#book cover design
Drunk Tank Pink is a book about how everyday sensory input can cause unexpected and subconscious reactions in the brain. The title refers to a particular shade of bright pink that was used to paint the walls of police station holding cells, in order to subdue and weaken drunk and violent prisoners.
Art direction by Andrea D’Cruz at Oneworld Publications
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And some of the initial sketches:
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Simple Mid-Century graphic design
50s Psychology Book Cover
Urban America in the Twentieth Century, 1968
Laurel Wagner was a prolific book cover designer in the 1960s. A search on the Internet Archive yields dozens of works which Wagner designed and the AIGA Archives includes graphic design from the 60s and 70s.
Have you found books or book covers by Wagner, or do you know more about her career?
h/t@garadinervi
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Tereza Bettinardi (São Paulo, Brazil)
O Alforje (The Saddlebag) by Bahiyyih Nakhjavani, 2018
“The drawings were made in ink on paper by Adriano Rampazzo and then embroidered by fashion designer Izabela Starling. The novel describes events set in the Najd plateau along the pilgrim route between Mecca and Medina during one day in 1844–1845, when a mysterious saddlebag passes from hand to hand, and influences the lives of each person who comes across it. The main idea was to make reference to Persian carpets. The task to choose a typeface that could go along the richly detailed illustrations was not simple — I didn’t want to make any obvious reference to Arab lettering. The title of the book combines layers of Dala Floda and Dala Prisma, which is also used for chapters and drop caps (in Pantone 021) inside the book. The interior is set in Nyte by Portuguese type designer Dino dos Santos.” (source)
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Rose NordinofRabbits Road Press andOOMK (London)
On March 28, 2018, Nordin participated in Hidden Women of Design’s Spring 2018 edition of talks: REACT! The evening found female graphic designers sharing projects that use design to tackle social issues ranging from higher education to empowering vulnerable women. DESIGN FOR GOOD!
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Sonya Dyakova of Atelier Dyakova (London)
Feast For the Eyes: The Story of Food in Photography by Susan Bright, Aperture, 2017
“[Atelier Dyakova]… used the kitsch and the retro as inspiration, resulting in a tasteful balance of the new and old. “We borrowed a flavor or two, but in the end the book had to exist today and be contemporary,” explains Sonya Dyakova. “The typography for us was an essential tool to express both qualities. In our typographic direction we chose to employ modern revivals of Victorian typefaces, and used them in a stark way, without being overly illustrative.”
Initially Sonya was keen for the cover to be purely typographical, yet after discussions with the publisher aimed to make the book more accessible to a wider audience. “So, we have a beautiful image by Irving Penn on the cover and the title with expressive typography on the back,” she says. Though the cover is subtle, Atelier Dyakova played with the “tactile and physical aspects of the book” during the design process. “We used gloss black foil on a pre-dyed book covering paper. The image is inset into the cover,” says Sonya.” (source)
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Erin Fitzsimmons (New York) · Interview
Selected book covers for HarperCollins Publishers, 2017-2018
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Chantal Jahchan (New York)
En Route: Reconsidering the Typographic and Linguistic Vernaculars of Modern Lebanon, 2018
“Although she originally set out to challenge the West to see – or not see – Lebanon in a certain way, through her design and research process Chantal realised En Route was about something else: how Lebanon sees itself. Instead of drawing conclusions on this subject, the publication poses questions. “Because digital type technology has only recently caught up with the complexity of the Arabic script, there are many unanswered questions about how we should move forward,” Chantal adds. En Route presents modernity as a subject that means something different to everyone depending on personal experiences, religious beliefs and historical knowledge. In terms of typography, Chantal explains ‘modernity was similarly hard to pin down—for some, it meant being informed about the roots of the Arabic script before moving forward, and for others, it meant pushing the envelope through experimentation and collaboration.’” —Ruby Boddington forIt’s Nice That
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Art Director Nicholas Blechman picks his favorite book covers of the year.
‘The Best Book Covers of 2014’
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I’m putting together a book cover design portfolio, so here’s one I did for the first Artemis Fowl book. The idea being that there’s a hole in the “O” of the cover page and the second page is the same location in the Time Stop. Was really lucky to give prints of this cover to Eoin Colfer at BookCon, and he was an absolute delight.
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