in the field of luxury hardbacks. If you want customers to choose such a book over an eBook, then you need to play up all the things which an eBook can't offer- the paper needs to smell good, the cover  can  be debossed and foiled, it should crack open satisfyingly when you first open it. Having said that, I think a Kindle is an equally nourishing thing aesthetically.

5: Are you interested in the gothic genre of literature? Do you find it an interesting genre to design for?

It certainly chimes with my personal tastes- I have a great appetite for horror and anything Victorian in particular. In a way it can be very difficult to illustrate for something you already feel very attached to. I'm currently illustrating covers for a series of fantasy books I've loved since childhood and it's tremendously difficult to actually make decisions and self-edit with material that feels so close to you, in much the same way that it's easier to draw a caricature of your teacher than of yourself- you've lost the necessary objectivity needed to simplify the information.

6: Do you think your individual techniques and the medium you use compliment the Gothic genre?

I often play with imagery and techniques which reference the past, and I often use techniques which necessarily produce stark contrast of light and darkness- all of which finds sympathy in Gothic literature I suppose.

7: How do you transfer your illustrations to a graphical format? Do you think any effect is lost through this?

I always start a piece of work with the final product in mind. Drawings and other physical artwork do lose something when scanned into a computer, but they gain something new at the other end of the process. I typically use scraperboard, which gives high contrast and very clear lines. Digitising the image actually serves to improve those qualities. There is something more intangible lost when you make a physical object into a digital file, but illustration is concerned with communication and the image itself, not the preciousness of the original- that's a concept that belongs to fine art.

8: Does designing a cover for a classic book have its drawbacks?

You have a set of presumptions to counter, but the advantages outweigh this- you can be more oblique and playful with a book everyone thinks they know.

9: How do you use your design to interest the modern audience in a classic book?

The challenge is to interpret something very familiar and established for an audience who is familiar with it. I try and find some aspect of the atmosphere of the book, and hint at the story obliquely, which flatters a certain audience I think.

10: Do you always read the book you're designing for?

Yes, whenever the manuscript is available. Very occasionally the book is unfinished when I create the cover. I usually find an unabridged audiobook, which means I can get through it while running or washing up. I also use a computer programme which converts PDF manuscripts into audiobooks. These sound a bit robotic as you might imagine, but I simply wouldn't have time to get through every book for every cover otherwise. I would hate to be an author and to think that the person who is going to represent my life's work to the customer hasn't even bothered to read it himself.

11: Do you have an agent who helps you find work for book design?

No, not at the moment. I get work through word of mouth, and from people who have seen other covers I have done.

12: Wuthering Heights and Jane Eyre are a very famous stories. Did you find it difficult to break the expectations people could have of these books and how their design should look? How did this affect your design?

Other than bearing in mind that the audience will have a level of familiarity with the title, if not the story, I find it best to treat illustrating them like any other book. Trying to respond in some way to hundreds of years of established ideas about those books would be impossible- better to ignore it, and hope that works!

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I have highlighted sections that deal particularly with the physical book and the ebook. I found Joe McLaren's insight extremely interesting. He made it clear that, to make the most of the physical book, designers should revel in textures: "foil printing, registers, belly-bands etc;  all of which fetishise the book as an object, and none of which really serve the content in a physical way", while he also said that ebooks were not necessarily a bad thing, as they encourage more people to read. 

Texture & Morgan Swain

Texture can also play into making the most of the physical book. For example, spot gloss can enhance a particular part of your design - and perhaps the shininess would attract the viewer! The physical book can be picked up and handled, so designers can make the most of that by introducing textures into their designs, encouraging the viewer to pick up the book for a closer look and feel.
 

Morgan Swain's suggested redesigns for classic Roald Dahl books reconfirm this theory. She makes use of the book's cover by giving them the appearance of a physical object. George's Marvellous Medicine looks like a medicine container, with the introduction of a prescription label and the shiny, green texture of a plastic bottle. This texture particularly stands out to me from Swain's collection. The book is so glossy that it catches the light and shines. Already I want to hold the book, to work out its texture and what technique has been used to achieve this appearance. The hand-drawn typography across the label also adds a carefree stroke to the cover.

James and the Giant Peach, meanwhile, resembles the appearance of – you've guessed it – a peach! The orange and gold colouring of the cover adds a fuzzy texture that neatly resembles that of a peach. I could find no further information regarding how these books have been produced and have to wonder if a texture has been used or if the peach colouring is in fact matt. It seems to me that when you hold it the book it would be as fuzzy as a peach. However, I can see that a spot gloss has been used to reinforce the appearance of the peaches' label, cleverly converted to display the title of the book and the author's name. Without this glossy label, the book was certainly appear less like the peach it is trying to mimic.

The next book, Charlie and the Chocolate Factory, seems to be the one with least texture being used, though the shadows of the chocolate wrapper almost give the appearance of a book jacket. I think that could be a wonderful idea – remove the jagged chocolate wrapping book jacket to perhaps reveal the golden ticket beneath? Perhaps the designer could have further made use of the physical book by such a technique. However, this design is still utterly enticing. The typography reveals the era in which the book is set, as does the “packaging” of the chocolate bar. 

To conclude, texture is another selling tool that can be used in book design, especially when it comes to the physical copy of the book. These designs would not be nearly as impressive seen on a screen, for you wouldn't be able to pick them up to feel their unusual textures. 

References: 

http://www.creativereview.co.uk/cr-blog/2013/june/talent-spotters-norwich-ua

http://morganswain.co.uk/

Richie Stewart - Edgar Allen Poe Redesign

Graphic Designer, Richie Stewart, suggested redesigned book covers for the classic poems of Edgar Allen Po. 

Stewart explains, “I wanted the design to reflect his tongue-in-cheek way with words. His themes were very dark and at sometimes too morbid to even read, but he always had a way of conveying them in an almost whimsical, comedic fashion.”

His book covers work with strong concepts and bold, graphical imagery, which immediately grabs the attention of the viewer. I would purchase these books in a heartbeat.

What I also found interesting was the unique presentation of these books, seen below:

Obviously, wrapping a belt around a selection of books – or even one book – could prove to be a very expensive and strange advertising method! However, I did really like the idea of attaching a label to book, or a collection of books, especially if it is to display the collection's name. The label Stewart has designed adds a further level of sophistication to his book covers. The simplistic use of typography, minimal colour scheme and bold image stops the label from shadowing the book covers. It merely adds that extra layer of class and good design. Who wouldn't want to be a book when it has been presented so beautifully, with so much unique consideration being put in place? 

References: 

http://www.behance.net/gallery/Reimagined-Poe-Book-Covers/1056649

http://abduzeedo.com/beautiful-design-work-commoner

A Talk With Jane Ray

I attended a talk in which author and illustrator, Jane Ray, spoke of her practice, interests and typical working day.

Jane was particularly interested in mythology, patterns and colour. Her work appears intricate and decorative, while she works in the medium of paint and sometimes collage.

As an illustrator and author, I was especially interested in what she would make of the physical vs. digital argument. When asked, she started off by saying that she thought ebooks were “amazing”. She liked how the book covers glow on the ebook screen and how they now can be seen as a coloured image too.

When asked if ebooks affect the way she produces her work, she said no and explained that she does not work on the computer. Her media would not be affected by the ebook; she would work in exactly the same fashion, using paints and sometimes collage. 

She went on to say that she thought ebooks were “fascinating” and that she did not think they presented a threat to the physical book. She said that people will begin to see the physical copy of the book as perhaps more beautiful, as people value print, and perhaps that will also make the sales of the physical copy rise.

She finished the question by saying that she thought the two “could exist happily together”.

Time Management

Since I have lectures on Tuesday and Thursday, I have decided to make Wednesday my day for focusing on my Independent Study and Friday the day for my Negotiated Production module. I should be doing about seven hours a week on both of these modules and plan to put in the majority of these hours on the set days. However, I can also use the weekend or Monday to add in extra hours, if needed.

3D Book Covers

An offshoot publisher for Random House, Vintage Books, released five new book covers for classic sci-fi and horror novels. What attracted me to these books was how unique and innovative they were. For these books have anaglyphic 3D covers and, included inside the book, come with a pair of 3D glasses. Apparently 3D isn't just for TVs.

Suzanne Dean, Random House's creative director, said, “The 3D cover is an idea I thought of a long while ago and had been holding onto until the right book came along. This sci-fi project, with all its B-movie connotations, was the perfect match.”

The five books that were redesigned were:

Planet of the Apes by Pierre Boulle. This was designed by Mick Brownfield, an illustrator who works in advertising, editorial and publishing, as well as being an avid comic-collector, something that is reflected in his work. 

Twenty Thousand Leagues Under the Sea and Journey to the Centre of the Earth by Jules Verne, designed by – no surprise here – Jim Tierney.

The Lost World by Arthur Conan Doyle, designed by Sara Ogilvie, an illustrator who studied illustration and print-making. Her illustrative work is feminine, with loose, scratchy lines. It was therefore interesting to see her design for The Lost World, which is bolder and stronger.

The Call of Cthulhu and Other Weird Tales by HP Lovecraft, designed by Vladimir Zimakov. Line-work is extremely prominent in his illustrations, making him perfect for this job. It is also interesting to see him adding colour in this book design, for he usually works in monochrome.

These illustrators were apparently chosen due to their graphic style and defined line-work. Suzanne Dean thought that their work would, “Translate well to a 3D illustration, yet hold together without the use of 3D glasses.”

These illustrators were given guides on how to create a 3D image, on how creating a 3D image relies on the position of the red to the blue tones. This added an extra layer to what the illustrators had to consider when it came to creating these designs. But with their splashes of colour and eye-popping typography, these covers work wonderfully without the 3D glasses also. Indeed, the design for Planet of the Apes certainly caught my eye when browsing my local Waterstones.

The inclusion of 3D glasses is such a fun idea, aiming perhaps to bring a classic tale into the modern era. Again, I knew this would not work on the ebook so was fascinated with seeings the creative experiments of making the most of the physical book. I feel that this design is really encouraging people to pick up the physical copy instead of the digital one.

References: 
http://www.digitalartsonline.co.uk/news/illustration/designing-3d-covers-for-random-houses-new-vintage-line-of-classic-novels/
http://www.creativereview.co.uk/cr-blog/2011/may/vintage-3d-covers
http://www.geek.com/geek-cetera/classic-sci-fi-novels-get-re-released-with-3d-covers-1354795/ 
http://www.vladimirzimakov.com/
http://www.jimtierneyart.com
http://www.saraogilvie.com/
http://www.mickbrownfield.com/

Waterstones Experiment

I decided to try an experiment, regarding what type of book cover attracts a person.

To start, three other friends and I went to Waterstones book shop. I told the three to browse the shelves, pick up books to have a closer look if they wanted to and to select two books which ultimately caught their interest. I also told them to not be distracted by author or genre – this experiment was on the book cover alone.

My Choice

As we set off to browse the shelves, I found two book covers that I appreciated.

The first book was The Norfolk Mystery by Ian Sansom. I could find no indication to who the illustrator was. Inside the book it only said, Typeset by Birdy Book Design. 

What I liked about the design was the sweep of the road, which halves the page in the most attractive way. It gives the eye something to look at. By following the line of the road, you are first drawn to the title and the illustration of the car. Next you follow the road to see the author's name and the blue background. You follow the road to the top of the book and then you have to open it – to see what happens next. The colours are minimal – blue, black and yellow has been used – and I found them immediately attractive and complimentary to each other. 

The next book that caught my eye was Planet of the Apes by Pierre Boulle. This has been designed by Mick Brownfield. 

What attracted me to this book was that it is 3D! 3D glasses are even included inside. See my next post for more information on this book cover.

Kirstine's Choice

My friends had also selected their two books. Kirstine made the fastest selection. She is twenty-two and an English Literature student. The books she selected were Bitter Greens by Kate Forsyth and Book of Ghost Stories by Roald Dahl.

I was pleased to see that Kirstine had selected two very similar books... both with a yellow and black colour theme. When I pointed this out, she was surprised to note that this was true; she had not been aware of her decision. Yellow and black are colours often combined, especially when it comes to warning signs. Therefore, it is likely that they continue to stand out to us, even when on book covers.

Kirstine explained that she chose the books because she liked their simplicity (this simplicity perhaps because their minimal colour scheme), while she also liked the silhouette seen on Bitter Greens. With paper-cuts growing in popularity, there seems to be more silhouetted images coming into existence. I personally love the bold look that they accomplish.

Zoe's Choice

Next, was Zoe, who is twenty-eight and studying Graphic Design and Illustration. I had therefore expected her to go for a more design-orientated cover, which she did. Her selections were Wild Abandon by Joe Dunthorne and Mr Penumbra's 24-Hour Bookstore by Robin Sloan.

Wild Abandon contained strong typography, which immediately catches the eye. The combination of bright colours – purple, yellow and red – on a plain white background is also striking. 

With Mr Penumbra's 24-Hour Bookstore, Zoe admitted to be attracted to geometric shapes, which this book certainly makes use of. It was interesting to see this selection of Zoe's, for Kirstine said that she did not like this cover, as it made her feel dizzy. Nonetheless, it was certainly a cover that stood out to anyone passing by, which seems to be half the battle in bookshops. 

Alyson's Choice

Alyson, another English literature student, 20 years old, selected He Lover of Death by Boris Akunin and Adam Roberts: Short Stories by – you guessed it - Adam Roberts.

He Lover of Death was another example of only a few bold colours being used. This book cover uses red, white and black, a well-used combination that never fails to attract attention. The decoration frame around the book also draws the viewer immediately into the title and image. Alyson said that she liked the gothic feel to this book cover.

Her next selection had a very vintage appearance, reminiscence of old sci-fi movie posters. Alyson said she liked the cartoon style of this cover, perhaps expressed in the spiky speech bubble that displays the text, “Short Stories”. 

 

I really enjoyed doing this “experiment”. A few things I noticed were:

- It seems that the combination of only a few bold colours is very appealing to the viewer. ALL of us chose one book that contained only two or three strong colours.

- Simplicity of image was another occurring feature.

- All of us picked books that were either from shelves or displayed on stands. The problem with having a book on a shelf is that the viewer can only see the spine. Therefore, the spine should also remain a selling tool. 

Cardon Webb - Series for Oliver Sacks

Cardon Webb 

In my research, I have also come across examples of book covers that work more successfully in the digital format. An example of this is Cardon Webb's work for a series of Oliver Sacks books. These books look attractive in print, but it is when the covers are shrunk down to icons that things become more interesting. Together the icons form the whole:

Webb explains, “The challenge was to not only have each of the six books book stand on its own visually and conceptually, but also have them, when pieced together, form a single compelling and illustrative image.”

This in an example of books looking better in a digital space than as a physical copy. You could lay out the physical copies of these books to create the same full image, but you can't do that on a bookshelf. I find it interesting that designers are beginning to make use the digital copy by thinking how their designs can be developed to look good on a ebook. 

Yet a thought to the physical has still been given with the appearance of the spine:

References: 

http://craigmod.com/journal/hack_the_cover/

http://www.cardonwebb.com/portfolio/oliver-sacks-series/

Farah Behbehani: The Conference of the Birds

The Conference of the Birds was published in 2009 by Thames & Hudson. It is a mystical poem from twelfth century north-eastern Iran. Farah Behbehani's (a freelance graphic designer) lends the most wonderful and intricate design to this book. For here she thoroughly explores the physical aspects.

First, she presents the book in a decorative slipcase (see above). I know that if I was to be presented with something like this, my immediate response would be to run a hand along the case's cover to feel the texture, for texture can be another technique to initially draw in the viewer. 

The case is adorned with Behbehani's trademark Arabic calligraphy. She explains on her website, “illustrated in Jali Diwani calligraphy, this project revisits classic Sufi literature and creates a decoding system designed to make Arabic calligraphy more accessible for non-Arabic readers.” 

The case is then removed to reveal the turquoise front, which plays off the design of the first cover.

But she does not stop there. The end pages are decorated with intricate patterns, designed from calligraphy of three letters, which would mean the letters of the "conference of the birds". 

Next, she explains that she, "Begins the book with a traditional pattern from Islamic architecture."

She then "gives it a more contemporary twist" with the introduction of delicate paper-cuts that reveal numbers relating to the contents page underneath.

With these initial pages, Behbehani has used masterful techniques, techniques which would be impossible to recreate in a digital format, because a book is functional. Her designs make reading a book a more exciting and novel (no pun intended) experience. 

 

Craig Mod, explains on Hack the Cover, “Once you're finally in the book — the Kindle equivalent of ‘page 1’ — you've gone from opening a cardboard box to a place of understanding. This is achieved through design nuance and production decisions — all of which are a response to the constraints defined by the physicality of books.”

Behbehani really does go above and beyond with the design of this book. And, as a result, who would not want to buy it? All of these physical aspects cause the viewer to pick up the book, remove the covers as though starting a game of pass the parcel, admire the intricate artwork and then, most importantly, read. 

What I have learned: 
- Experiment away from the obvious. Which designer would immediately think of adding paper-cuts into a book's content page?
- A book can be art in itself.
- Though don't go too overboard on the design. Try to find a balance and remember that a book is, ultimately, to read. Don't detract from this with your design. You can be intricate, as shown above, but remember that you are trying to get the viewer to read what is inside.
- I love that Behbehani keeps a consistent style and colour theme throughout. If you have multiple pieces to your book, such as jackets or cases, the viewer should be aware that these separate pieces are all part of a set. If the book jacket has nothing in common with what is underneath, this can become confusing. 
- Every artistic consideration that Behbehani had related back to the poem she was designing for, as can be seen in the youtube clip above. This reinforces what I have learned from researching work from Chip Kidd and Jim Tierney: always bring your idea back to the book.

References: 
http://www.khtt.net/person/1533

http://craigmod.com/journal/hack_the_cover/

http://ansam518.wordpress.com/2011/03/26/the-conference-of-the-bird/

Interview with Jim Tierney

I contacted Jim Tierney, designer of the Jules Verne series (see previous post), with a number of questions and he was nice enough to get back to me with some answers.

1: Due to the recent rise in digital publishing do you think the physical book is losing popularity? 
Apparently not. I've read some studies that even though ebooks have risen in sales, so have physical books, so books in general are becoming more popular, which is great. I think eventually the market will settle, and if anything, paperback books will just print fewer copies, since the people who usually wait for the paperback are the ones who have moved to digital readers. The hardcover audience is still buying physical books at almost the same rate.


2: How does this affect your design? Does it influence your approach to designing the physical book?
Ebooks to not effect our design at all, really. The principals are the same: a rectangle with words and pictures.
The only think that effects book design is online selling. Since both physical and ebooks are sold so prominently online, publishers are now aware that a book has to look good at thumbnail size so they are pushing designers to start using larger type, and bolder graphics.


3: Would you find digital books more limiting to design for? 
No, not really. Since every book is sold online just as much as in book stores, publishers want the cover to look just as good either way.


4: In contrast to the digital copy, a book is 3D. Do you use this to your advantage in your 
design?
Sometimes. If a book is expected to sell a lot of copies, we may emboss the cover, or use a spot gloss or some other texture on the paper. But the design itself isn't really effected by that.


5: Are you interested in the gothic genre of literature? Would you find it an interesting genre to design for? 
I haven't really read or designed any gothic literature, but if a job came up I think it would be fun to try. Designers don't get to pick the books they work on, but If I wanted to work on a certain type of book, I would probably contact an art director at an imprint that specialized in that genre.


6: Do you think your individual techniques and the medium you use would compliment the Gothic genre?
I guess so. I like doing symmetrical decorations and decorative lettering, so I would probably be fun to try it out.


7: How do you transfer your illustrations to a graphical format? Do you think any effect is lost through this? 
These days I just draw with ink and pencil onto tracing paper and scan it in. Then I color the black shapes and layer them into the final file. Sometimes I even just draw directly into photoshop with my Cintiq monitor. For quick and graphic images I usually just use the cintiq, but when I want a very hand-drawn quality with textures and little mistakes, I usually scan in real drawings.


8: Does designing a cover for a classic book have its drawbacks? 
The only "classic books" I've ever designed are a series of Arthur Miller plays. I don't think there are any drawbacks, though. In fact, classic books are much easier to design. Since these stories are already ingrained in the culture, they don't rely on their cover to hook a person's interest as much as modern books to.


9: How do you use your design to interest the modern audience in a classic book? 
Mostly hand-lettering, or more bold graphic approaches. Usually anything but a painting.


10: Do you always read the book you're designing for? 
Not always. For instance, if I am assigned a book about stay-at-home dads or the Battle of Bunker Hill, I probably don't need to read every chapter in order to get the gist of what the book is about. Fiction is different, since the story is what matters, so I usually read the novels.


11: Do you have an agent who helps you find work for book design?
No, but sometimes art directors will recommend me to other art directors.


12: Journey to the center of the earth and the other Jules Verne books you have designed for are very famous stories. Did you find it difficult to break the expectations people could have of the book and how it should be illustrated? How did this affect your design? 

Like I said, since most people already know the gist of the story, that frees up the design process a bit. The real challenge was finding a design for each one that would work in a multi-layered construction. I did a lot of sketches and mock-ups before I was able to make all 4 ideas work.

My thoughts

I found this interview particularly interesting, for Tierney seemed to have no problems with the ebook and even said that to design in that format was not restricting for him. I admit, I was hoping to hear (after looking at how interactive his book designs for Jules Verne were) that there was room to experiment more with the physical copy. However, Tierney seems to be able to adapt to whatever format he has to design for.

Like Tierney, I don't think that the ebook is a particularly bad thing. I even own a kindle myself. However, I do prefer the physical book. I often find myself purchasing the physical copy of a book that I love, or a book by an author that I love, even if the digital copy is cheaper. I save purchasing books on my kindle for a book or author I have never read before, one that I'm not sure I would ever read again. I'm not sure why exactly this is. I think it may be that the physical copy still means more to me. If I love a certain book, I like having it sitting on my bookshelf for me to see. And, at other times, I find myself buying a book simply for the attractive cover - and this is always with a physical copy, not a digital one.

However, I did find it encouraging that Tierney said the book is more popular than ever. Perhaps ebooks can not be seen as a bad thing if they are getting more and more people involved in reading.

Jim Tierney's Jules Verne Series

For his senior thesis, designer Jim Tierney developed four book covers to suit Jules Verne's classic books. What drew me to these designs (apart from their obvious beauty) was how Tierney introduces design on an interactive level. 

20,000 Leagues Under The Sea

For his design of 20,000 Leagues Under The Sea, Tierney incorporated a half-jacket, which, once removed, reveals further artwork. 

This Jules Verne book deals a lot with mystery, discovery and the unknown, therefore the removable jacket is not simply there for decoration; it also reinforces these themes from 20,000 Leagues Under The Sea. For, when you remove the jacket, other animals are revealed. Two giant squids lie in wait and, on the back, fish hide in the seaweed above the ruins of a sunken ship and a lost building.

Immediately, the viewer is drawn into the story. What else will be discovered? they might ask, therefore opening the book to find out just that.

Journey to the Center of the Earth

 

A similar technique has also been used for his design on Journey to the Center of the Earth. A jacket of translucent film wraps around this book, creating a further unique texture and a darker colour to the soil of the illustration. When the film is placed against the lighter colours of the cover, dinosaur bones and fossils are also revealed; Tierney again uses the physical aspect of the book to heighten the mystery before you even begin to read the story.

The removal of the translucent film allows you to find hidden, peculiar artifacts, which Tierney explains, “hint at some of the more surprising discoveries made in the story.”

From The Moon To The Earth

Tierney takes this interactive level further with his design for From The Moon To The Earth. Furthering the “interactive papercraft” idea, Tierney uses a sliding paper tab to reveal an illustration of a rocket, something which could also possibly interest a younger audience to this classic book.

This is something that I have never before seen in book design, not out of children's book design anyway, but there is no doubt how affective this technique is. The mature design and colours also keeps the interest of an older audience.

Around The World In Eighty Days

The book cover for Around The World In Eighty Days (my personal favourite of the Jules Verne novels) has been designed with a workable spin-wheel that can be turned to discover new images, revealing main destinations that appear in the novel. Tierney explains, “The idea is that as you read the book, you can turn the dial to match your progress.”

I absolutely love this idea. I wish I could purchase this book right now, for the idea of being able to use the wheel - use the front cover! - as a kind of bookmark would certainly encourage me to read the story immediately. Not only that, but the design itself is incredibly attractive. The stamp idea (apparently suggested by Tierney's girlfriend) reinforces the travel and postage theme.

Overall, Jim Tierney plays on the physical aspect of the novel by making his designs interactive. These books are meant to be touched and played with; you experiment by taking off the half-jackets and the translucent film, by turning the wheel and pulling the tab. You can discover more, interact more, something that you could not do with an image on a screen.

Idea Process

I'm always curious to see how a designer works and took interest in seeing the idea process of Jim Tierney.  

Rough initial sketches: 

Developed:

Further developed ideas, introducing colour:

Nearly there:

Final: 

What I have learned:
- It is possible to create interactive books for an adult audience. Adults are just as interested in a book that can be touched and played with as children are. Of course, mature design does help.
- Again, there is no point of being decorative just for the sake of beauty alone: incorporate themes from the book you are designing for. Make sure your ideas enhance the book's story and make sense next to the book's written words.
- Concept, concept, concept. The concept behind the design can make or break you. 
- Your roughs can be as rough as you like. Work on concepts and idea generation at that stage; it doesn't have to be perfect right away. 
- You can be as creative as you like with book covers. Experiment. 


References:
http://www.jimtierneyart.com/
http://faceoutbooks.com/Jules-Verne-Series-1