Showing posts with label Book Design. Show all posts
Showing posts with label Book Design. Show all posts

Tuesday, July 02, 2013

Against Author Photos in Books


The Graywolf Press blog makes the case.

From the piece...

Author photos, collectively, aren’t as bad as that, but they, too, testify to depressing bias, often unacknowledged or even unconscious, in the way that book publicity works.  A few months ago I saw the first-time author of a literary novel reviewed in a large-circulation journal alongside a photo of the author, who was posed like an odalisque, that took up as many square inches as the review. Maybe the review came in short and the editor needed to fill up space, or maybe the editor was paying homage to a talented portrait photographer, but the effect was that (as with some pop stars) the novel had received this kind of attention principally because its author was hot. 

The sentence you have just read says nothing about the gender of that author, but if you’ve made an assumption about that author’s gender, you probably got it right; if you made an assumption about that author’s age, within about ten years, you probably got that right, too; and the fact that you did tells you what I dislike most, what makes me angry (rather than just annoyed) about author photos in general, however happy I am with my own.

Tuesday, May 21, 2013

From Comp to Final


Booktryst follows book jacket designer Philip Grushkin from his first comp to the finished piece, here.

Wednesday, June 27, 2012

Fiction That Pushes the Limits of Design


Can graphic design help novelists tell stories fit for a visual age, or is the future of fiction to be found in traditional narrative?

Listen to a podcast at the Guardian, here.

Sunday, June 03, 2012

The Book Covers of Richard Chopping


The New York Daily News praises the book designer of classic James Bond novels.

From the piece...

Ian’s wife Ann came across Chopping’s work in 1956 while attending an exhibition of several painters, including her friend Francis Bacon, who urged her to take a look at Chopping’s flower paintings and trompe-l’oeil works.  Impressed, she suggested to her husband that Chopping (1917-2008) might make the perfect artist for the covers of the Bond novels.

Fleming (1908-1964) liked what he saw, declaring Chopping “the only English master” in the art of trompe-l’oeil. Splitting the cost with his English publisher, Jonathan Cape, Fleming paid Chopping 50 guineas (about $147 in 1957), insisting that the cover of “From Russia, With Love,” show both a Smith & Wesson .38 with a modified trigger guard for faster firing and a rose with a drop of dew. Despite such specifics, Chopping always insisted that he and not Fleming ultimately designed the covers.

Eight more covers followed.

Saturday, May 19, 2012

Talking Covers


A new website where they, well, talk about covers.

From the site...

Though mostly I try to work, play with my kids, walk outdoors, read Sebald and Anne Carson and Gogol, and generally not muddle up my life by worrying about the ways literature and capitalism intersect, there remains one thing I try not to delude myself about.

A book’s jacket matters.

How a book is dressed—how it’s wrapped, how it’s bound, how it’s covered and colored and presented—this can make the difference between finding the right reader or missing her. Never has this been proven to me more assuredly than when Martha Stewart told me her daughter originally picked up my first book, The Shell Collector, because of its jacket.

Friday, May 18, 2012

What Will Become of the Paper Book?


How will the design of books change in our digital age?

From a story in Slate...

This is one future for the paper book in the age of digital proliferation—a select group of design-conscious authors will continue to address their creations specifically to the printed medium. Their themes, like Plascencia’s and Foer’s, will likely revolve around the history and practice of writing books, but that’s nothing out of the ordinary—one of literature’s greatest themes has always been itself.
Other writers go even further, making over the entire paratextual edifice, as Anne Carson does for her recent New Directions publication, Nox. “When my brother died I made an epitaph for him in the form of a book,” she writes on the back cover. “This is a replica of it, as close as we could get.” The book is indeed a facsimile of a handmade original, bound accordion-style and boxed. Verso pages “translate” a Catullus elegy by offering long Latin-English dictionary entries for each word in the poem. Recto pages tell the story of Carson’s relationship to her brother through fragments of lyric essay and primary materials like photographs and letters.

Sunday, April 15, 2012

Photoplay Editions

AbeBooks revels in Photoplay editions of old.

From the piece...

Popular with many book collectors, these books were published mainly in the 1920s and 1930s. Grosset & Dunlap or A.L. Burt were particularly prolific in publishing photoplays and the most collectible of all photoplay editions is probably King Kong from 1932. 

The US and British photoplay editions usually had different cover designs and price is usually dependent on the presence and condition of the dust jacket. The early photoplay editions are particularly fascinating. It’s quite common for obscure or forgotten movies to be ‘lost’ and the photoplay books to take on a little historical significance (for movie buffs anyway).