Since its inception in 1923 as the Fifty Books of the Year competition, this annual event highlights AIGA’s continued commitment to uplifting powerful and compelling design in a familiar format we know and love. As book jackets became more prevalent, the competition evolved with the field to acknowledge excellence in cover design. Beginning in 1995, the competition became known as 50 Books | 50 Covers.
AIGA Press Release
The jury and I were very impressed with both the quantity and quality of the entries this year, which made choosing only 50 extremely difficult. Among the trending techniques this year were use of exposed bindings and elaborate page sequencing and mixed paper choices. For me, there was a greater overall sophistication in book design, with a mix of aesthetically beautiful and graphically brash approaches in the final choices.
Andrew Satake Blauvelt, Director, Cranbrook Art Museum (Chair)
As usual, there’s some overlap with various lists of “best of 2022” — here’s Foreword’s — but, as LitHub puts it, these are the best book [designs] of 2022 that you (probably) haven’t seen.
A selection of my favorites, in alphabetical order:
Cover design by Mary Austin Speaker
Simplicity itself — along with some awesome block type — add up to a great cover. (Love the angled blurb, too.)
Book design by Zack Robbins and Bentzion Goldman
One of the great things about this post is the “50 Books” part; this cover’s okay, and the spine more than okay, but it’s the interior design that really wins in my book (pardon the expression):
Book design by Zack Robbins and Bentzion GoldmanBook design by Zack Robbins and Bentzion Goldman
Kudos: the photography is great, but the spread above is artistic in wonderful way.
Book design by Kimberly Varella.
The trend, mentioned above, to mix paper stocks and styles is shown to full effect here. This book has too many great examples to post; see more.
Meanwhile, Uncovering Singapore’s Traditional Chinese Puppets may not be a title you’d automatically reach for, but…:
Book design by Alvin Ng and Jesvin Yeo.Book design by Alvin Ng and Jesvin Yeo.
This is an interesting, compelling cover and jacket design as shown above. However, once again, rather than post it all here, I’m just hoping to whet your appetite — you need to see this one unfold (literally).
Cover design by Raúl Aguayo.
Great colors, great combinations, great cover.
Cover design by Vi An Nguyen.
I’m always a sucker for photographs of practical items used in ways that make book covers great, and this one’s a shining (pink) example.
Book design by Maria Elias.
There’s so much great design work done in the children’s book market it’s not even funny. The first of two great examples. (See more from this title.)
I’ve highlighted this design before, but every time I see it I like it more. Glad to see it as an AIGA 50 Covers winner.
Book design by Brian Johnson, Michelle Lamb and SilasMunro.
Typographic Messages of Protest, indeed — done in an appropriately powerful way. The suggestion of motion is a great touch.
Cover design by Chris Allen.
“Block party,” defined. Excellent.
Book design by Jay Marvel.
The second children’s title on this list, including an interesting and distinctive style. (See the interior of this book.)
Again, these are only some of my favorites — there are many more, all of which deserve a look. Congrats to all the designers who made these title happen and thanks to the AIGA for this annual delight.
This time, several items related to books and bookstores; two more — possibly the last two — from the automotive logo category; and PRINT Magazine’s 2023 roundup of great design.
Book Four-For
AI book covers? Here, now.
Creative Bloq, which I wasn’t familiar with, has a post up that’s only here because it’s the first I’ve seen of what is sure to be a trend: AI imagery on a book cover.
Image: Bloomsbury UK (Also: Where’s the body to go with the head?)
“Causing controversy,” they say, in that…:
[F]or a while now, with concerns over copyright and ethics plaguing text-to-image generators. Perhaps the most existential worry of all is the idea that AI could put human artists out of work – and while many still find the idea fanciful, we’re already seeing examples of AI-generated art being used commercially.
— Daniel Piper, Creative Bloq
The article itself has a hint of click-bait about it, what with Twitter users spotting a NY Times bestseller but complaining about the UK version of the cover design . . . but the larger question of AI coming for the book designers everywhere is valid.
Then again, AI imagery has the potential to reshape much of the creative landscape. Let’s hope — hope! — that it’s deployed ethically.
B&N’s Market Repositioning
Image: NYTimes (modified)
BookRiot asks whether Barnes & Noble’s new presentation as “a local bookstore” — something that’s part of the community in a way that Amazon can never be —is genuine, let alone successful. (We have a B&N here in Macon, which I visit infrequently, and which doesn’t feel “local.”)
Background: The BookRiot article (and the image) above ultimately stem, I believe, from a NY Timesoption piece from 2018.
Temples of Books
As regular readers know, I’m a huge fan of combining books and photography. Naturally, great photographs of great libraries strike just the right chord:
Phillips Exeter Academy Library, Exeter, New Hampshire
Positioning these spaces as intellectual havens, Temples of Books highlights their wide array of offerings, including botanic gardens, archival repositories, and of course, room to read. “As an institution that can curate knowledge, scrutinize the status quo, and encourage education, the library is more important today than ever,” a statement says. “This responsibility is only growing as the freedom to publish on all manner of channels increases.”
— Grace Ebert, This is Colossal
Instant wishlist item!
Take Action for Libraries
Image: everylibrary.org
Simple brilliance: a handy step-by-step guide on what to do if you don’t like a book at your local library.
Carmaker Logo Updates: Porsche and JLR
Jaguar Land Rover > JLR
No, that’s really it.
Formerly Jaguar Land Rover, but generally known in the industry as JLR, the British company1Technically, it’s an Indian company, as JLR is a subsidiary of the TATA conglomerate. decided to have a FedEx moment and rebranded. Alas, Paul Rand was unavailable, so there’s no brilliance in the execution. (We’ll absolutely leave whether walking away from Land Rover as a brand is a smart move for another, longer discussion.) Motor1 has the details.
Porsche > Almost all other mainstream car brands
There’s a new Porsche logo!
The new 2023 version of the Porsche logo. (Image: Porsche)
That’s right: it’s a very subtle change. But it’s a significant one, perhaps because it’s only the fifth in the company’s 75-year history:
All five Porsche badges. (Image: Porsche)
The biggest changes are the backgrounds and the prancing horse in the middle, which is completely redrawn. (And, yes, has more than a passing — heh — resemblance to Ferrari’s.)
PRINT reminds us that not everything is digital these days — so much of the work still goes on paper or packaging — in their 2023 roundup of great stuff:
The 2023 PRINT Awards celebrated outstanding design in every shape and form, from the delicate texture and exquisite form of print to digital design that married technical skill with precise craftsmanship.
— PRINT Magazine
The best in show is a brilliant environmental design, the annual reports category is oddly satisfying (I didn’t know that Land O’ Lakes is a cooperative that owns Purina, for instance), the editorial category contains brilliance, and many, many more worthy of a design lover’s attention.
Sadly, their book design category is a bust. I like “The Every,” but pretty much any of my Best of 2022 picks run circles around it (and the other two choices):
The Every as photographed by PRINT.
But there are gems. I really like Bakemono, for instance, a winner in the fonts category and the best monospaced font I’ve seen:
Italian foundry Zetafonts brings us Bake Mono.
It’s a long article (they call it a 74-minute read!), but when you have a moment, grab a drink and an iPad and enjoy — hopefully as much as I did.
And that’s it! Settle into summer, and stay tuned for more soon.
1
Technically, it’s an Indian company, as JLR is a subsidiary of the TATA conglomerate. ↩︎
Lettuce first apologize for not having an update in a minute, but I’m going to try to make up for it with this word salad delicious selection of items I’ve been setting aside: ABCD book design, impossible book design, some thoughts on DPReview, Architecture in Music, Hoefler’s typographic illusions, and, because you deserve it, the Great Wave in 1-bit. Enjoy.
Book Design #1: ABCD
“Winner of All Winners,” says The Academy of British Cover Design (ABCD):
Cover design by David Pearson.
“Pearson’s design was judged to be the best book design to have won an ABCD award in its decade-long history,” says The Bookseller.
Meanwhile, their “Best of 2022” list included several I named as well, along with a few I hadn’t seen. The illustration that is the cover design for this young adult title, for instance:
Cover design by Michelle Brackenborough.
Out There fills its “wonderfully weird” billing incredibly well, too:
Cover design by Lydia Blagden.
Alas, the US version:
Cover designer unknown. (Probably just as well.)
I often discuss UK covers when they’re pointed out somewhere, but as a general rule, my book design coverage, for lack of a better term, is US-based. Some other time, I do want to discuss why the UK covers are, generally, better than their US counterparts — as the above illustrates.
Anyway, read Design Week‘s excellent article on those and all the Academy of British Cover Design winners of 2022.
Bonus: I ran across Penguin Galaxy’s 2016 version of an Ursula Le Guin title I’ve got on my read-that-someday list — and love the cover design:
Cover designer unknown — I’ll look into it and update this post if possible.
The whole series is awesome, in fact. Check it out.
Book Design #2: The Impossible Bamboo Hardback
The Eyes & the Impossible the first-ever book to be published in two editions, for two readerships, and from two publishers: Knopf has one, in standard form, for the young adult audience.
The other one, however…:
Cover design concept by the author.
Yes, that’s an illustration showing through laser-cut bamboo, with a glimpse at the red cloth spine. There’s no way to summarize this design story in a way that does it justice, so just go to PRINT and read the whole article. Great stuff.
Photography #1: DPReview Shuttering
Digital Photography Review, long known as just DPReview, is being shut down. Started in 1998 by Phil Askey, it’s currently part of Amazon and is arguably the internet’s leading camera database — with over a thousand reviews of cameras, lenses, and related items, 24,000 articles, some 2.7 million comments, and more.
Perhaps most valuable, and something that will be missed by many, is their large selection of galleries: lenses and cameras, all in a way that can be compared side-by-side, an invaluable tool for those looking to purchase a new toy essential item for their photography bag.
Askey, who left in 2010 (three years after the Amazon acquisition) blasted Amazon’s short-sightedness:
I meant to write about this long before now, but there’s an interesting thing commenting more than a month later: they’re still there. Like many corporate decisions these days (ahem, Twitter), something changed — but it doesn’t matter. The damage has been done, foot shot, whatever. The reporters have moved on, the articles have slowed to a trickle, and updates have been greeted with skepticism.
What a shame.
Photography #2: Architecture in Music
I somehow didn’t write on this one last time I saw it — so when a new series was covered by This is Colossal, there’s no way it wasn’t going to be celebrated here:
“1995 Low C Prestige Bass Clarinet,” by Charles Brooks
Recognize it? No? How about this one:
“The Exquisite Architecture of Steinway, Part 8,” Steinway Spirio R piano, by Charles Brooks
Charles Brooks, a twenty-plus-year overran of orchestras around the world and a cellist since childhood, has taken a probe lens and put it inside some of the world’s amazing instruments. The results are magical:
“St. Marks Pipe Organ, Part 1,” by Charles Brooks
See many more here (2023) and here (2022). (See also this post’s header image, “Siete Lunas’ Guitar by Roberto Hernandez.”)
Typographic Illusions
Hoefler & Co. points us at necessary illusions in typography:
Highlighted on Netflix’s Abstract: The Art of Design, these “cheats” show us that letterforms are so much more than just shapes drawn to stylize characters.
Since a number of people who teach design have suggested that we manufacture these for use in the classroom, I thought I’d take the more direct approach, and make them available as a free download, as a PDF that can be printed on transparencies. Whether you’re teaching typography, studying it, or just giving letters a closer look for the first time, I hope you’ll find these useful.
Last but not least this Monday morning, let’s please celebrate Great Wave Off Kanagawa — in glorious 1-bit greatness:
I usually use either my Quadra 700 or PowerBook 100, mostly because those are my reliable and easy to access computers (that run System 7, my favourite and most familiar OS of that era).
Software-wise I use Aldus SuperPaint 3.0, which is what my family had when I was a kid. Yes, I’d say that all of this is 99% nostalgia-driven…
—James Weiner
Incredible. There’s more info at his fantastic web site (done, naturally, in the style of a classic Mac system). Thanks to Kottke for the link.
This time, the twenty-fifth anniversary of one of my favorite websites, a new book cover review site, an interview with B&N’s CEO, the end of Type 1 fonts, and a world-class rant.
Kottke Turns 25
“Fine Hypertext Products,” indeed.
Jason Kottke has been publishing a blog continuously for twenty-five years — more than half his life — and along the way, earned many an eye. (It’s been a full-time job since 2005.) Some of his thoughts from the anniversary post:
My love for the web has ebbed and flowed, but mainly it’s persisted — so much so that as of today, I’ve been writing kottke.org for 25 years. A little context for just how long that is: kottke.org is older than Google. 25 years is more than half of my life, spanning four decades (the 90s, 00s, 10s, and 20s) and around 40,000 posts — almost cartoonishly long for a medium optimized for impermanence.
I had a personal realization recently: kottke.org isn’t so much a thing I’m making but a process I’m going through. A journey. A journey towards knowledge, discovery, empathy, connection, and a better way of seeing the world. Along the way, I’ve found myself and all of you. I feel so so so lucky to have had this opportunity.
— Jason Kottke, Kottke.org
Cited here often, always brimming with interesting items, and a regular source of learning, Jason deserves massive congratulations. Happy 25! Here’s to many more.
FastCompany points us to a new and interesting cover review site: mostly classic titles, covered in ~500 words “from a range of voices around the world.” Good stuff, with a NYT Book Review look and feel, updated regularly. Give it a try.
The Verge interviews B&N’s CEO
Decode B&N with James Daunt
I’m not a regular listener of The Verge’s Decoder — it’s usually business-centric, going so far as to describe itself as secretly about org charts — but this one’s interesting: an interview between Nilay Patel and Barnes and Noble CEO James Daunt. They cover changes at B&N (with emphasis on why) and, of course, the elephant in any room:
[Amazon is] really terrible at putting a book in front of you that you never thought you’d want to read, that you have no reason to read and no tether to at all. Whereas a bookstore is precisely the place that does that. You pick up the book that you never thought you would want to read, might read, or could even think about reading, by an author you’ve never even heard of until that moment. When a bookseller says, “Look at that,” “Read that when you next come in,” or “I love that,” or whatever it is, all those small, little recommendations are personal and able to attach themselves to books that otherwise have nothing going for them at all.
— James Daunt, CEO, B&N
Props to The Verge for providing a full transcript, especially helpful for folks who would rather read the interview than listen to it. Whether you want to read or listen, though, book lovers in the US should take in this interview.
Adobe Discontinues Type 1 Support
Flying Suitcases.
Back in the old days, Type 1 fonts were the backbone of desktop publishing. They were multi-part, often incomplete or corrupted, and always getting in the way of perfect print output — and yet beautiful and opening never-before-appreciated horizons of possibility for your projects.
Now, in these days of OpenType, Google Fonts, and digital output, Adobe has taken the decision to discontinue support for the legacy Type 1 format. TypeNetwork has the full story, along with some options, and there are other converters if you need ’em.
Bonus: TypeNetwork also has all of the Adobe Originals, from back when Adobe was your go-to instead of the corporate behemoth. Classy classics: see the list.
One more from The Verge: “I don’t want to log in to your website.” The surge of login and email requests before being allowed to read “free” content is addressed brilliantly:
So what we’re looking at here is creating a worse user experience in order to pursue a variety of scummy money-making schemes. And that sucks because there are no real public spaces on the internet. Here in reality, I can fuck off to a park and hug a tree and sit on a bench and do stuff without ads, without anyone trying to track me, and without having to pay a dime. There was a time within my memory when people tried to make websites feel like semipublic places — you could hang out on someone’s cool blog and enjoy yourself.
From book design and minimalist photography to … well, book design and what absolutely isn’t minimalist photography, plus some street signs and another warning about Adobe. Let’s dig in.
Book Design #1: People Really Do Judge a Book by its Cover
From University College Cork — that’s Ireland, folks — we have something that, on the surface, seems obvious: a book cover“is the most likely factor to convince a person to read a book if they are unfamiliar with the work or its author.” Maria Butler, a PhD candidate in the School of English and Digital Humanities at UCC, reminds us why.
Design by Kimberly Glyder.
You’re reading Foreword, so you likely agree — and shown above is one of those worth-a-thousand-words images: the first of the 2023 titles I’ve set aside for my favorites of the year, and absolutely something good enough to make me pluck it off the shelf without knowing anything about either the title or author.
A screenshot from the Shift Happens website. Great stuff.
This project not only scores with great web design — check the interactive version of the book, pictured above — but what also seems like great book design. It’s a Kickstarter project (or will be, next month), so the usual cautions apply, but I might just go ahead and take the leap.
Couple of interesting book design items, by the way: the TOC is at the back, the endpapers are awesome, and the macro photography is tops. The book design reminds me of The Playmakers, still my favorite book design project ever.
Bonus: Tim Walsh, author of The Playmakers, is still going strong. Nice.
Photography #1: Minimalism
The winners of the Minimalist Photography of 2022 awards are in, some are fantastic. Here are a couple of favorites, from the architecture category:
“Prince Claus Bridge in the Netherlands,” by Arthur van Orden“Blue Window,” by Andrea Richey
The Minimalist Photography Award is the only foundation that deals extensively and professionally with minimalist photography as a branch of photography in which the photographic artistic vision takes the lead.
Milad Safabakhsh, President of Minimalist Photography Awards
Direct quote, just because: “A man with three legs, a vintage car scaling a building, and an unsettling formation of people donning bird masks are a few of the scenarios highlighted in the terrifically bizarre Wonders of Street View.”
I didn’t know it was a thing to dress up and pose for the Google cameras. Perfect.
Street Sign Style Guide
Speaking of street views, did you know there’s a style guide for highway signs? Would you believe that I’m a fan?
Interestingly, there is an I-42/I-17 interchange in Phoenix, but this ain’t it: these signs are representational.
As with most things government, there’s confusion, too many regulations, and yet it’s based around good ideas. Beautiful Public Data has a guide to the guide.
Adobe Steps in it, Again
From DPReview: “If you’re an Adobe Creative Cloud subscriber, you might want to go and turn off a new setting immediately. It’s been discovered that Adobe has automatically opted users into a ‘Content analysis’ program that allows Adobe to analyze your media files […] for use in its machine learning training programs.”
It’s important to note that Adobe only uses the files saved in the “Creative Cloud,” something I don’t do as a matter of course, but even still, this is yet another example of Adobe using its monopoly position in the creative field to take advantage of its paying customers.
Adobe, unsurprisingly, didn’t return DPReview’s request for a comment/clarification.
Just like last year, this post took longer than expected due to the best possible circumstance: there were so many great book cover designs in 2022 that I had a hard time whittling down the list. Even as it is, we’re busting right through last year’s limit of 50. Good times!
If we take a step back and look at the trends this years’ favorites represent, it’s more and better illustration, custom and hand-painted type, and a sense of a single focus — one, dominant thing on a field of color. Also, the trend of fewer photographs continues — more evidence that photography has become so ubiquitous that something different is required to stand out. (Or, of course, a really great photograph.)
Please remember that these are my favorites — others might say “best,” but I’ve been in this business long enough to know that there’s always another great title you haven’t seen or read about, and I don’t want to disrespect any of the great book designers not on this list. I’ve tried to include design credit where I could (special thanks to the folks who answered emails with that information), and I wish to stress that any mistakes in the list below (incorrect attribution, for instance) are mine.
Note: If you’re on Foreword’s main page, please click on the post title, above, to view this list. You’ll get larger covers for your viewing pleasure.
My favorite book covers for 2022 (Three-way tie):
Design by Julianna Lee.
How to be Eaten combines an aged look, just a smidgen of pencil sketch, hand-drawn type, and those eyes to create something that just goes beyond. I’m certain the background wolf and creases are real, too, either photographed or scanned — bonus points for that all-too-rare practical effects — and all this in what amounts to two colors. Simply awesome.
Design by Na Kim.
The Book of Goose defies use of the words “art form” — it’s the kind of cover that for many designers would be once-in-a-career good. However, Na’s work appears below, was here last year, and speaks to Na’s creativity being, well, a golden goose that just keeps on giving.
Design by Derek Thornton.
Simply put: there’s literally nothing about The Illusion of Simple that isn’t perfect. J’adore.
Other 2022 favorites, in alphabetical order:
Design by Matt Bray.
This is striking not only for the beautifully-photographed woman in the pool, but the way the pool is extended out to make that woman even more striking. The pattern overlay is fantastic, too.
Design by Pete Garceau.
There’s nothing about this not to like: the frankly perfect illustration on a great background color, the head through the “O,” subtitle censorship bar, the sock, even the title. Enjoy-a-cigarette-after good.
SoHo Press didn’t return a request for cover design information.
Bunch of aged books with a little type, right? Yes, by so much more: striking colors, great hand-done supplementary text, perfect title treatment, style in spades.
Design by Jo Walker.
This is a UK cover — the American one is okay, but not on this list — that celebrates a minimalism that is rarely seen, let alone so well seen.
Design by Tyler Comrie.
What’s not to say about this cover? While faceless women are perhaps overused, this is a book I’d snatch off the shelf — and seemly catch something from — in an instant. Well. Done.
Design by Oliver Munday.
As simple illustrations go, this one in on track for the city of Superlative. Another Oliver Munday classic.
Illustration by Seb Agresti.
Along with “faceless woman” is “headless woman,” but the illustration here more than makes up for it. But it’s the expert, almost laugh-out-loud use of a void that makes it. Well done.
Design by Aleia Murawski and Sam Copeland.
Sure, the title and background colors are neat, the sky outside is cool, and “a novel” is a nice, subtle addition. However: I want to know how this photograph happened. (And a waffle hot dog.)
Design by Maddie Partner.
The first of a couple of titles with unexpected wrap-around type treatments, this one has great type choices, too. But the real treat for me is the plane knocked out the photograph. Fantastic.
Design by Suzanne Dean.
This title hides a secret: under the simple and wonderfully-die-cut jacket is a beautiful photo from René Groebli’s photoessay The Eye of Love.
Awesome. (Note that, once again, we celebrate the UK version of the book; the US hardcover has a design not on this list. Crumpets.)
Design by Mike Topping.
The moon as O. The birds. The graduation from fur to imagery. The yellow. Any would be good on their own, but are great together. Have to say: I’ve seen this in multiple shades of yellow. I prefer the darker — closer to the Barnes title, above — to the lighter, shown here.
Design by Anna Morrison.
The typography, awesome little plane — the purse(r)! — the clouds, all of it: sky-high levels of good.
Interestingly, Fight Night‘s cover also had a 2021 version worthy of note:
Design by Patti Ratchford, illustration by Christina Zimpel.
I can’t begin to imagine what caused the redesign, or why it wound up being so radically — 180 degree! — different. The old design wound up on some “best covers” lists (here’s LitHub’s October 2021 post, for instance); both have wound up on mine.
Design by Ploy Siripant.
The bird exiting the scene stage right makes this just right, with bonus points for the textured paper and slightly-rounded sans serif. I think the illustration is perfect — classically done, one could say — and also love that “author of Want” is in a different font.
Design by Vi-An Nguyen.
Four Treasures to the Sky, mentioned in the May book cover design roundup, leaps into the best-of-the-best list. It features an aged look, but in a woodblock way that celebrates its limited palette. Add in the illustration’s interactions with the type and the vertical “a novel” — often an afterthought — and brilliance emerges.
W. W. Norton didn’t respond to a cover designer request. Apologies.
As photomontages go, this one is simple — yet simply powerful: red Albania meets (and hugs!) beheaded Stalin. Great choices.
Design by Alison Forner.
The quality of type and decorations on this “label” are beyond outstanding. This cover is candy for book design lovers and readers alike.
Design by Alex Merto.
From It’s Nice That, we have a nice feature on Alex Merto — whose Ghost Wall cover is a great example of plant life adding so much more: “the force of a river to the head,” to paraphrase Emma Donoghue’s quote. Plus, one color! Win.
Design by Grace Han.
Nine parts awesome: type and illustration join to light a fire under the words “quality” and “imagination.” (Have I mentioned that I love a textured paper? Here’s a different one that’s also great.) This is one of several titles that’s not only a great book cover, but on a bunch of “best book” lists, too. Great books should have cover equal to their contents, and this one scores.
Design by Emily Mahon.
This isn’t here because of the attention Ukraine deserves these days, it’s here because of that illustration. Brilliant design needn’t be complicated, so ably proved here.
Design by Lucy Kim.
I mentioned at the top of the post that, these days, photographs have to bring something special to the table to stand out. And this cover does, from any table in any bookstore anywhere. (Lovely typography choices here, too.)
Design by Matthew Broughton.
One trend I didn’t mention at the top of the article is the montage-in-type, done here to absolute perfection.
Design by Andrea Ucini.
The woman in looking off the edge of the page at … something looking back. (Not only that, whatever it is casts a shadow.) The book is described as “subtle yet candid,” something that could equally be said about this brilliant cover.
Design by Holly Ovenden.
Another UK cover, this image doesn’t show the uncoated stock and debased type — but does show the jump-off-the-shelf color choices and awesome interaction of title with background. (The US cover, alas, resorted to stereotype. Perhaps we aren’t sophisticated enough?)
Yale Univ. Press didn’t respond to a request for the cover designer.
Choose a interesting texture, put some blocks of color on it, some type and … done. Hah! (Seriously, just look at the hands: they say it all.) Bonus to the hints of doily in heaven.
Design by Emma Ewbank.
The wrap-around title treatment makes another appearance here, with bonus second and third layers and a perfectly-done pull quote. With the aged ink fill and type accenting the striking illustration, this one is in that “wall-worthy” category.
Design by Matt Dorfman.
On our second Ukrainian title, both flower and umbrella work together here to force us to stop and look. (The stenciled type is a brilliant stroke, too.) Proof that genius often appears simple.
Design by Jenny Carrow.
The montage, taken to the next level: Jaffa, orange exports, and an healthy serving of emotion. (Also: curved text is rarely so on-target.)
Design by John Gall.
So simple, yet it is precisely that reaching off the shelf, grabbing your attention. This book is described as “spare and monumental,” and no less can be said of the cover.
Design by June Park.
“Texture is key,” sure, but there’s texture and there’s this. The island’s brush strokes into what seem like a moon are whatever happens beyond perfection. I didn’t expect this cover for a novel about Pakistan, yet the emotion, the … evocation is perfect.
Design by Oliver Munday.
Apple? Tongue? Misfit teenager? Disturbed and distressed? Yes.
W. W. Norton didn’t respond to a request for cover design information.
Rarely are such seemingly “dry” subjects treated with such skill: the angled type set against an urgent red, the subtitle sticker-that’s-better, and the photo choices add up to something I’d grab off a shelf immediately.
Cover design: Christopher Sergio
LitHub says this one has a very high “hang on the wall” factor. I can’t think of a better description — great stuff.
Cover design: Na Kim
Na Kim just can’t help but design the best covers: a wonderful, antique background complimented by sheer brilliance. (Great typography, too.)
Cover design: Emily Mahon
It’s nigh-on impossible to look at this cover and not flip it around to read the text trisecting the leopard. Take something simple, add the elusive more, get this. Yeah.
Cover design: Jim Tierney
Another fantastic example of plants adding more than the sum of their parts. The mottled green background and watercolor-style falloff is perfectly complimentary. Great stuff.
Macmillan did not return my inquiry regarding a cover designer.
From the Banned Books Department, we have the 20th Anniversary edition of this difficult title rendered in a photo-based collage that’s nothing short of brilliant. Highest praise.
Very nearly the perfect black-and-white cover. Texture and shape combine with an incredible title treatment in a way that shrugs off the need for color. Fantastic.
Design by Allison Saltzman, art by Sonya Clark.
I’ve said before that moving to the South was a bit of a shock — the racism still all-too-evident jars all-too-often. This cover takes a simple, elegant idea and, without any of the stereotypes so often reached for, delights with style and simplicity, absolutely earning its spot in this list. (This is another of those titles that’s on many “best of” book lists, too. It’s a genuine pleasure to see worthy books get great covers.)
Design by Holly Macdonald.
“Wow” is the only word here — a stunner of a photograph used in, if I may borrow from the cover, a breathtaking way. Simple, elevated to exquisite.
Design by Jamie Keenan.
Never mind that I never knew Cary Grant was once a stilt walker (or named Archie Leach), this is an exercise in using a famous face in an innovative way, with a cast of supporting characters that flow as naturally as lines on paper. A trip through the possible — fantastically well-done.
Design by Jamie Stafford-Hill.
Fantastic type and color treatments, yes, but it’s the way the photograph is handled that shines: where the eyes are, the color treatment implying front and side, all of it. A 2016 book reissued in hardcover with a cover guaranteed to attract new readers.
Design by Oliver Munday, or perhaps Erik Rieselbach (depending on who you ask).
This cover is the antithesis of a swelled, salted herring: it’s brisk, to the point (if I do say so), and throws a life ring out to inspire book designers everywhere.
Book design: David Drummond
Brilliant: actual text, printed (on a great color paper, too), with actual string, photographed on said print. Not only is it exactly right for the subject matter, it’s simply and beautifully done.
Cover design: Jack Smyth
Never mind the great brushed color blocks or boat-rowing-the-ocean above the title. This is here mainly for the overlap between color and island: shortlisted for the prize for intersection-of-the-year.
Design by Luke Bird.
“I’ll just do a little cropping,” designers say. Then there’s … genius.
Design by Mary Austin Speaker, art by Stacia Brady.
Another piece of art that’s absolutely wall-worthy — actually by the author’s mother — complimented by a tasteful type treatment with a wonderfully-offset “poems.”
Design by Colin Webber.
“Great” can’t even begin to describe this cover — from the lemon shape, staggered type, green background, back-of-head portrait, to the slightly-aged treatment, we have ingredients that add up to that highest of achievements: a book I’d buy knowing nothing about, no hype [machine] needed.
Design by John Gall.
Classical painting with a singularity. Sure. So easily pulled off … if you’re John Gall.
Graywolf Press didn’t respond to a request regarding cover design.
The title treatment is the winner here, using two translucent shades of orange to the best possible effect — taking a nice painting/illustration to the top floor.
Design by Alex Merto.
Describing this cover as “haunting” would be a cheat — but completely accurate. (Love the line of type down the right side, too.)
Design by Jamie Keenan.
The rare type-only treatment … taken to an entirely new level. Fantastic.
Design by Christina Vang.
A triumph of textures: one matchbook you never want to throw away.
Design by Lauren Peters-Collier.
Breaks through more than water and time: it’s thrust into your memory. (See a note from the designer at LitHub’s cover reveal.)
Design by Albon Fischer.
One of only two text-only treatments in this list, done in a ’70s style — yet taken to a clever and impressive level. (Love the stacked “lls.”)
Design by June Park.
I adore how the type and frankly fantastic illustration work together here. Wonderful!
Cookbooks rarely make an appearance on “best book covers” lists — yet this one earns its spot with an antithesis-of-the-stereotype approach. Ordinary it is not, in the best possible way.
Design by Jack Smyth.
Another UK version — the US version is good, more than most even, but it’s this one that shines with its great photo choices, cut lines, and great type treatment.
Design by Katie Tooke.
This one’s a two-fer, with the UK version, above, showing the book-edge treatment done really well, while the US version…
Design by … ?
…takes it to another level. Is there such a thing as a cloud globe? Or is that one of those old-fashioned stock-ticker covers? Either way, the subtle pattern — in front in some places, receding in others — adds a wonderful touch. Great stuff. (Great, too, to see the US version take one: a rare treat.)
Cover design by Roman Muradov.
Bellevue Literary Press scores a win here, with something immediately recognizable as about music, yet so much more. Performance art, indeed.
Note: I originally attributed this title to Yale University Press instead of Bellevue Literary Press. I regret the error.
Design by Na Kim.
Na Kim apparently not only did the design but the illustration, as well. The rest of us can only aspire to that level of talent.
Cover design: Leanne Shapton
This illustration being in grayscale is, at first, a little off. But, of course, that’s exactly the point. I overuse “brilliant,” but it’s the best description. (Again, see a note from the designer at LitHub‘s cover reveal.)
Design by Elizabeth Yaffe.
Family epics, climate change, dystopian futures, and Moon — all somehow included in this rich illustration. Two-color greatness. (Bonus: Another great use of “a novel,” something often “meh.”)
Design by Brian Moore.
A standout historical photograph is only the beginning: it’s really the coloration that’s the story here, for both book and cover — so well done.
Design by Kelly Blair. Illustration by Toby Leigh.
Among the best book cover illustrations ever, perfectly inserted into the seatback in front of you. (Great Circle’s cover was in last year’s list, by the way.)
Design by Christopher Moisan.
There’s something about underwater photography, with its beautiful, soft light and fascinating reflections, that is evocative — and there’s nothing about this photograph that isn’t evocative. A triumph.
• • •
Whew. Seventy great book covers. 70!
Okay, let’s summarize: 2022’s crop of favorite covers not only surpass 2021’s, the quality of work here represent what I believe to be a new standard. To all the designers — and art directors that chose them — congratulations.
This time, art from old encyclopedias, architectural art, and an appeal to add art to your post-holiday shopping and giving plans.
Books as Art — In a Different Way
Cara Barer says, “Books, physical objects and repositories of information, are being displaced by zeros and ones in a digital universe with no physicality. Through my art, I document this and raise questions about the fragile and ephemeral nature of books and their future.”
It’s more than that, though:
As This is Colossal puts it: “With cracked spins and crinkled pages, the manipulated objects reference the relationship between the natural and human-made as they evoke flowers at peak bloom.”
As a book designer, I’m glad that the titles used aren’t something a designers labored over but rather mostly instruction manuals and old encyclopedias. Either way, they’re a beautiful way to make commentary.
“Photographic escapades in arcades and colonnades”
Liberty Station, San Diego by Keith James
Few scenes set my photographic heart aflutter as does the view down a long covered walkway towards a distant, barely visible vanishing point. As a self-confessed symmetry addict drawn to architectural images in black and white, photographing these vistas scratches a deep creative itch.
Keith James, MacFolios
His article is well-illustrated, informative, and speaks to my heart: I love a good arcade — although, in some cases, I feel like an entry or exit makes the point:
Vassar College Chapel Arcade, September 2021
This is not the first time I’ve admired Keith’s work. His “Architecture Meets Sculpture in Black and White: the Interplay of Light and Form” was great work. Both articles are highly recommended.
Artist Sunday
For those of you in the United States, this weekend is the Thanksgiving holiday. It’s also that most American of traditions: a shopping weekend. I have spent recent years boycotting Black Friday and Cyber Monday, and am encouraged by the emergence of Giving Tuesday. Here’s something to add to that list:
Photographer Chris Sherman developed the concept of “Artists Sunday” in 2019, after noticing a bump in sales on that day in November. “The idea struck,” Sherman told Hyperallergic. “What a great time to patronize artists — during the busiest shopping weekend of the year.”
In 2020, Sherman launched the project alongside Cynthia Freese, a fellow artist who has also spent extensive time on the boards of arts nonprofits. On a dedicated website, Sherman and Freese provide artists and arts organizations with free marketing materials to promote the event. Now in its third year, over 4,000 artists and more than 600 towns and cities across the country have signed onto the initiative, which takes advantage of special events and partnerships (with nonprofits, individual artists, and businesses) to spread the message.
Note: Click on the title above to see this post in one-column format, which includes larger graphics — helpful with some of these jackets especially. (This applies to any post here on Foreword, by the way.)
It’s time once again to celebrate the unsung heroes of the book world: the best items published by university presses.
The annual show, now in its 57th year, honors the university publishing community’s design and production professionals. The Association recognizes achievement in design, production, and manufacture of books, jackets, covers, and journals, and the Show serves as a spark to conversations and source of ideas about intelligent, creative, and resourceful publishing.
Association of University Presses 2022
This show, like the 50 Books, 50 Covers also announced around this time of the year, is cool in that it doesn’t just talk about a book’s exterior — there are covers and jackets, interior design, even awards for the quality of typography.
Let’s talk about titles with both covers and interiors first, starting with the great Gumbo Ya Ya from the Poetry category:
University of Pittsburg Press. Cover design by Alex Wolfe.University of Pittsburg Press. Interior design by Alex Wolfe.
The strength of this design, inside and out, towers head and shoulders and whatever else above — designer Alex Wolfe deserves this win and many kudos from me.
Georgetown University Press. Design by Jeff Miller.
Flag-as-fence. ’Nuff said.
McGill-Queen’s University Press. Design by David Drummond.McGill-Queen’s University Press. Design by David Drummond.McGill-Queen’s University Press. Design by David Drummond.
I don’t know that these are a series of titles as much as a style forthe titles — but, in either case, they work.
University of Pittsburgh Press. Design by Henry Sene Yee.
Not the only title here with textured paper, the simple typography with a fantastic — and fantastically-placed — bird wins for more than literature.
University of Minnesota Press. Design by Casalino Design.
The white border around this is difficult to see here, but adds to the overall in an interesting way; I also like the hand lettering over this amazing photograph.
University of Nebraska Press. Design by Nathan Putens
Additive color combined with the subtitle-of-the-year on this winner.
Princeton University Press. Design by Derek Thornton.
Great, great typography here. When combined with the radiating lines and provocative title, it makes for a title that I’d absolutely pick up.
I’ve saved my favorite from the whole show for last:
University of Minnesota Press. Design by Michel Vrana.
Another appearance of textured paper is just the start here, with that illustration rocking so hard indeed — the eye! Fantastic in every way. (Bonus points for “A Post-Exotic Novel.”)
See all of the entries from this great Association of University Presses show here. (FYI, nothing from Spine yet, but kudos to the University of Chicago Press for blogging about their favorites.)
