Damian Horner - AKA: Winston Smith

When fixabook was launched, the founders  kept their identities secret in order to give the site time to stand on its own two feet. Now that it has established itself as the foremost blog on design strategy, the moment has come for them to reveal themselves.

Damian Horner has worked in advertising, graphic design and packaging for over 20 years. He has won numerous awards and worked with some of the world’s biggest brands.

He now acts as a Marketing Consultant for several publishers, advising on strategy, marketing and design.

For Damian, a book cover has to consist of more than a pretty picture (although that often helps). Instead it  is an exercise in disciplined communication. A book cover has to deliver certain messages in a certain order. The trick is to do it in a way which not only seduces but is also memorable.

Easier said than done, which is precisely why good book design is so difficult and why Fixabook is so intriguing.

Gulp

gulp-ukThe great thing about designing covers for non-fiction titles is that so many of them have very precise and distinctive propositions.

In this particular regard, Gulp: Adventures on the Alimentary Canal will take some beating… but a blurb that boasts ‘enema exorcists, stomach slugs and rectum-examining prison guards’ could easily have led the design astray.

To our great relief, the publishers have arrived at something which is strong, memorable and witty, rather than crass and ugly.

However, the most impressive aspect of this cover is the sheer economy of the communication within the design. With just one visual device, the cover manages to show the alimentary canal itself, present the title and add a warm touch of humour.

Compare this cover to its American counterpart and you will see how clever it really is.

gulp-us

It is an act of genius to communicate so much with so little, and to make something so difficult look so easy.

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Gone Girl

gone-girlEvery now and again a novel comes along that gets the publisher very excited. For once they actually believe each other when they claim ‘This book could be huge”.

In these situations it is always interesting to see whether the publisher dare do something distinctive. Or whether they stick to the genre rules to keep the retail buyers happy.

Gone Girl is an example of achieving a near perfect balance between genre conservatism and innovation.

On the one hand they’ve jumped on the ‘Flourescent Colour’ bandwagon that is sweeping through Crime Fiction (Peter Robinson, Martina Cole, Ian Rankin, etc) and they’ve also grabbed the ‘roundel quote’ idea from Jo Nesbo.

But by combining these tricks with a bold black cover adorned with nothing more than a few wisps of hair (a clever hint of forensics to signal the genre) they have produced something very fresh and confident.

Commercial but also different — No wonder this book is already becoming a winner.



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Polpo

polpo It seems that at Christmas, many people bought  this book as a gift and the spine often played a major part in their purchase decision.

Yes, that’s right — the spine.

Although to be strictly accurate there is no spine. Instead the book’s stitching is revealed (In bright green no less).

As well as being beautiful and different, there is also a practical benefit to having no spine — The book can be laid out flat on the kitchen counter so the recipes are easier to read.

Form and function.

How nice to see a spine play such a pivotal role in the design process.

And because this kind of thinking cannot be replicated in a digital version —  we expect to see a lot more of this kind of innovation over the coming year.


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1984

1984-censored It was a tweet by the literary agent, Jonny Geller, that alerted us to this cover. It is his favourite version and quite frankly it has shot right to the top of our list too.

The title and author name are printed in gloss black on a matt black background, so can only been seen when held at the right angle.

This wonderful piece of (apparent) ‘censorship’ might seem crazy at first yet it tells us so much about the story contained within.

In fact, it is perhaps the most concise piece of design communication that one could possibly imagine for this incredible book.

And yet at the same time it is also utterly distinctive, memorable and intriguing.

A remarkable achievement.

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Penelope

penelopeThis is a deceptively rich cover, laden with communication.

At the most basic level it looks ‘different’, which in itself is no mean feat.

More importantly, however, it delivers an enormous sense of the story and wonderful tonal nuances about the lead character with the bare minimum of detail.

As with any book that takes the main character’s name as its title, the designers will have been forced down a particular track. Who is she, and why should readers care?

In this case, the juxtaposition of a photograph of a young woman with unexpected, Disney-like cartoon imagery all around her whispers ‘innocent, naive and charming’.

This is a young woman who is clearly out of step with expectations (a fish out of water) and we all know that is a recipe for humour and chaos.

Job done.

The blurb simply needs to deliver the setting (Harvard University) and we know exactly what we are in for with this book.

The fact that the publishers did not resort to using a strapline is testament to the power of this design. For that alone, they deserve our congratulations.

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Predator’s Gold

reeve-spine_0OK so these aren’t spines but we couldn’t leave this series without picking up on the treatment of the paper edges.

By colouring them blue the publishers have perfected the ‘video game look’ and turned this book into an altogether different visiual proposition.

Each element (front, back, pages, visuals, typography, etc etc) works off the other to deliver a truly three dimensional design concept.

Suddenly it no longer looks or even feels like a book — it is a unique and peculiarly tactile piece of packaging.

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Mortal Engines

reeve-backNormally we like blurbs because the copy is well considered and the strategy is right.

This blurb does all those things but mostly we love it because of the way it looks.

Here is a back cover that works as hard as the front and we haven’t come across a boy yet who isn’t mesmerised by it.

Sometimes a blurb just has to communicate a feeling about a book.

Usually publishers do that with clever words but here it has been done with computer game imagery and it works a treat.

Bravo.


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Infernal Devices

reeve-frontThese covers look like nothing else around them and as a consequence they leap off the shelf and Amazon screen.

The reason is quite simple: The publishers have taken the visual language of video games and applied them directly to a series of print books.

A clever idea when your target audience are young teenage boys and your content is all about cities waging war on one another at some point in the distant future.

Every detail is correct from the CGI visuals; to the book numbering; curved edges and series identifier (“Predator Cities” which in itself sounds like a video game collection)

It is great to see designers make leaps like this and start with the mindset and interests of their target audience rather than remain stuck in the confines of what ‘books for boys normally look like’.



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Phaidon Archive of Graphic Design

phaidongraphicarchive0_320Wow — A book that isn’t a book.

This is a collection of 500 examples of the best in graphic design from around the world. Everything from newspapers; to logos; to corporate design; to typefaces.

Nothing new there. (It feels like there are lots of those kinds of publications).

But this one is special.

Why? Because each example of design has been printed on a card and placed in a box instead of being printed on the pages of a book

This is genius. Phaidon have recognised that the book format keeps control with the publisher  - the order and structure of the pages is defined by them.

But the whole point of an archive like this is that different people want different things from it. So by turning it into a box of cards Phaidon can let everyone arrange the archive according to their own tastes and needs (Just like people used to do with vinyl records in the old days)

There is no need for a blurb — just an instruction:

The dividers that come with this ‘book in a box’ allow you to define how you want to organise, whether it is chronologically, alphabetically, by designer or by subject.

We love it: Thinking outside the box — By coming up with the idea of a box.


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20th Century World Architecture

cn_image-size_-20th-century-architecture-book

OK so this spine in it’s purest form is not so special. But what makes it important is that it forms part of the carry bag which this book comes in.

Every copy is supplied in its own bag which has been designed by Catalog in Holland and is engineered from a single sheet of paper.

It is a very clever way of adding value to the book.

Not only does it look cool but it also protect the books in the retail environment and make them easier for customers to carry home (especially important given its potentially off-putting size and weight)

Everyone is talking about how print books need to step up their game if they want to compete with digital. Lots of people talk blithely about ‘production values’ but here is something genuinely fresh and innovative.

It makes us very excited about the opportunities that lie ahead for those publishers who have the imagination to think beyond the obvious

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