favorites – Giles Hoover

January 24, 2024February 2, 2024

My Favorite Book Covers of 2023

2023 seemed to go by with greater speed than normal, meaning the process of accumulating my favorite book covers occurred more hastily than I would have sometimes preferred — after all, perusing the best of the new releases is tremendously enjoyable. It’s just that, due to this year’s hefty undertakings, I was not able to make as much time as I’d have liked.

So I was surprised when, in early January, the tally of candidates in the favorites folder was over two hundred items. A bounty of goodness.

Narrowing those down to the list below was exceptionally difficult. I tried to get to last year’s limit of 70 titles, but failed; I managed to narrow it to 80, then 78, but just couldn’t winnow any further.

Pull up a chair. This one’s gonna take a minute.

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 title you haven’t seen or read about, and I don’t want to disrespect any of the talented 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 wish to stress that any mistakes in the list below 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 of 2023 (three-way tie)

Design by Keith Hayes with art by Sasha Vinogradova.

“Find a gateway to the underworld. Steal a soul out of hell. A simple plan,” the Amazon description starts, and it’s a sequel of magic, secret societies, and whatever else.

But never mind all that. This cover grabbed my attention in a way few do, with its combination of art, shadow, and type, all carved to perfection.

I dare say that only Oliver Munday could have done this expression of so much with so little. Enormously appropriate, then, for a memoir only 64 pages long.

From The Illiterate‘s Hungarian refugee in Switzerland we move to a Norwegian immigrant seeking freedom in America. Alas, she turns out to be our first (known) serial killer — giving this hand a quiet, eerie yet somehow classic quality that quietly compels like few others. Outstanding.

Other 2023 Favorites, in alphabetical order:

Impressive sense of movement from these figures, whose interplay with the title type combines with quotes-on-a-path (something of a trend this year) and great color choices to provide something memorable.

Such a simple concept. Such superlative results. No other concerns.

There is another version of this on one of the “best of” lists, but I much prefer this one, with the circling birds and hand-done lettering. A two-color triumph.

Oooollllliiiiivvvvvveerr!

Design for the US version by Anna Weyant.

One of those examples where the art just shouts off the shelf, although the type treatment works exceptionally well, too. Better still, it’s one of the rare US versions that bests its UK treatment:

Design for the UK version by Kishan Rajani.

Not at all bad — in several “best of” lists, in fact. Just not mine.

I’m not sure whether the items on the page are models, made (or found) objects, or some extremely well-done Photoshop work, but ultimately it’s combination of the simple graphics and brilliant typographic treatment that earned this title its spot. Fantastic.

The ’70s are hot right now, but this is 2023, aged to perfection. Very nearly made the “best of,” not just the “best of the rest.” Horrifically good.

Type, color, pattern, brilliance. Must be a Munday.

Eyes are a frequent guest on book covers. Rarely so many, though, and rarely in two-color. Winner of more than a Pulitzer.

Design by Emily Mahon, lettering by Martina Flor.

Edie O’Dare does tell, it turns out. “Cinematic” might be a cliché, but….

I’m a sucker for a great woodcut-style illustration. Great type treatment propels it into a standout book cover.

There’s something decidedly non-emergency about this, yet once you understand, it works perfectly: simple, yet so very not.

This book of Native poetry ranges from Missing and Murdered Indigenous Women (MMIW) to reverence to the natural world to “the machinations of colonialism,” a cover assignment that could border on impossible. Yet, here . . . absolutely brilliant. Expressive and so much more, including possibly my favorite type treatment of all on this list.

Danger: UXB. (The pink is an inspired choice, too.)

Fear knows no bounds, only stylish hats. (On the LitHub list, someone said it has “serious 2024 vibes,” which I’m concerned may turn out to have some truth to it.)

Screen print by Kate Gibb, lettering by Jodi Hunt, and photograph by Adaeze Okaro.

Rarely have photo and type worked so well together. Fantastically well done, with plenty of room for the soon-to-be-added kudos, quotes, and awards.

Who splits a four-letter word onto two lines? Someone after great results, as it turns out — with bonus points for the pattern and color in the “splash.” Nice.

Smile-inducing. Sometimes simple is best.

Junior theatre critic gets senior designer’s knockout hit. The audience goes wild.

I’m at a bit of a loss to describe why I like this so much, except that every time I look at it, I like it even more.

Perfect execution of a simple concept, from colors to art to type.

Wins the “best-placed title” award, among so many others.

A reminder that something done often can still be done with originality — and incredibly well.

The collage-as-book-cover is another (perhaps) overused item, but when in the hands of Emily Mahon, this one looks you in the eye and won’t let go.

The jacket that covers The King of New York with . . . Lou Reed. “Well played” seems like an undersell.

From the textured paper to the type choices, this cover’s great. But with that photo choice, it’s vaulted into “best” category.

The combination of geometric shapes and unexpected typography mean this little guy will never get painted into a corner.

“Type here,” someone said.

Type-as-a-border is a trend — one I’m surprised to see on a Munday — that’s actually a great counter to the purposely irreverent illustration. I dig it.

Bird-as-cat’s-eye. On a Margaret Atwood. ’Nuff said.

Brilliantly, uh, substantive: a lesson in how-to.

The rooftops alone make this, but avoiding the stereotypical Irish colors is a huge bonus, too. (This title went on to win the 2023 Booker Prize, by the way.)

A triumph of the less-is-more approach, starring a headless human and superlative typography. Fantastic.

It’s rare to see children’s literature graced with such a great cover — this one literally flies off the shelf to grab your attention. A rare bird, indeed.

St. John called: this cover is fabulous, from evocative body parts to hand-lettering to die for. Awesome.

A novel on the Korean Provisional Government — and so very much more. The split treatment, with both halves running at 11, get fantastic typography and the Korean characters (in gold, obvious in person) are a great touch.

Bonus: Read the author’s reaction at LitHub.

Design of the US version by Carlos Esparza.

Another where the US version shines, especially as cassettes are coming back into fashion. (Special points for the subtitle-as-label.) A B-side no longer.

Brilliant comment redacted.

Mallory Viridian is an amateur detective on an extraterrestrial (and sentient!) space station — perfectly sold with this line-art-only cover. Fantastic.

Dead birds wouldn’t ordinarily be my go-to for cover excellence. But this one, with its painterly quality and hand lettering, perfectly hints at the haunting, slightly bizarre adventure within. Perhaps I should study more; as many will testify, it’s certainly not an obedience thing. (Read the Booker Prize listing.)

One of those instances where the graphic just sells the cover. Brilliant.

The continuing stigmatization of the LGBTQ+ population in the United States is so perfectly summarized here. (I’m curious how this cover was done, too: white paint, then watercolored? Gouache? Either way, the colors serve the overall so very well.)

This collage jumps through my psyche: sophisticated, off-kilter, and yet, somehow, completely right.

I had to look up Charles Baudelaire, I have to admit — but didn’t need to know in order to get the disjointed, colorful appeal of this cover.

Leaving a trail, all right. (Also: the text colors.) This version is mercifully short of Booker notifications, too — sometimes, I wish all the callouts and clubs would just go away.

Design (and illustration) by Sarah Schulte.

Type on a path can be fraught, as can simple illustrations on off-white. Except when simple ideas are translated into compelling book design. Completely different from the above, yes, but just as accomplished.

Crown. Asterisk. Print!

As the risk of repeating myself: “Type on a path can be fraught, as can simple illustrations on off-white. Except when simple ideas are translated into compelling book design. Completely different from the above, yes, but just as accomplished.”

This trick can only be pulled once, and book designers everywhere are ~~envious~~ downright jealous. Here’s the cover — uh, flap:

“Continued on rear flap,” it doesn’t say.

Brilliance in titling aside, check the glint in the rabbit’s eye. Wonderful.

Interlocking forks, LOL. (Also, color choices.)

This has gotten a bunch of well-deserved attention: from the embossed type to the gradually-increasing repetition of the artwork, Alex Merto scores and scores then repeats. Great stuff.

Design for the US version by Alicia Tatone.

Gluttonously hits a bunch of high notes, and keeps coming back for more — until:

Yeah. Score one for the UK.

Is it possible for something Escher-esque to be soothing? Yes, it turns out.

Perfectly abstract, brilliantly pulling together the remarkably disparate stories within.

“Kingdom of surfaces,” so very indeed.

“Spare, beautiful, and richly layered, the [book’s cover] is dazzling.” —Foreword

Another of those too-simply concepts that checks out on every level. Awesome.

Rarely does so much text take up so little space yet work so well — this 75th anniversary reprint stacks up. (Imagine inspiring a school-aged Stephen King, by the way. That’s “The Lottery.”)

“A novel” has never played so well.

Steppen-out: this new translation gets new meaning. (In the text, too, I understand.)

Multi-layered shadowboxing. Nice.

A study in simple perfection. For a book examining heightening fascism, toning down the cover speaks volumes. Great choices on every level.

To collage in a way that the resulting product is of higher value than the original items: upcycling, indeed. (“The thread tying the cover together is a masterstroke,” he said.)

“The humor of a great conversation,” one of the reviews said, and better words could not be found for the cover. Masterful.

The woodcut-style illustration is back, in two-color and aged to perfection. (The paperback kept the illustration but changed out and dulled the colors, to a much less satisfying effect. Curses.)

“Permeable boundaries,” illustrated brilliantly, with perfect texture and typography.

“Sings,” someone said. “Seconded,” I said.

Stories told in a triumph of less is more. (The US version is good — another that’s one some others’ “best of” lists — but here’s another one where I think the UK slam dunks.)

This is one of those covers that keeps giving, a three-color triumph of telling the book’s story. (Also: typographically counter-riffic.)

The Book of Goose was one of my top three covers last year, but high expectations are nothing when Na Kim is covering it. Storied, indeed.

I was going to go on for a minute, again, about how the UK gets all the good covers — and this one earned a spot in this post — but…:

…the more I look at this US version, the more I like it. The hint of cat, the red shading, the paper’s tone and texture, and the type treatment stand in direct contrast with the fabulously literal interpretation of the UK version. Given both, I literally couldn’t choose.

“There’s a painting at the door,” in the most amazing state. (Political pun intended.)

William Morrow didn’t return a request for the cover design’s name, unfortunately.

There are so many ways to get this design wrong — but wow: someone took a cliché and literally flew in the face of it, to brilliant, memorable effect. I wish I could give appropriate credit.

• • •

Dan Wagstaff over at The Casual Optimist comments that,

[I]t’s like we’re stuck in a holding pattern, circling the same design ideas. Trends have stuck around. A lot of covers feel safe. Some of this was the books themselves. I’m not sure exactly how many celebrity memoirs is too many, but I’m pretty sure we reached that point and sailed right past it in 2023. No doubt some of it is sales and marketing departments sanding down all the edges and demanding the tried and true (see Zachary Petit’s alternative best of 2023 piece on killed covers for Fast Company). But I would not be surprised if it designers were just getting caught up in the churn — too many books, too many covers, and too much other stuff to worry about.
— Dan Wagstaff, The Casual Optimist

I think he’s right. Despite growing the number of selected covers this year over last, I feel that despite the outstanding items above, the majority of the book covers and jackets — almost certainly by publishers’ explicit direction — are playing it safe. After all, here in the Roaring Twenties, rocking the boat brings nothing short of vilification.

Thankfully, the designers on this list have battled the committees bent on mediocrity and overcome with great talent, great design, and great perseverance. Power to them, and I wish them — indeed, all of us — continued success in 2024.

’Cause, y’know, it’s gonna be a great year.

How this list was compiled

My selections stem from books I’ve seen in person; the “best of” lists from NPR, The Guardian, and the BBC (among others); and the best book cover lists from Spine, The Casual Optimist, The Book Designer, Creative Review, Kottke, PRINT, The New York Times (gift link), and LitHub. See how my list compares with those, and enjoy: a great many more outstanding examples of book cover creativity await.

Please note: I somehow missed the 2023 University Press Design Show — usually linked here — so please stay tuned for that post soon (and then again in July for the ’24 Show). Apologies.

January 24, 2023February 22, 2023

My Favorite Book Covers of 2022

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):

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.

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.

Simply put: there’s literally nothing about The Illusion of Simple that isn’t perfect. J’adore.

Other 2022 favorites, in alphabetical order:

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.

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.

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.

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.

As simple illustrations go, this one in on track for the city of Superlative. Another Oliver Munday classic.

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.)

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.

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.)

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.

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.

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.

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.

The quality of type and decorations on this “label” are beyond outstanding. This cover is candy for book design lovers and readers alike.

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.

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.

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.

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.)

One trend I didn’t mention at the top of the article is the montage-in-type, done here to absolute perfection.

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.

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.

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.

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.

The montage, taken to the next level: Jaffa, orange exports, and an healthy serving of emotion. (Also: curved text is rarely so on-target.)

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.

“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.

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.

LitHub says this one has a very high “hang on the wall” factor. I can’t think of a better description — great stuff.

Na Kim just can’t help but design the best covers: a wonderful, antique background complimented by sheer brilliance. (Great typography, too.)

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.

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.

Bonus: Kudos, too, to Open Culture: The New York Public Library Provides Free Online Access to Banned Books: Catcher in the Rye, Stamped & More.

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.)

“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.

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.

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.

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.

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.

“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.”

“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.

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.

Describing this cover as “haunting” would be a cheat — but completely accurate. (Love the line of type down the right side, too.)

The rare type-only treatment … taken to an entirely new level. Fantastic.

A triumph of textures: one matchbook you never want to throw away.

Breaks through more than water and time: it’s thrust into your memory. (See a note from the designer at LitHub’s cover reveal.)

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.”)

I adore how the type and frankly fantastic illustration work together here. Wonderful!

Bonus: Read how this cover came to be on Spine.

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.

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.

This one’s a two-fer, with the UK version, above, showing the book-edge treatment done really well, while the US version…

…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.)

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.

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.

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.)

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.”)

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.)

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.

Looking forward to 2023!

How we got here:

My selections stem from books I’ve seen in person; the “best of” lists from NPR, The New Yorker, Kottke, The Guardian, and the BBC; and the best book cover lists from Spine, The Washington Post, Casual Optimist, Kottke, Creative Review, and LitHub. See how my list compares with theirs — a great many more outstanding examples of cover creativity await.

See also: my favorites from 2022’s University Press Design Show.

January 11, 2022January 29, 2022

My 50 Favorite Book Covers of 2021

This post is late, because I had trouble narrowing my long list down . . . and then, when even the short list was too long, said, “heck, 21 is too few for a year with such superlative design.” So, instead of 21 for ’21, y’all get 50. Grab a delicious beverage, settle in, and enjoy.

My selections stem from books I’ve seen; the “best of” lists from NPR, The New Yorker, Kottke, and the BBC; and the best book cover lists from Spine, the Casual Optimist, Kottke, AIGA Eye on Design, Creative Review, LitHub, and PRINT magazine. When you’re done here, see how my list compares with theirs — a great many more outstanding covers await.

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 (thank you to the folks who answered emails with that information), and I wish to stress that any mistakes (incorrect attribution, link not working, etc.) in the list below are mine.

My cover of the year is one of those combinations of photography and printed word that works on multiple levels. Okay, sure, it’s called Liar’s Dictionary, so I may totally be pulling your leg here, but:

2021 Cover of the Year: Liar's Dictionary

“We all peacock with our words,” one reviewer said: exactly right. I’m wondering about the direction of the shadow — some Monday morning quarterbacking, for certain — but otherwise, I’d be incredibly pleased to have this cover in my portfolio. It speaks to what I aspire to, which is the best photography and best graphics working in beautiful concert. Design by Emily Mahon. (Bonus: See a Spine write-up on Emily from 2017.)

My runner-up for favorite cover of the year, this novel of a queer mother is immeasurably strengthened by this extraordinary cover. Great color, great type . . . just great. Design by Lauren Peters-Collaer.

The rest, in alphabetical order:

The ability of this cover to catch your eye on a crowded bookshelf is undeniable, but it’s the amount communicated with seeming simplicity that makes it a winner. Design by Kapo Ng.

The progression of graphics here win on several levels, but the icing on this “exquisite ransom note” (thanks, Lithub) is the shadow from the silhouette in the middle. The use of so few colors is a huge bonus. Design by David Pearson. (He doesn’t seem to have a website, but here’s a It’s Nice That article.)

The combination of background image — the eyebrows are perfect — with the elements making up the overlays is wonderful. The wraparound text adds to the whimsy. Brilliant results. Design by Joan Wong.

This is just great: “struggle to survive” so prominently displayed, the fence and wall, what looks like a cop in the upper left, the guy staring straight at camera in the lower left, the “hurry up” notion of the mother and child, the colors of the collage, everything. Wow. Design by Linda Huang.

This is another from the “simple is better” category. Great colors, yes, but little details, like the type and the subtle overlay of the graphs over some of that type take it over the finish line with style.

Collage and type, yellow and green, all done beautifully well. Bonus points for the hints — just hints — at faces. Design by Lauren Peters-Collaer.

Another with simple colors, but the strengths here are not only in the eye-catching type, but the repeating line drawings with their own curb . . . and that single lit window for the win.

Leopard! Wonderful pencil sketch! From the simple-at-first-glance category we have anything but.

At the risk of repeating myself, this one seems simple. Until you realize that the tomatoes age . . . and spoil. (The vine’s awesome, too.) Edgy design by Na Kim. (Bonus AIGA Eye on Design article on her.)

“Memorable” doesn’t begin to describe this one; the upside-down painting is only the beginning. Design by Daniel Benneworth-Gray.

I’m going to go with chalk rather than brush to describe the type and especially flames, but either way, when combined with this extreme close-up, its perfectly-chosen duotone, and fantastic skin texture of this beautiful model, we get something close to amazing. Design by Sara Wood.

In contrast to some, this one is not simple at all: deeply detailed and strikingly colored, this cover says “all-American” in a way only an immigrant can. Design by Stephanie Ross.

Mentioned earlier this year, this title circles back because the artwork demands it. Cool white-type title, too. Design by Kelly Blair.

The smile — and the shoes! — speak more loudly than the revolutionary themes so typical of Maoist-era settings. The perfect parody cover. Brilliant. Cover design by Matthew Broughton, based on art by Biao Zhong.

Color, type, objects, the arrow, “a novel,” circled, the people and places . . . all add up to so much more than just the sum of the parts. Awesome.

Nobel prize, blah, blah. It’s the cover, darn it! Design by Alex Merto.

The first of two skulls on this year’s list, this one made up of perhaps the least-hexed thing imaginable.

This one’s on this list for its subtle brilliance: the watercolor lines, the great typography choice, and integration of the photograph. Nicely done.

How the One-Armed Sister Sweeps Her House book cover

One the one hand, a simple photograph-and-title book cover. On the other, it’s beautifully cropped, the reader/viewer catches the “look,” and it’s complimented with great color choices. Long title served oh-so-well.

You don’t see almost-blank covers every day, and this one, especially, makes you want in. (Sorry.) Brilliant.

I. Want. To. Have. Taken. This. Photograph. (And then done this cover.)

This type of cover is actually very difficult to accomplish well, and here, it’s . . . well, accomplished.

Brilliant on so many levels. Design by David Litman.

Color and type compliment the awesome choice of suit and hat here. One of those covers that demands the reader/viewer pick it up off the shelf and explore. Design by Kelly Blair.

The painterly elements here lead the reader/viewer to the correct question: “what is this about?” and, guaranteed: it’s not what you think.

This made a bunch of best-of lists this year, and I gotta say: it’s one accomplished scribble. Brilliant. Design by Dave Drummond. (Bonus: Dave Drummond has a write-up from PRINT.)

The best riff on “upstairs, downstairs” seen in a long, long time.

Watercolor, in every sense of the word. (Cloudy drips, too.) O-so-beautiful. Design by Young Jin Lim.

Oh — wait a minute. Stick-on that isn’t, quite, combined with peeling and what seems like staring add up to a favorite. Design by Gray318.

From the simple-but-not dept., we have another brilliant entry, with great color choices, type placement, and the best — some might say, “Iconic” — “a biography” stamp ever. Love that the smallest photo is peeling, too. I’m actually envious of the talent displayed here! Design by Yang Kim.

I hope it comes out in the relatively small photograph, but this is actually paper cut. Great choices, great colors.

Like a dreamily lace curtain, the overlay on this painted shore brings what could be nice to the level of sublime. Having a cool title helps, too. Winner.

Wow. This cover violates so many supposed rules, yet succeeds on so many levels — absolutely brilliant. Design by Janet Hansen.

The simple-yet-not cup floweth over with this one; its scant 96 pages encompass dystopian political fiction that wins national awards and deserves something this strong. Design by Janet Hansen.

Illustration rules, in a foreboding style that suggests anything other than a Scottish summer. Lovely slim type is complimented perfectly by the script at the bottom. The title is actually Summerwater, by the way — I missed the hyphen at first — but ultimately I’m not sure it matters. Design by June Park.

The ingredients on this cover, together with splattered red, suggest more than food, racism, and a parent’s problems, yet this is a title I’d definitely pick and and spend time examining — all thanks to great design.

An absolutely perfect photograph highlights a stack of great choices.

The old-time portrait it taken to the next three levels. Fantastic. Bonus points for an unusual type choice (type name, according to site name). Great, great design by Na Kim. (See also the PRINT write-up on this title.)

The photograph cropping alone brings this title to the table, but when combined with the aged background, the white dots perhaps suggesting a past shot through with problems, and the desiccated flower suggest something so much more. Design by Mumtaz Mustafa.

Sure, impressing Ta-Nehisi Coates and Barak Obama means impressive fiction — but it deserves a cover with star power, and this design by — absolutely delivers. Great stuff.

The second skull on the list, this “house built by memory in-between your skin and bones” requires a second look, then a third. Deal me in. Design by Vince Haigh.

The Haunting of Alma Fielding book cover

Great type complimenting great illustration choices, sure, but those feet . . . .

Surreal smart speaker — no kidding. How does one design a cover for that, exactly? This way. Design by Sara Wood.

“[C]ut a hole in the sky / to world inside,” this volume of Native American poetry suggests. The cover does just that.

“Another few cuts of paper,” he said with such casualness. Ha! Design by Tom Etherington.

“Beautifully rendered and bracingly honest,” one of the reviews says. The cover, as well. (Plus, lines.)

The color choices here, combined with the illustration, suggest something soothing, yet catch the eye in a way that demands attention. The mystery within does, too, from practically the first sentence. Here because I know I wouldn’t have done it so well.

Climbing that ladder’s going to take a minute. But then, that’s what it’s all about . . . .

On to 2022, everyone! Thanks for surviving 2020, 2021, and continuing to read — here, and behind your favorite book cover.

November 15, 2021June 14, 2023

Cadillac and Mercedes Logos: New — or Not (Updated)

NOTE: See my previous car logo redesign coverage regarding BMW, Mini, etc., and more recently, Volvo.

Update, 7 December, 2021: Brand New has, as usual, done a superlative job of discussing the new Cadillac logo. See their post here, remembering that they’re subscription now — possibly the best $20/year available.

Original post follows:

Cadillac has updated their logo, their first redesign since 2014. First, though, some history:

The mid-century look, with the “crowned” logo, might be my favorite:

Photo by Jill Reger

As seen in the last line above, the 2014 logo is a simplification of the 2000 logo, sans the “old-person” wreath, and I thought quite successful:

Fast-foreword (ahem) to 2021, and the monochromatic, flat-logo thing is in full swing. The latest “old-person” target is the Cadillac script, replaced with another trendy item, a custom “Cadillac Gothic” font.

Not only that, but there’s the new trend among luxury automobiles — mere cars aren’t good enough — of illuminated logos;

It’s Nice That has more on Mother Design’s new take on Cadillac.

Mercedes, on the other hand, has just celebrated the 100th anniversary of the three-pointed star. Then:

Now:

When it’s done right….

September 29, 2021June 14, 2023

On Volvo’s New Logo

The “Iron Mark” has been given a makeover, and the result is … interesting. First, as a reminder, here’s the logo as it appeared ~~previously~~ — no, the one previous to that:

My mother’s 2010 Volvo S80

The blue has been associated with Volvo’s logo for a long while now, and it’s slowly been disappearing from the lineup (in favor of black in the same location). However, they’ve decided — they being both Volvo Cars and Volvo Group, two distinct entities (the latter including Volvo Trucks, the Volvo construction folks, Volvo Penta [marine], etc.) — to change to this new, more austere logo and word mark simultaneously. Aaaaaand:

Words fail me. Thankfully, there’s been plenty of coverage. See Brand New (subscription), CarScoops, and The Drive. What’s interesting — and largely gone under the radar — is that the logo debuted on a concept car back in June.

It’s part of a trend, too:

See the previous coverage on Foreword. Can’t go, however, without a hat tip to Kristen Shaw at The Drive, who dug out this 1937 version — which, I’d argue, beats ’em all. Kudos.