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.

The Flame Alphabet

the-flame-alphabetThese are really interesting.

Lots of different design tools have been used here to maximise their impact.

- The jarring bright colours…

- The background of sharp angles which stretch and push against the narrow sides of the spine

- The contrasting blocks of type which are used for the title and are spread down the length of the spine

It should be a mess: Too many things going on and too many of them clashing directly with each other.

And yet…these spines not only work. They are gorgeous


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Pure and Sorry

pure_0 bw

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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Life on The Line

lotl_0How nice to see a tiny publisher doing something so brave with their blurbs.

This is a travel book — chronicling the adventures of a biker as he traverses the Americas.

It could so easily have been a splurge of prose about what happened and where: Kind of interesting but certainly nothing special.

Instead, Blue Footed (the publishers) have created a map of the journey and literally, ‘highlighted the highlights’.

It looks great and the bite sized chunks of copy suck you in far more effectively than a conventional blurb would have done.

The designers have also cleverly played with the title so that the ‘line’ it refers to is bought to life by being represented on the map.

While the bold use of black and yellow makes the whole thing especially striking.

All in all a very tight piece of thinking and a distinctive bit of design.

It is so good when the ‘little guys’ show the big boys how things can be done.





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Faces on Fiction Covers

cover-faces_0

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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J G Ballard

ballard-spines_0There is something curiosly appealing about these spines.

In truth, they aren’t that extraordinary but the simple colour palates are very attractive. They give the spines a block presence on the shelf without getting in the way of either the titles or the author name.

It is a very elegant way to stand out on the shelf.

The only thing that annoys us is the way the imprint jumps between 4th Estate and Harper Perennial.

Of course there are sound internal reasons for doing this but from a consumer point of view it is messy and confusing — destroying all the beautiful consistency of the rest of the design.

Shame.


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I’ve Got Your Number

funnySeven lines. Seven quotes.

Not exactly a fresh approach to a blurb.

BUT…what the publishers have nailed with this blurb is the consistency of the message:

“I cried with laughter”

“Laugh a minute”

“Hilarious”

“Funny”

“Witty and Hilarious”

That’s it — job done.

No one can be left in any doubt about what this book delivers for its readers.

Oh if only more blurbs could be this focused in their communication.


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Gold

gold-ukgold-usa_0

Here we have another epic battle between the UK and the USA

This time the book in question is Gold — The highly anticipated third book from Chris Cleave.

This one follows his huge success with The Other Hand / Little Bee and of course, his publishers on both sides of the Atlantic will be desperate to maintain the success of that novel.

So lots of pressure for everyone involved…

The USA publishers (on the right above) have chosen to ride the ‘continuity’ wagon.

Their cover looks very like the one they created for Little Bee. Quite clearly their plan is to stay ‘on brand’ and remind consumers of the imagery that adorned Cleave’s previous big seller.

This makes perfect sense and the cover looks fine. Nothing special and certainly a little bit too ‘One Day’ for our liking — but let’s face it — this cover isn’t about great design. It’s about looking as though it has come from the same author as the last one.

In stark contrast, the UK publishers have left the style of the previous cover far behind them.

In fact, they have taken such a radical turn, this cover looks unlike almost anything else on the market. It is extremely bold, will look fabulous on the shelf and just as impressive as a thumbnail.

From a strategic point of view, the important thing to note here is that the UK publishers have recognised the successful cover they produced for The Other Hand has been copied far too much for any kind of follow-up to deliver proper impact.

It might have looked like a good strategy on paper to follow the USA approach of ‘continuity’ but in practise it would have delivered a very bland cover.

So very bravely, the UK publishers have ‘gone the other way’.

They have jettisoned anything to do with Cleave’s previous covers and instead have chosen to remind consumers that Cleave is a ‘big author’ by producing a design that is so different from anything else out there that he stands quite on his own.

This is bold publishing, we applaud it wholeheartedly and are quite sure that it will work..



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A Good Man in Africa

boyd It’s so simple when you see it like this…

What is the main selling point? William Boyd

How do you find it in a bookshop? Look for the name William Boyd.

Rarely does one see a title printed so small and yet in this case it simply doesn’t matter.

Well done to the publishers for keeping their focus firmly on the consumer and ending up with a very neat piece of design as a result.

This is one to copy.


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Darkmans

nicola-barkerEr…not much needs to be said here.

Just look at this image of the spine on a shelf.

It is extraordinary how little it takes to stand out.

Simply by using bold blocks of colour and disrupting the conventional, linear approach to spine design, this book screams at you from across the store.

It ain’t rocket science.


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The Art of Fielding

art-of-fieldingSo here is the book that everyone is talking about…

And maybe that is the problem with this blurb: There is just too much talking.

There is one killer point that comes through in Jonathan Franzen’s quote — “First novels this complete and consuming come along very, very seldom”.

In other words — this is a special book…

Rare, desirable and precious…

A one-off that needs to be seized upon…

This is the point that the publishers should have rammed home — but instead they got caught up in the breathless eloquence of long quotes and witty baseball metaphors.

(Hardly motivational for readers in a country that knows sod all about baseball and shows absolutely no interest in learning more about it either)

This blurb would have been much tighter if the publishers had showed more restraint and edited the quotes so that they all reinforced Franzen’s central message. After all, in among the baseball references, each of the quotes pick up on the same theme:

For example James Patterson exclaims: “The Art of Fielding is one of those rare novels that seems to appear out of nowhere, and then dazzles and bewitches and inspires until you nearly lose your breath from the enjoyment and satisfaction”

Seldom…Rarethese are big motivational words that are getting lost amongst all the others

The bottom line here is this — When putting together a blurb it is nearly always better to focus on one powerful message than to get distracted by lots of other themes (no matter how positive and tempting they might be).



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