Pure and Sorry

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Ah…so what was an original idea is now ‘The New Thing’

Why is it proving popular in these tough economic times when production costs are being kept to a minimum?

1) It catches the eye on the shelf — thus giving the books more presence and stand-out

2) It means retailers are likely to stock at least two copies of the book (side-by-side) giving it more prominence and maybe even making it look like a ‘bigger’ book than it is in reality.

Simple but effective.

We much prefer the impact of the “Pure’ version but now are we about to see a deluge of “Cover Twins” ?


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Faces on Fiction Covers

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Oh my God!! What has happened?

Suddenly Fiction covers have lurched en masse away from ‘Headless Women” and now there are faces on the front of books (!)

This is a significant moment in design history — We must take a moment to work out what is going on:

First off — let’s remember the context: Publishers everywhere are panicking about the Women’s Fiction market. Sales are crashing and everyone is desperate for a new formula.

So this must be it.  The big idea to reinvent the genre is to put a face on the cover.

Now that might sound like a simple thing to do — but clearly a lot of thought has gone into this.

And when the boundaries are being pushed so far, we must be sure that we all understand the new rules if we are to avoid to making hideous mistakes.

THE NEW RULES:

1) Find a very fresh faced girl in her early twenties

2) Make sure she has very full, red lips

3) Show all of her face but make sure you still crop the very top part of her head (This little nuance has caught out lots of designers who are new this new approach  - Beware!)

4) You can place the type over the hair and body but keep the face free

5) Most important of all retouch the eyes so that they are a uniform, piercing blue (Again, this detail has caught out lots of people so to avoid embarrassment, please use Pantone reference 293 c / CMYK (%) C 100 — M 60 — Y 0 — K 0)

Phew — that should keep everyone on track.

We look forward to the tsunami of copycats.

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Flipbacks

flipback-booksUnusually, we’re not entirely sure what to make of these.

They feel fantastic — light and portable with a very tactile finish and a nice touch of spot varnish on the back. The paper is lovely and they are absolutely perfect for slipping in a pocket or bag.

They’re a high-risk strategy in the current market, however. The Kindle is now the perfect format for carrying books around or taking them on holiday when space is tight. Kindle editions are also significantly cheaper than these. Three years ago, flipbacks would have had a much greater chance of taking a chunk of the market.

Of course, they are very cool, lovely things, and are much more desirable than a Kindle from a design perspective. But Hodder have chosen to launch the format with resized versions of existing books, even using the same cover designs and blurbs as the original paperbacks. We feel this is a missed opportunity to really make waves and to show the limitations of the Kindle.

It would have been far better to launch with a special collectors’ list of desirable titles, specially created or re-edited for the format, to appeal to consumers with their creativity of design or as a stylish gift. That would have shown the possibilities of the flipback as opposed to the Kindle, and would have really made it something that people talked about and shared.

Once that buzz had reached its peak, and the flipback had become a coveted object in itself, that would have been the time to launch the reformatted backlist — books that people buy for themselves to read rather than to collect or give away.

So a really neat idea, but we’re aching to see a bit more imagination applied to it. Come on, Hodder, show us what the flipback can really do.


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Various

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death-and-the-virgin

perfection-pointWhat on earth is going on?  There seems to be some kind of belief that by throwing more words onto the cover a book it is more likely to sell. Straplines are now almost compulsory and quotes are becoming even more profuse.

But these three books take things to a whole new level.

All principles of communication and design have been forgotten. In fact, things have got so bad that they each appear to have no less than two titles. (And even this doesn’t stop the publishers adding the obligatory quotes onto the cover too).

This is design out of control.

In each of these cases, the briefing process must have been shocking and the approval process even worse.

Here is something to think about in the future: When the only solution seems to be to fill the cover with words that are all trying to explain the same thought — there is something going badly wrong.



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Seven Hundred Penguins

700-penguins Oh the pressure…a bible of Penguin covers and you have to design the spine. Aaaargh! Luckily the designers in this case took the purest and coolest option. Simply, they created an orange spine in the classic style of Penguin books from the 1950’s.  The battered edges are a lovely touch and add real  charm but the clever twist was to reproduce the spine at the same size as most of the novels from that era. This means it sits in an ocean of white space (as this is actually a big book) but all this does is make it look even more intriguing. It is elegant, intelligent and simple. The best thing about this spine though, is that it looks like the most obvious solution to the brief.  In truth however, we all know that this would have been an incredibly difficult spine to develop (with all eyes on it) because of the content of the book and the kind of readers it will attract. Sometimes we have to remind ourselves that what looks easy once started out as a blank sheet of paper and a lot of tension…

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Wuthering Heights, Pride & Prejudice, Jane Eyre

wuthering-heightsPicture the scene at the covers meeting…

We need to make our classics appeal to the Twilight market. But how?”

There is a long pause, then realisation dawns. “That’s it! We’ll just copy Stephenie Meyer - they’ll love it!”

So that is what’s happened — a carbon copy of the Twilight covers. But the problem is that these are not vampire stories; and they’re a lot harder to read. If anything’s going to turn a young reader off these books, it’s being conned by the cover into thinking they’ll be an easy or familiar read, only to find the content more challenging than they were led to believe. Of course they need to appeal… but they should also be honest.

We love seeing classics with exciting new approaches. The problem is that this is neither exciting, nor new… nor in any way imaginative. Nor does it credit its target market with even a shred of intelligence -  a fatal mistake when selling to teenagers.

love-stories-2_0           love-stories-1_0

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Vintage Loves Film series

vintageDamn these are good. The challenge was to create a film tie-in series. Now just think about this for a moment…think about how hard it is to consider a title like Fight Club and not conjure up an image of Brad Pitt. Or think of Trainspotting without thinking of Ewen McGregor being chased down a street. Successful movies have imprinted so many powerful images upon our collective consciousness that it is hard to avoid them. So even if the publishers couldn’t ever hope to get the rights to the movie images themselves they could be forgiven for alluding to them in other ways. And yet the designers here have eschewed images altogether. In a stroke of genius they have chosen a different way of  harnessing the massive investment made in movies. Instead of images they have lifted the lines and phrases that stick in our heads long after we have left the cinema. The ones that fans quote to one another in bars or which we recognise without quite knowing where they have come from. The fusion of these quotes with relevant typographical treatments is an additional touch that will have designers salivating more than consumers but they do add to the distinctiveness of each cover and avoid the series looking too heavy or boring. The bravery of dropping the title and author from the front cover is one that publishers only ever dare do with backlist (Columbine being a notable exception  - see elsewhere on Fixabook) but it is a move that makes the quotes stand out even more and helps give the series a really strong shelf presence. All in all, this is a great example of design that has challenged the obvious.



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NIV Holy Bible

bibleThis cover is both clever and beautiful. The Publishers have crammed lots of information about their particular translation onto the cover and also included some of the more beautiful passages from the bible yet by using the typography to create a crucifix, none of it feels forced or cluttered. This cover is an object lesson in how good typography can turn content into something special and remove the need for additional visuals.

The icing on the cake is that this is just one of a series of different bibles, each using a unique typographic treatment to reflect it’s particular translation. Heavenly.

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