Presenting our 2013 Millions Book Cover Face-off! Who will come out victorious? The Americans? The British? Or even (somehow) the French?
Here’s a three course meal for your eyes, lovers of book design. A look at the work of Pierre Faucheux (above), a gorgeous and wonderful Book Cover Archive, and a contest for the best book design of 2011.
Ever wonder how those Finnish trees ended up on the cover of Freedom? Talking Covers has you, um, covered.
Source: themillions.com
The clever designer in this case is David High. Norton will publish Breasts: A Natural and Unnatural History in May.
Ever get the feeling book designers are a little too clever?
Me neither!
How cheeky of you, Mr. High. Equally sinister: Chip Kidd said this cover of Lolita was originally supposed to be sideways like this. (Image source)
Source: booksinthekitchen
“It needs saying that Kafka’s books are, among other things, funny, sentimental, and in their own way, yea-saying. I am so weary of the serious Kafka, the pessimist Kafka. Kafkaesque has become synonymous with the machinations of anonymous bureaucracy- but, of course, Kafka was a satirist (ironist, exaggerator) of the bureaucratic, and not an organ of it. Because of this mischaracterization, Kafka’s books have a tendency to be jacketed in either black, or in some combination of colors I associate with socialist realism, constructivism, or fascism- i.e. black, beige and red. Part of the purpose of this project for me, was to let some of the sunlight back in. In any case, hopefully these colors, though bright, are not without tension.”
Peter Mendelsund on designing Schoken’s forthcoming series of Kafka re-releases. Look out for these eye-catching beauties in the spring.
Source: jacketmechanical.blogspot.com
Renowned graphic designer Paul Sahre has designed a gorgeous box set of Malcolm Gladwell’s three New York Times Bestsellers,The Tipping Point, Blink, and Outliers. The books are beautiful objects in themselves, playfully illustrated by Time Magazine’s Brian Rea.
From the New York Times:
Gladwell’s hope in revisiting the material was to create a full collaboration between content and image, something that felt like an “intellectual adventure story.”
Source: The New York Times






