Fish: Recipes from the Sea

fish-recipes-from-the-seaIt’s just so refreshing to see a cookery title that is a covetable design object in itself.

By challenging convention, with a simple graphic and a non-glossy finish, Fish immediately stands out in a crowded market.

This stunning cover has turned it from the functional to the desirable — a coffee-table cook book that everyone will want to display as well as use.

Phaidon’s design pedigree is serving it incredibly well in the cookery section. More conventional publishers would do well to learn some lessons from this.

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The Flame Alphabet

flame-alphabet_0At Fixabook, we usually like to look beyond lovely design and unpick the points of communication on a cover.

But this one is just beautiful. It looks astonishing at actual size.

And, what’s more, it works really well as a thumbnail — the incredibly strong pattern more than compensates for the small typography to give it real shout and an instant identity on a web page.

We have just one complaint, which many of you will have predicted already… We KNOW it’s a novel. You don’t need to tell us.

Losing that totally unnecessary central insert would give the designers a bit more space to up the font size of the title a little, which would only increase the cover’s impact at a small scale.

But it’s a stunner.

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2011’s Best Cover: Ed

ed_0It is hugely enjoyable to indulge in the beauty of great book covers and what better excuse than a review of your favourites of the year?

And if you want to immerse yourself in a world of great aesthetic beauty and design then we highly recommend the selection posted by The Casual Optimist.

However that is not what we are trying to do here.…
Our job at Fixabook is to focus more on the cover communication process and its effectiveness. While, of course, great, jaw-dropping design is fundamental to this, we feel it is important to highlight those covers that aren’t just ‘beautiful’ but which can teach us something about tight messaging, overcoming difficult hurdles and quite simply being brave.

Ed is a wonderful example of a bold title, a strong layout and an incredible photographic treatment all coming together as a piece of packaging.

Each feeds into the other and makes the whole much greater than the sum of the parts.

Our only gripe is the totally unnecessary strapline.

Here is what we said about it earlier this year:

We’ve featured some fantastic examples of the use of photography to tell a story in political non-fiction — take a look at A Journey or The Third Man.

This cover, however, takes it to a whole new level. For those who know about the Milibands’ rivalry, this image says everything and tells you immediately that this is not a straight biography of Ed but an analysis of a bitter struggle, hidden behind public displays of unity. This is the story that most people want to read and it’s cleverly communicated by this choice of photo, which would work even without the strapline.

The book’s approach and conclusions, however, are rendered ambiguous by this image. Has Ed emerged triumphant from his brother’s shadow? Or will he be haunted and hampered by David for the rest of his career? Any reader will want to pick this up to find out which angle the authors have taken.

For anyone unfamiliar with the story, this picture is both striking and intriguing. Why, on a biography of a political leader, are there two people featured on the front? There must be more to this than a straightforward political profile.

Striking, communicative and well chosen — the perfect approach to a cover image.


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The Devotion of Suspect X

the-devotion-of-suspect-x-coverusthe-devotion-of-suspect-xIt’s interesting to see how the same book is treated on either side of the Atlantic.

In this case, both versions work within the ‘Standard Crime Palate’ of red, black and white but the similarities end there.

In terms of design and messaging, they have each taken vastly different approaches;

The US version (on the right) published by Minotaur Books, uses a strong block of red to cut through the clutter around it while the ‘tear’ acts like a little peak into something dark and mysterious. This is reinforced by the contrasting black and white photography (A tried and tested signifier of ‘gritty crime’)

The Americans have also put a lot of emphasis on the author name and for some reason felt compelled to add the painful “A novel” product descriptor. Maybe they were worried that the photograph would confuse people and make them believe the book is about a real event.

The UK version really is very different.

In our view it is far more interesting and communicates a hell of a lot more.

For a start, the large, close-up image of the Japanese woman instantly sets the scene of the story and hints at the subject of Suspect X’s devotion.

The red circle is very bold way of holding the title and as such it leaps off the page.

It also reinforces the Japanese roots of the novel.

To some, it also looks like a mouth screaming. For others it hints at a mouth covered by a gag.

Who knows…but we are aware that Crime Readers like decoding all the symbolism on a cover so it will tease them wonderfully.

The author name is very clear but given his lack of fame in the UK, it is rightfully given secondary billing in the communication hierarchy.

And finally, there is no need to add a silly product descriptor to warn readers that this is a novel — the design itself has made that abundantly obvious (which is exactly what it is supposed to do)



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Heston Blumenthal at Home

heston-blumenthal-at-homeWe love this cover.

A celebrity chef cookbook that breaks all the rules.

- For a start it is largely black: Dark covers are never used for cookbooks. Instead we are constantly bombarded with bright whites and primary colours evoking Spring, the outdoors and nature. This late night setting makes us think of secret treats and hidden pleasures. It also suggests something that can be ‘knocked up’ quickly and easily on the spur of the moment (A neat piece of re-positioning for Heston)

- We hardly see any food:  Normally cookbooks go for the raw ingredients, the rural setting or the finished meal — Here we can just make out a few ingredients — the most visible being wrapped in foil (!) which again reinforces the simplicity message. This is food we can make from stuff left in the fridge rather than having to pre-order exotic ingredients it from our nearest Deli.

- Heston’s big face isn’t plastered across the front: Instead he is hidden in the shadows. Although it has to be said the brilliant lighting reveals just enough of his iconic bald head and glasses for him to be recognisable. But even this is done so well and so subtly that actually, we feel rewarded for recognising him.

- There are no straplines or quotes: The overall layout is wonderfully clean and simple.

All in all this is a great piece of work. A very confident move by a publisher gambling against Jamie at Christmas time.

We want to buy a copy just to support them.


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The End of Everything

megan-abbottWe like this cover for three reasons;

1) The image is at once obvious but at the same time quite surreal. The over-exposure and sun spots give it a very interesting feel that is far more emotionally evocative than most of the stuff we find on book covers.

2) It seems to have found a way of synthesising a photographic look with the simple and immediate impact of graphic illustration. Uniquely, this cover sits somewhere between the two styles and works all the better for it.

3) The orange and yellow circles of sunlight do a brilliant job of merging in with the WH Smith ‘Buy One Get One Half Price’ roundel — Thus making the sticker look like part of the image rather than something ugly that has been slapped on top of it.

Now of course we know this probably wasn’t deliberate (Oh that it was) but it is nice to know that the Design Gods have been watching and have made this serendipitous union work so well.


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Daughter of Smoke and Bone

smoke-and-boneThe last resort of many publishers is to blow a fortune on special finishes in an attempt to make a cover more interesting.

Invariably it is a waste of money and adds very little to the overall impact.

Luckily this isn’t one of those covers.

That’s because it has integrated the use of a special finish into the cover concept from the very start of the design process.

Ostensibly there is nothing dramatic about this visual — it is simply a blurred wash of purples and whites.

However the addition of the metallic finish transforms it into a flurry of feathers that you can’t help but want to touch as they shimmer in the light.

A simple, graphic background has been transformed into a thing of quite magical beauty.

Gorgeous.

It’s a pity about the obscure and meaningless strapline (“The Doors to Elsewhere are Closing”) — It adds absolutely nothing to the communication.

But hey, we can’t have everything…

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Steve Jobs

steve-jobs-biography This book is due to be released on Oct 24th. Just 18 days after Steve Job’s’death. The timing means that it will probably become one of the biggest books of the year.

Unprecedented media attention aside, the cover of any book about a design icon like Steve Jobs was going to be tough to get right.

We are surprised that the cover isn’t more…interesting.

Given the shape of the book is almost identical to that of an iphone, ipad and even the ipod there are all sorts of more unusual avenues that could have been explored.

Maybe quite rightly, the publishers have resisted doing anything too tricksy and have fallen back on a very conventional headshot and title.

At least the typography is cool.

Its impact comes from the same understated confidence that defines all of Apple’s products. The use of silver-grey for the author’s name is a great touch. At once it recognises that in truth he is far less important than the subject matter and at the same time it nods to the classic silver on white styling that defines Apple’s visual identity.

The rest of the layout is clean and uncluttered, but that’s a no-brainer given this is a book about Steve Jobs.

The publishers have already got off to a flyer as this very same photograph was used across several news channels last night during the coverage of Jobs’ death. That kind of subliminal endorsement is hugely powerful.

Rumour has it that the book was hastily updated to include Jobs’ resignation from the post of CEO of Apple just a few weeks ago.

We wonder how they will handle the news of his death.

It is probably too late to make any changes to the hardback but this may be to the publisher’s advantage…

We urge Little,Brown to create a special ebook edition that brings the story bang up to date.

Of course, this edition would be sold at a premium.

And only available on the ipad.

This is a golden opportunity for a publisher to show how some ebooks (particularly biographies) can deliver tangible benefits compared to their printed counter-parts.

What a fitting way for the book to be launched. Even upon his death, Steve Jobs will be redefining how markets work, how products are bought to consumers and how Apple technology can make a difference.


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Julian Assange: The Unauthorised Autobiography

assangeWhatever your views on the rights or wrongs of publishing this book, we love this deceptively simple cover.

The title has been published with massive publicity, controversy and debate, but the design is cool and clear. It’s only gradually that you realise how disruptive it is within its genre, and how much it communicates about the circumstances surrounding the book’s publication.

The usual autobiographical design convention of the author’s open, honest face is brutally subverted by the savage rip. This draws the reader’s attention to the brilliantly chosen title — again, it takes a while for the contradiction within it to become obvious. But when it does, it gives a clear indication of what makes this book so different and of the conflict it has caused.

A fantastic example of how a great design and a good title can reveal far more about a book than any amount of hyperbolic straplines or breathless endorsements.

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It’s a Man’s World

its-a-mans-worldSo the author of this book has commented in the press that she doesn’t like the cover. To be specific she said that it is “ultimately degrading to women”.

Wow — there are lots of authors out there who don’t like their covers, but very few go public about it. It is part of the unspoken deal between publishers and writers. No one really knows which covers will work and which won’t, so they all shut up about it until the sales have gone way or another (Then they can say whatever they like, fully backed-up by the weight of hindsight).

Of course the press have had a field day with these criticisms. The combination of an unhappy author and accusations of sexism make for great copy. In fact, rarely has The Bookseller website had so many comments about an article on its website (21 and counting)

What is funny is that most people can’t see what the author is complaining about (How refreshingly un-PC).

That is because, ‘degrading to women’ are the words that the media have leapt upon. But it seems that this is not the point that the author was trying to make.

Her real issue seems to be that that she believes this is quite a serious and insightful book about life in the City but the cover has made it feel ‘fluffy’ and ‘frivolous’. In other words, the book is pitched completely wrong. The tone of voice does not represent the content.

Wrong tone of voice…attracts wrong readers…who get frustrated or let down by the content…and don’t recommend it to their friends…and so sales never grow.

All very logical, but the real problem with this cover is that it is just very, very dull.

There is nothing here to engage the reader, arouse interest or grab attention.

Unless of course the publishers knew that their greatest weapon was the author herself. After all, she is a self-published success story — If anyone knows how to generate attention and awareness it will be her.

Do you think they deliberately created a crap cover? (It does appear that way…)

Was this all part of a grand plan to generate a storm in a media tea cup and get us all to notice a book that otherwise would have slipped under the radar?

If so, Avon and Polly, we salute you..



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