Cover design trends

coverdesign

There are few things that make us giddier than gorgeous cover design! 99Designs has curated a collection of trending book covers in their recent post 9 beautiful book cover design trends for 2019. Enjoy this excerpt!

The world of book publishing moves slowly. It typically takes a full eighteen months to bring a book to market. That’s why book cover design trends often stick around for a long time. One day, you’ll walk into a bookstore or queue up your favorite book category on Amazon, and you’ll notice covers have suddenly changed.

2019 is going to have some surprises in store when it comes to book cover trends. In the last few years, consumers have started looking for bolder and bolder book covers. Here are the top design trends you can expect to see on every shelf in 2019.

9 book cover design trends that you’ll find on shelves in 2019

1. Big book design

In just the past few years, we’ve witnessed the rise of the “big book” design. Debut, early-career writers and even independently published authors have started launching books with cover designs that have been traditionally reserved for famous authors with track records—that is, “big book” authors.

house of impossible beauties book cover

Via Ecco

Stylistically, these covers can vary wildly, but the hallmarks of big book design are: bold colors, a prominent author name and large title, all composed with very few other elements to distract the eye.

Design by Ian Robert Douglas

riverhead books cover

Via Riverhead Books

2. New sans-serif fonts ready to go up against League Gothic

With “big books” comes a need for big fonts! In early 2018, there was a sudden and abrupt typography takeover by the sans-serif font League Gothic (or some close derivative). Books from a wide range of genres were embracing a font previously reserved for thrillers and crime novels.

Design by Never Go Hungry

we begin in gladness book cover

Via Graywolf Press

Designers often combined these hyper-masculine type treatments with contrasting botanicals, flowers and other traditional feminine design elements, which created a pleasant tension. But by mid-year, many designers felt the trend had played itself out, and covers started to land with a similar style, but less expected fonts. Expect this to carry into 2019.

Via Knopf Books for Young Readers

3. Move over millennial pink, orange is in (and yellow, too!)

While 2017 brought us piles of mellow pink tones, the industry performed a signature over-correction, and 2018 was all about the orange and yellow. In a sea of blue and green and white, an orange book grabs the eye like nothing else. Several very big, very inescapable orange books hit the shelves this year, and we’ll see many more coming down the pike in 2019.

Via Knopf

Via Ecco

Via Knopf

Design by Artrocity

Design by LianaM

4. Stop and smell the roses (and all the other flowers, too)

Bookshelves looked like wild gardens this year with flora as far as the eye could see. Some were fresh and light, while others seemed like they were pulled from ancient wallpaper.

Via G.P. Putnam’s Sons

Via Harper

What makes this floral trend different is that the flowers tend to heavily interact, and even obscure the text elements on some of this year’s biggest covers. Something else that makes this trend unique: these botanicals are eschewing tradition and finding their way onto covers by women and men.

Via Little, Brown and Company

Design by ssnastasia

Via Catapult

5. The great design elements cover-up

A challenge that designers face over and over again is how to best integrate text and photography, which requires taking a real world image and combining it with (typically) digital type to create a harmonious composition.

Via Counterpoint

Via Viking

Recently, we’ve seen a lot of what we’ll call the “overlap” trend, where parts of the photograph overlap or hide the edges of the type. It can be used heavily (like in The Italian Teacher cover) or with a very light touch (like the buttons on The Perfect Nanny). Traditionally, the rule has been to never obscure the book title, but designers are running wild with this trend.

Via G.P. Putnam’s Sons

Via Penguin Books

6. The fine art of the cross-out

Here’s a trend has been percolating for a while, but we’re beginning to see on bigger books: the art of the cross-out. While handwriting on covers has been holding steadily for a few years (and is arguably in decline now), this fresh take adds a vibe of revision and restlessness, introducing the idea that the author thought about the title, crossed out words and made changes.

Via Penguin Books

Design by Meella

While sometimes serving as decoration or redaction, recent covers have subverted the idea and brought entirely new information onto the cover. The Tell Me Lies cover tells an entire story using scrawled elements without using a single graphic element.

Via Knopf

Via Atria Books

7. The hyper-real makes a comeback

While many of the trends we’ve touched on here focus on novels and fiction, there are several that favor non-fiction. One of the trends you’ll find in the fact-based realm is the use of a lot of fantastic sourced elements. These are cover designs that integrate the information about the book into a familiar product or household item.

Via Farrar, Straus & Giroux

Via Farrar, Straus & Giroux

Via Farrar, Straus & Giroux

Whether made from newspaper clippings, food wrappers or even projector slides (in the case of the stunning Lucia Berlin cover), these hyper-real covers create effortless nostalgia and a feeling a wistfulness by taking something expected from our life and introducing it into an entirely new setting.

Covers like the Behind the Scenes Companion for the TV show “Stranger Things” look like they were pulled directly from a used bookshelf. Expect more make-you-look-twice designs like these coming in the next year.

Via Del Rey

Design by Never Go Hungry

Via Sarah Crichton Books

8. Mid-century modern illustration

Illustrated book covers have been having a well-recognized moment, the likes of which we haven’t seen since the mid-century era. Recent illustrated covers have run the gamut from finely detailed florals to clean and modern flat-lays.

Design by Jestyr37

Design by Proi

Design by Pulp Art

2019 will be defined by the continuation of all these illustration styles competing against each other on the same shelf. We’re seeing a particularly heavy resurgence of mid-century illustrations that feel pulled from visual titans like Facetti’s gorgeous and trippy Penguin Classics and always mod Saul Bass.

Via Back Bay Books

Via Knopf

Via Bloomsbury Publishing

Via Berkley

9. The rise of Lydian—the font of the year

One of the most stunning trends to watch happen over the course of this year was the rise of Lydian. Created in the thirties and meant to meld type and calligraphic design, the typeface hit its stride on book covers.

Via Viking

Via William Morrow

Fighting against waves of weighty sans-serifs (like League Gothic), Lydian has re-emerged in late 2018 as the front-runner for the opposition: leggy, light and gender neutral. We’ll see it continuing its resurgence in literary fiction and then spreading to nonfiction (like the Forest Bathing book).

Via Farrar, Straus & Giroux

Via Grove Press

 

Echoing what we’re seeing in almost every aspect of graphic design, book cover design trends in 2019 look like they will be defined by contradiction. Some designers will continue to push boundaries and move to edgier places, while others choose to embrace the typefaces and illustration styles of earlier eras. Both directions mean readers’ shelves will be filled with gorgeous and fresh jackets.

Are you in the process of designing a cover? Did you know this is a service Certa provides, even on an a-la-carte basis? Head here to find out more.

Working With a Cover Designer

finding and working with a cover designer (1)

With millions of books for readers to choose from, the first “sales pitch” is the cover. If it is not striking enough to draw attention, it will be passed over for something more interesting on either side.   (Jo Linsdell, Why Book Covers are So Important)

Let’s talk about cover design. It matters. It really matters. The money you spend to hire a professional designer will pay dividends for years to come. Trust us.

You want a professional book cover designer, not just a good graphic artist, your nephew who just took an art class in college, or your friend who loves to paint and draw. Book cover design is a specialty, and even skilled graphic designers who haven’t worked in book publishing aren’t a good choice for this crucial task. (Joel Friedlander, Working With Cover and Interior Designers)

Finding a Designer

The good news is that when you partner with a publisher like Certa, the task of finding a designer doesn’t fall on your shoulders. Publishers have connections and experience with all types of professionals. Some of them, including Certa, have expert graphic designers on staff, which can significantly streamline the process. But even if they simply connect you with a known designer, you have skipped over the “is this person the real deal?” conundrum innate in finding a freelance designer. The publisher will also aid (or completely handle) the negotiations, leaving you with less back-and-forth emails and more time for… you know… writing!

Your role

So what comes next? Does the designer expect a gorgeous hand-drawn sample of what you want your cover to look like? Or, conversely, does she want you to stay out of the process entirely? With Certa, the good news is that the answer lies somewhere in the middle. You are the author. Therefore, your input and vision for the cover definitely matter. However, you are not the designer. Therefore, the skill and expertise of the designer definitely matter. This will be a collaborative effort, that if walked out correctly, can be a stimulating experience that will result in a cover so amazing that neither of you could have created alone.

So what does your designer need from you? Lara Willard offers this list in her post Seven Tips for Authors Working with a Book Cover Designer:

  • Saying “do whatever you want” can often be paralyzing to a designer with a thousand ideas.
  • Therefore, give the professional designer direction but not management. Ask for a creative brief, a tool which helps the designer understand what you want. Give the designer a few ideas to get him or her going, and then let the pro do his or her job.
  • It’s often better to say what you don’t like than what you do. “Can we avoid the color orange?” is better than “My favorite color is purple. I want it purple.”
  • If you provide images or ideas, make it clear that they are to inspire, not require the designer to follow them.
  • Create a Pinterest board of your favorite book covers to understand what styles you like. It can also be a useful addition to a creative brief. (Sharing this with your designer will be especially helpful if you hire a newbie designer.)
  • Know your genre. A good book cover gives the reader an expectation of what the pages inside hold.

The designer’s role

After submitting all of your ideas and inspiration to the designer, he or she will spend several weeks conceptualizing a design. They will likely use stock image sites, peruse successful book covers in your genre and look for fonts that tie into your theme. At this point, they will create several covers, which may vary wildly from one to the next. (The number of mock-ups will depend on the contract your publisher has negotiated on your behalf).

What if I don’t love any of the mock-ups?

Often authors will immediately fall in love with a mock-up, make a few small changes and – voila! – the cover is finished. However, if it isn’t love at first site, there are a few ways to further refine the design.

Put it to a vote

Some authors will pick their favorite 2 or 3 designs and showcase them on social media for their readers to vote on. Not only does this serve to promote your upcoming book, it also offers you a peek into the mind of your customer. Don’t be surprised if your favorite cover isn’t the one picked!

Offer specific feedback for revisions

You can eliminate the mock-ups that you definitely don’t like and then offer constructive criticism of the rest.

Helpful feedback sounds like this:

I love the font and the background color, but I’d like the image to be more realistic and less stylized.  

I love the image and mood of the cover, but I would like a less script-y font.

This cover is a bit too serious. I would like it to have a more youthful look like ______________. (specific example of a book in your genre)

Unhelpful feedback sounds like:

I just don’t like these. Please try something else.

It just doesn’t “pop.”

These are too bland.

There will be few sweeter moments in your life than the one where you hold your freshly-printed book in your hand. Gazing at that gorgeous cover, you will surely feel that all the time and effort of working with a cover designer was worth it! At Certa Publishing, we have helped hundreds of authors through the cover design process and we would love to partner with you. Contact us today!

 

Finding and Working with an Illustrator

finding and working with an illustrator

Your manuscript is nearly complete. All you need is the perfect illustration. But how do you go about finding and working with an illustrator? Here are some tips:

How to find an illustrator for your book

The easy answer: Let your publisher do it for you

If you’re new to the publishing industry, you may think that it is your job as the author to find an illustrator for your book. While this is possible, there’s a much more efficient route. Allow your publisher to do it for you. Working with a professional publisher has many perks and among them is their connection to established illustrators. They can ensure that you are paired with an artist who produces high-quality work and consistently meets deadlines.

In a recent post, children’s book illustrator Sarah McIntyre offers this advice:

Unless you’ve started out with a partner who’s integral to what you’re making, you don’t need to find your own illustrator; your target publisher knows lots of them. Editors and art directors don’t just take your book and print it; they’re active in creating it with you. Part of their job, and what they pride themselves in doing, is matching you up with the illustrator who’s perfect for your story.

Pro-tip: You may be surprised to find that having a pre-chosen illustrator can actually hamper your chances of being picked up by a publisher. (They are already taking a chance on you and may not also be willing to take a chance on an unfamiliar illustrator.)

Approach an illustrator through their agent

If you have fallen in love with the work of a certain illustrator and feel that your book is the perfect fit for them, you can contact them. However, we recommend that you do so through their agent.  Established illustrators use their agents to screen incoming requests with consideration of the artist’s preferences and schedule.

Pro-tip: Contacting an established illustrator directly is a dead giveaway that you’re a rookie writer. Taking the time to approach the agent in a professional manner will take you much further.

How to work with an illustrator

The publisher’s role

Illustration begins with planning, not drawing. Before anyone draws anything, your publisher will provide the illustrator with the following:

  • Book title
  • A copy of the manuscript (whether finished or not)
  • The physical size of the book
  • Number of pages

The author’s role

Your interaction with the illustrator will likely be less than you expect. Many authors come to the publishing process with very specific ideas of what the art should look like. However, it’s important to remember your role in the process. You are the writer. Without you, there isn’t a book! Your publisher’s role is to get the book into the hand of the reader. The illustrator is a tool that the publisher uses to make this happen. Therefore, it is important that the writer trust the publisher to bring in an illustrator whose work will enhance the book, and ultimately its sales. So, beyond your written words, what the illustrator needs from you, the author is art notes. 

In a recent post, author Marlo Garsnworthy offers these samples of what to do and not to do when making art notes for the illustrator:

Wrong/no art note needed:

Sally was skipping along the path when she lost her balloon. “Oooops!” she said.

[Art note: Illustration should be in watercolor, and Sally is short with blonde hair and she is skipping along a woodland path, holding a red balloon, but the string slips through her fingers and the balloon floats away.]

Correct/art note probably needed:

Sally skipped happily along the path. “Oooops!” she said.

          [Art note: Sally loses her balloon.]

When writing art notes, less is always more.

At Certa Publishing, we have years of experience matching writers and illustrators. We would love to help do the same for you! And we will help to coordinate the entire process, from fee negotiation to final printing. Contact us today to find out how we can help you.