Classic Literature Covers

Classic Gothic Novels by Nikola Klímová

- Monochrome colours contrasted with one or two vivid colours. Creates appealing contrast.
- Similar theme through the books - to show part of the same redesign.
- Added feature of ribbon bookmark - sophisticated.
- Quirky, tall, modern typeography.

Classic literature:

- This has been a recent trend: a repeating image for classic literature book covers.
- Imagery relates to contents of book.
- Attractive, simplistic typography. Modern. Quirky, yet elegant.
- Bright, engaging, contrasting colours.
- Attractive loose, illustrative lines.


Other ideas for gothic literature:

- Showing "other side" of the character. Monster vs. man. Light vs. dark. All common themes in gothic literature.
- Strictly black and white.

- Using typography to show different sides of personality - reverse text.

- Making use of the physically bound book. Using the book flaps to create an image which relates to the story of the book.

Top Ten Findings

 

1. The physical copy is making a comeback. Most designers now use the idea of “luxury” books to interest the reader or collector in purchasing the physical copy. These books are usually hardback and celebrate design by using techniques such as foil-printing or adopting unusual textures and materials.
2. I also discovered new effects, which can be used on the physical book, that I didn't think were possible. For example, a glow in the dark book and a book that comes with 3D glasses.
3. Books that make use of their physicality by being unusual and interesting in their design appeal both to children and adults.
4. Many designers said that ebooks were not that limiting to design for. Joe McLaren, for example, said, “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.”
5. These physical techniques are being used to interest modern audiences in classic books. For example, the Planet of the Apes has been designed to work on a 3D level, with included glasses inside the book.
6. You can include fun items inside a book to interact with the cover. For example, with a recent redesign for the Hitchhiker's guide to the Galaxy stickers could be found inside the book. You can then make your own cover by using these stickers!
7. All the designers I interviewed preferred matte over gloss. See more here.
8. The front and back of the book can be connected in their design to create something fun and interesting. For example, the design can start on the front and continue on the back. This couldn't be done with an ebook.
9. Texture is also something that can be played with. This also encourages the viewer to pick up the book to feel the cover.
10. The general consensus of research and artist interviews was that, though the ebook is definitely growing in popularity, the physical copy is still being purchased. Designers have found new ways to encourage people to buy the physical copy and I find this to be a very good thing.

Classic Redesigns (2)

Tom Gauld
I next looked at Tom Gauld, a cartoonist and illustrator, who was commissioned to design a cover for the novel The Three Musketeers. Gauld works with his strengths in this design, for he uses a lot of humour throughout. Like Daniel Clowes, who produced the comic Franketenstein cover, Gauld's comic style brings something truly unique to the design, something that you wouldn't expect to see on a classic novel. Yet this is what makes it stand out. Again, this cover could broaden the readership of classic literature.

Jillian Tamaki

I next viewed work from Jillian Tamaki, an illustrator and cartoonist, wh specialises in textiles and embroidery. She was also commissioned to design a number of covers for classical novels, such as Emma, Black Beauty and The Secret Garden, which she did through embroidery. A textile approach to a book cover is unusual, so I found this very interesting to look at. Her delicate, feminine style is  translated across to these books, which, I personally think, works very well alongside classic literature. The colours she has used also make the books stand out and lends them an extra appeal.

Work in progress:

References:
http://jilliantamaki.com/embroidery-textiles/penguin-threads/
http://www.tomgauld.com/index.php?/portfolio/the-three-musketeers/

Classic Redesigns (1)

I was also interested in classic redesigns, as this linked to what I would like to create for my final piece. I therefore decided to look more into how current designers and illustrators use the cover as a method to pull these classic novels into the 21st century. By making the cover look more modern, less dry and more interesting, this opens up the book to a wider audience, perhaps interesting those who wouldn't have been interested in classic literature previously. I therefore looked at some artists who redesigned classic literature books in a very modern and unique way.


Daniel Clowes
I first looked at artist Daniel Clowes, who is an American cartoonist and screen-writer, most well-known for his comic books Ghost World and Eightball. Clowes was commissioned by Penguin in 2007, along with two other comic artists, to produce a redesign of Frankenstein in his usual comic style.

This is a definite twist on a classic book and something you don't expect to see - a novel with a cartoon-strip as its cover. I think this originality is what makes the novel so effective and it will definitely grab the viewer's attention when it is sitting on a book shelf. Clowes' unsettling, angst-filled style also transfers and matches wonderfully to this Mary Shelley novel.

This comic book appearance would perhaps interest a wider audience, those who wouldn't have thought to read a classic novel. The comic style also encourages a younger audience, possibly children, to pick up and read a classic book.

Clowes' draft of book cover:

The design also makes use of the book's physicality by including images and narration on the flaps of the book jacket, which would be seen inside the book. The 'about the author' flap is also revamped with a comic-style appearance. Instead of a block of text, which is what is typically seen, the illustrator creates a comic about her background information, keeping in style of the rest of the book cover.

The front flap portrays a scene between Frankenstein and his monster.

Ruben Toledo
I next looked at Ruben Toledo who is a fashion illustrator known for his colourful, bright and theatrical images. He has designed mannequins, store windows, scarves, fabrics, carpets, album covers and murals. This artist brings a unique characterisation that somehow lends itself perfectly to classic literature, especially the gothic novels. When you look at the human characters in his designs, you can tell that they have been influenced by a fashion illustration background, which, with their sharp edges, translates wonderfully over to gothic literature. He also creates very strong, balanced compositions.

The Gothic inspiration is very much present in this book cover. A lost girl stars out at the viewer while a intimating mansion stretches beyond her. The cool blue colours, contrasted with one splash of blood red, add a chill to the illustration. 

 

Darcy and Elizabeth pass each other disdainfully, though cannot help but glancing back at each other. The silhouetted figures and starkly contrasting monochrome colours really make this cover stand out. 

Strong colours grab the attention of the viewer and bring the book to life.

It says on US penguin group, "Each luxury volume features French flaps, rough front, and specially designed covers in oil, watercolor or pencil."
Both these illustrators/designers but a unique twist on a classic book, which interests new and old audiences.


References:
http://frankensteinia.blogspot.co.uk/2010/10/covers-of-frankenstein-daniel-clowes.html
http://theotheradamford.wordpress.com/2009/12/09/seriously-the-best-book-covers-ever-bar-none/
http://www.us.penguingroup.com/pages/classics/ruben_toledo.html
http://artnectar.com/2011/04/book-cover-design-penguin-classics-illustrated-fashion-illustrator-ruben-toledo/
http://intheravenswood.blogspot.co.uk/2011/03/ruben-toledo-for-penguin-deluxe.html

Neil Gaiman: The Ocean At The End Of The Lane

A recent new story from author Neil Gaiman has inspired a limited edition cover, designed and illustrated by Dave McKean, which will only see 2,000 printed copies. Keeping in tradition with book designs for 'special', limited-edition books, McKean makes full use of the book's physicality. The book is 'deluxe hardcover' with a die-cut silk-bound slipcase, beautifully designed endpapers, while the text is printed on heavy-stock matte paper. This was revealed to me on Chip Kidd's website.

The book's case adds an extra element to the design, playing on shape and texture. It would have been interesting to see hidden images, however, once you remove the case, images that had lain in wait under it. But the cover is still beautiful even when the case is removed. The case adds a fun element and makes the book look more like a treasured, high-end item.

McKean also illustrated high-quality and full-colour images for the inside of the book. This was interesting to view, as it is unusual for a book to contain illustrations, especially coloured, intricate ones such as this. This only adds to the book's appeal and quality.

With books like these being released it only confirms how sought after quality physical books are becoming, for this limited edition copy was sold out very quickly.


References:
http://chipkidd.com/journal/?p=3479
http://www.tor.com/blogs/2012/12/dave-mckean-reveals-artwork-for-neil-gaimans-the-ocean-at-the-end-of-the-lane
http://subterraneanpress.com/store/product_detail/the_ocean_at_the_end_of_the_lane

Another Waterstone's Visit

During another trip to Waterstones, I noticed that there seemed to be more 'luxury' books than ever. For I found numerous hard-backed, special-edition book covers (some examples seen above) when browsing the store. In interviewing numerous graphic designers and illustrators, I found that many of them had explained that they thought the physical book was beginning to be seen as a more special and treasured thing, which is made obvious through new styles of book covers, and I think that this definitely confirms that theory.

The physical book is becoming more special and treasured, like a collector's item. With the rise of ebooks, I think that designers are trying to think of new ways about what would make a person now buy the physical copy and this is the working solution they have came up with. In this case, I actually think this could be a great step forward in design, for book covers are now being treated with the utmost care to make sure that they are beautiful and wanted. As a result, more aesthetically-pleasing book covers are being produced and a number of techniques (such as experimentation with textures etc.) explored to highlight their physicality and increase their beauty.

In my interview with him, Joe McLaren, I think, called it perfectly: "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."

Interview with Richie Stewart

Richie Stewart is a graphic designer, who has designed a number of book covers. You can see my previous blog post for more information.

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

Maybe not in popularity but I think it's far more difficult now for publishing companies to get a legit budget to design and produce a physical book.  

2: Does this affect your design process? Influence your approach to designing the physical book? 

For sure. There are far more variables in the making of a physical book. There is an entire world of print processes and production techniques that can be explored. Where as in the digital format, it's really just a rectangular JPG of the design. 

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

I think when you have the ability to work in three dimensions it opens up far more options in terms of concept and design choices. So yes, I think a digital book is more limiting but that's not necessarily a bad thing. 

4: Would you take advantage of a book's physicality in your design? 

Absolutely 100%. 

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

Concept is always going to win. If you have a smart idea and execute it well, people will be attracted to it. 

6: Do you think that interactive book designs are most suited toward a younger audience? Could they still interest adults? 

 I think it attracts people of all ages. Maybe younger people that grew up with books being in digital format would find it more second nature. I think it just comes down to personal preference. 

7: Matte vs. gloss? 

Matte, always.

8: On a whole, do you prefer reading ebooks or the physical copy of a book?

Physical, absolutely.

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