Working Titlez

Sue Campbell, a Colorado resident, is an experienced art director and book designer of many years; she is also the principal designer for Stephens Press titles. In this interview with Working Titlez, she shares her knowledge on what makes an effective cover design, how the process works, and what inspires her creative efforts.

How important is color in book cover design?

Color is always important in design. Color is hard-wired in our brains. It means things to us on a basic human level, but it also has cultural meaning so we must be careful with how we use it with respect to cultural connotations. Certain colors evoke emotional responses—it reminds us of events or experiences. And it also acts as a language, one that we learn and with it make associations. For example: we know that darker colors mean mystery and fearful happenings—tension. It makes sense then for thrillers to often appear cloaked in dark and mysterious images in dark colors that evokes a bit of unease.

Should color trends be followed?

By trends, if you mean what is fashionable or popular in a given year. No. I don’t think so. I don’t personally follow color trends because color is so significant. Particularly in book cover design. Because colors are rich in meaning—the decisions to use them need to be made in consideration with the subject matter, genre, target audience, and the feeling you want people to get when they see the cover. People may be surprised that we don’t just pick blue or red or green because that’s the author’s (or our) favorite color. Of course, sometimes you have to do that too. That’s an ill-considered way of making those kinds of design decisions though.

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Little did I know “Desert Contemporary” is a design style, but now that I’ve seen it, I’m a fan. The Las Vegas Business Press reception for the debut of the 2009 Book of Lists was an elegant affair, held at Blue Heron’s Marquis Las Vegas. The networking event drew over 300 business folks plus Howard Hughes (well, fabulous HH impersonator Michael Parris Newman). Top notch catering was provided by the uber-student-chefs of Le Cordon Bleu who circulated with yummy canapes — the stuffed mushrooms were incredible. But back to this amazing party house — 9,000 square feet on four floors (yes, there is an elevator) of the latest green technologies make it a net-zero energy home. The indoor/outdoor living spaces are jazzed up with an ultra-modern take on vintage Vegas decor. As for outdoor living — the walls disappear, making the transition from in to out seamless. There’s an outdoor living room with a two-story fountain and THREE televisions, an outdoor bedroom and even an outdoor shower. According to the RJ’s article on the New American Home, it is best described as Jetsons meet the Rat Pack. Best yet, Stephens Press was invited to provide the literary vibe, hosting four Las Vegas Review-Journal columnists and SP authors including John L. Smith, Heidi Knapp Rinella, Steven Kalas and Geoff Schumacher. Guests enjoyed the chance to talk to their favorite columnists and we even sold a few books. All in all, a first class event with kudos to Michelle Stewart and her able team from the Business Press.

Ever since the invention of vectors and pixels, I’ve been explaining to non-graphic types why we can’t take their logo pulled off the Internet as a GIF file and use it in a high-end corporate report. iStockphoto (more about them in a future post) recently featured this video at MacMerc.TV that graphically demonstrates the difference between vectors and pixels better than I’ve ever explained it.

There’s a competition for everything, right? Right! In both the design and book worlds, there are plenty, but none quite like this one from Before & After, a magazine for graphic designers.

To win, the most boring book cover possible, something to put the most ardent insomniac to sleep, must be created — including a fictional title, sub-title and author’s name. The entries are still arriving, but early contenders include the cover pictured at left.

Now you might think this cover is about as sleep-inducing as counting sheep, but according to the judges, it has some qualities that may wake you up.

To wit: Midnight. Pillow. Bedside. Slumberous words. Soft, comfy linen in calm, neutral colors. What could be more sleep inducing? Even the author’s name is, well, gray. But there are some culprits here that mess up the somnolent mood. One is the word “tales,” which suggests intrigue, mystery, suspense, especially since it involves a bed — at midnight. Another is the pillow’s rakish angle, which is extremely active and suggestive, too, in a Hitchcock kind of way. And Mr. Graye? His bland countenance is betrayed by that rogue, ending e, which suggests, if not an exotic lineage, at least a British one, á la Sherlock Holmes.

To see the rest of the entries and judge’s commentary, go to Before & After. Nighty-nite!