Witness the man who raves at the wall
Making the shape of his questions to Heaven
Whether the sun will fall in the evening
Will he remember the lesson of giving?
Set the controls for the heart of the sun
The heart of the sun, the heart of the sun
This Pink Floyd song is about suicide, many say. Other speak about setting goals, while others are keen that it is about love. Most of the time I like to reflect on Floyd’s rich lyrics and on this occasion I will use all these concepts to write about some bold cover designs – which include love of the book, trying to go a step beyond and in many cases, either a hidden death wish or a professional suicide. Depending on the publisher, that is.
So today and in the following weeks I will be writing on a few designers that actually set their controls to the heart of the Sun, starting with Suzanne Dean.
The Red House is a brilliant cover, in all aspects. Even the type, which is not my favorite, is undoubtedly working both in position and dimension. Using a romantic and emotionally warm element such as china (could be cups or dishes), she sets a tone of familiarity that engages the viewer. The colors are also very appealing to the eye, especially in a book shop environment. When compared to other books, it almost seems bigger than it actually is. The cracked / broken element gives the reader a heads-up in terms of what is to come. In the words of Carol Birch,
The Red House is a closely observed domestic drama that gives the impression of being a random slice-of-life, but in which every character is coming to terms with something or experiencing a revelation. The action is subtle and often interior, and what really counts is not what happens so much as the sharp observations of how people behave and feel, and the gap between the two.
source: The Guardian book review
Bear in mind the letters are not slightly faded by change – they are yet another element to prepare the reader to what will be the effect of time in the characters. Yes, we do think of this while designing.
In this case, the challenge is to create a cover that will refer to the theme and yet will not place it into the moods of Twilight and other fiction. In the words of Alyssa McDonald,
A free-verse novel about werewolves might not sound entirely appealing, but Toby Barlow’s debut is a clever, absorbing thriller about the gangs or, more accurately, packs on the prowl in LA.
source: The Guardian book review
Bold red covers are not for everyone, and certainly not for any book. In a novel that writes about urban werewolves, placing what can be perceived as a common urban dog, mouth open and teeth well shown, is the recipe for the urban factor. It would be easy placing a night picture, gangs, or a pack of wolves photoshopped into a dark city street. That is how brilliant this cover is – it steps out of the usual designer cliches and hopefully she had the go-ahead by the author to do so. The type is almost hand-made, placed into the dominant element instead of using the negative space. A not so unusual arrangement that in this case works pretty well. Also, pay attention to the fact that the teeth are gray instead of ivory white. White teeth would distract the eyes from the important bit – the title. Again, we do think about these sort of stuff when designing.
Those were hand-picked to show her diversity and the way she can move from one style to another. And this is what, in my opinion, set her apart from many other designers. Sure, she had the Kafka series with eyes, but a series does make you a one trick pony.
And this is because the covers are inspired by the “Kafkaesque”. Let’s look at the Wiki’s definition:
Kafka’s writing has inspired the term “Kafkaesque”, used to describe concepts and situations reminiscent of his work, particularly Der Processand “Die Verwandlung”. Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu which evokes feelings of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape the situation. Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are incomprehensibly complex, bizarre, or illogical.
Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this genre that have been thus described include Terry Gilliam’s 1985 film Brazil and the 1998 science fiction film noir, Dark City. Films from other genres which have been similarly described include The Tenant (1976) and Barton Fink (1991). The television series The Prisoneris also frequently described as Kafkaesque.
Suzanne’s work for this series is based upon the element of the eye, which in turn is the dominant element of Kafka’s works – the world, stories, and characters, seen through his eyes, those weird, twisted eyes. In the other covers (seen in the link above – “eyes”) she plays with these elements, multiplying, structuring (as seen in the Trial cover) and with a single element she managed to create a list of titles with something in common and in the end, all different.
The type is carefully chosen not to be the focus. These are classic books and that alone sells them. They are normal serif for the author’s name and a handwritten type for the title. And this, while keeping the name of the author with the seriousness of what it stands for, allows the book title to be free. Free as in intimate, as Kafka tends to allow the reader to be in many cases a fly on the wall. Free as in supportive, as it eases the weight of being an acclaimed book and the big bold types, used to tell the shopper “HERE IS A CLASSIC, BUY IT”.
These things are important. While a classic might sell itself out pretty well, what would make you want to own that copy in particular? The answer is a design that makes you fall in love with the cover.
Of course Suzanne’s work is varied and goes out of the illustration based covers.
As you might notice I did not focus on the suicide and setting for the Sun – because the covers do tell that story in full. They are bold and therefore possible to be perceived as in dangerous (from the designer point of view) . They do show a love for the work and they are clearly setting the bar higher.
Also, I was not trying to review her career. My point was to show how we can set our goals high, and yet maintain a strong concept. Book design is not just a photo with type on top. That is the easy way out. Sometimes that is what the publisher want, sometimes is the author that wishes that. If the designer is good, he or she will always want more.
If you google, there will be plenty of interviews and videos with Suzanne. Many blogs will do that favor for you. In this post I was more concerned in talking a bit about the elements that stand out and made these covers widely know as examples of genius.
PS – Do you know that the oldest bookstore in the world is located in my hometown? Have a look.