Artist Dawne Michelle Watters has created a set of book jackets bearing fake titles. So now you can fool public transit eavesdroppers (like myself) into thinking you’re reading classics like How to Overcome Nymphomania, Laser Eye Surgery at Home and Fast Track to Prison – Exploring the Many Benefits of Life Behind Bars.
If you've ever been to a bookshop in the UK (or to one of the few bookstores in the States that imports British books), you've probably noticed that the books on the shelves look stunning compared to their Yankee counterparts. At the bookstore where I worked in LA, I encountered authors who hated their American book covers but adored the British ones. Why the discrepancy? I don't know; I suspect it has to do with the fact that books are marketed by entertainment companies as "entertainment products" here in the US, while elsewhere, books are treated simply as books. To illuminate the differences in book design, I've placed some American books (on the left) side by side with their British versions (on the right). (click on the images to enlarge).Freakonomics by Steven LevittThe American cover looks like an ad for insurance, while the British version is more vivid and features nifty pixel art.Until I Find You by John IrvingThe American version is flat and looks like a promotion for the "John Irving brand," while the British version is slick and sexy.Cloud Atlas by David MitchellUS version: as dull as a textbook. UK Version: so groovy, you want to dive right in.On Beauty by Zadie SmithThe US versions of Zadie Smith's books look nice, but they are quite pale compared to their British counterparts.Slow Man by J. M. CoetzeeThis time the US version gets the better of the British one with mysteriously iconic silhouette of the broken bicycle.If you are interested in book design have a look at my long ago post about superstar book designer Chip Kidd, and you'll also enjoy the book design blog Forward.
Last year we had fun comparing the U.S. and U.K. book cover designs of a sample of the Rooster contenders, so I decided to do it again with this year's batch. There are all sorts of marketing considerations behind these designs, and it's interesting to see how designing for these two similar markets can result in very different looks. The American covers are on the left, and clicking through takes you to a larger image. Your equally inexpert analysis is welcomed in the comments. I love the U.S. version here. The line drawing is exquisite and it draws the reader up to the tightrope walker and into the book. In fact, the design is a wonderful visual representation of McCann's book, which revolves around the story of Philippe Petit's tightrope walk but is not really about it. I don't understand the U.K. design at all. McCann's book is soulful and serious; the U.K. cover says "silly and strange." The American cover wins again here. The cartoonish, half cut-off head draws you in, while the U.K. version feels more like a movie poster. Although, the illusion of movement in the U.K. design is nice and something you don't often see on the cover of a work of literary fiction. This time I prefer the U.K. cover. There's something weirdly sleepy about the U.S. cover. I love the red title script on the U.K. cover. These are both very nice for totally different reasons. The American design is bold, intriguing and eye-catching. The U.K. cover is intricate. This is really a case study in the "exotic," no? I'm not sure I like either of these much at all. The American version doesn't do much for me - a little too coy. I love the U.K. version here. I like the idea that you might paint your book cover on the side of a barn. These are both nice and bold, but for different reasons. The U.K. cover gets the nod, though, for the string, for the wavy, watery stencil, and for those horses; for all of it, really. If you've read this book, you'll know that the American cover is ridiculous. The U.K. cover, meanwhile, is close to perfect. I don't love either of these, but the U.S. cover is better. The U.K. cover looks like a made-for-TV movie, and this book has very little in common with a made-for-TV movie The U.S. cover is muddled and confusing. I love the U.K. cover. There's something intoxicating about all those things hanging off the vines.
● ● ●
Books have an aesthetic value beyond what is written inside them (as I have discussed before), but sometimes this idea is taken beyond the notion of eye candy on shelves. One example: at an outfit called Rebound Designs, they are taking books, gutting them, and turning them into handbags. But fear not, purists. From the site's FAQ: Don't you feel bad cutting up all those books?Not really. Most of these books were damaged or being thrown away to begin with, I don't cut up valuable books or books in fantastic condition. I take great care to find books that are already falling apart or are unwanted, like out of date textbooks. via Boing Boing
As we've done for several years now, we thought it might be fun to compare the U.S. and U.K. book cover designs of this year's Morning News Tournament of Books contenders. Book cover art is an interesting element of the literary world -- sometimes fixated upon, sometimes ignored -- but, as readers, we are undoubtedly swayed by the little billboard that is the cover of every book we read. And, while some of us no longer do all of our reading on physical books with physical covers, those same cover images now beckon us from their grids in the various online bookstores. From my days as a bookseller, when import titles would sometimes find their way into our store, I've always found it especially interesting that the U.K. and U.S. covers often differ from one another. This would seem to suggest that certain layouts and imagery will better appeal to readers on one side of the Atlantic rather than the other. These differences are especially striking when we look at the covers side by side. The American covers are on the left, and the UK are on the right. Your equally inexpert analysis is encouraged in the comments. Neither of these is especially appealing to my eye. The U.S. version uses a travel poster-type image, but at least the bold font and title placement are intriguing. The U.K. goes for realism and the result is pretty dull. Another pair that I don't love, though the U.S. version has an appealing painterly quality to it. The U.K. version feels a bit slapped together. I like both of these a lot. The U.S version is bold and somehow feels both vintage and very current. The LP label motif in the U.K. version is clever, yet subtle enough to avoid being gimmicky. The U.S. version does a great job of setting a mood, but my nod goes to the U.K. version. The black dog is eerie and sculptural and the receding landscape is haunting. These covers are very different and I have loved them both since I first saw them. The tents on the U.S. cover are both magical and, in the context of the subject matter, unnerving. But I love the bold, poster-art aesthetic of the U.K. cover too. Sometimes simpler is better. I like the mesmerizing quality of the U.S. cover, with the tantalizing golden apple peeking from its center. The U.K. version is clearly trying to capture the mad tumult of the book's plot but it is somehow too literal. The U.S. cover is clever and intriguing, with those circular windows on repeated words, but I love the U.K. cover and the subtle suggestion of madness in its Jenga/Tetris puzzle. Update: I had initially posted the paperback U.S. cover, but looking now at the hardcover design, I agree with our commenter Bernie below that it is very striking. The cropping of the sculpture gives the U.S. cover a compelling look. I like the U.K. cover but it doesn't feel quite fully realized.
When I worked at the bookstore in Los Angeles,we would occasionally get customers who would by books based not on their subject matter or on who wrote them, but by the color of their spines. Somebody would come in looking for light covered spines. Another would peak behind dusk jackets looking for books that conveyed a "vintage look." More often than not these shoppers were Hollywood set designers, trying to fill the bookshelves that would provide the backdrop for the action in a movie or television show. Ever wonder why movies cost tens of millions of dollars to make? It's because these guys were paying full price for these books and not picking them up cheap at a Goodwill store. But other people shopped like this to fill their homes because full bookcases look nicer than wallpaper. One celebrity would routinely buy multiple copies of dozens of books, so that his bookshelves would be equally full in each of his multiple homes.According to a Knight-Ridder article, this book decor trend is filtering down to the masses:Perhaps the ultimate signal that books are decor came when a recent Pottery Barn catalog showed an entire bookcase with the books turned backward, annoying mismatched spines facing inward, all in an attempt to achieve a neutral, uniform look.Luckily the article is mostly skeptical of this trend, but it goes on to mention Book Decor, "a California company that sells foreign books by the foot for the express purpose of looking at them rather than reading them. Danish books cost $100 a foot, German are $150 a foot and French are $200."In a way they're right. Books look great on the walls, elegant and inviting. A well-stocked library makes an impressive statement about one's taste, but of course, lest we forget, each of the books is filled with stories. Walking into such a room, one can almost see all the words and characters peaking out from behind the book covers and floating through the ether. It strikes me as insane that anyone would fill shelves with books that they would never be able to read. After all, books are multitaskers of home decor. They look great, but you can read them and share them with friends, too. Try to do that with wallpaper.