OUGD406 Studio Brief 2 - Research
While analysing the book cover, I found the cover very unappealing particularly as the book is aimed a graphic designers. Therefore my peers suggest to me to look at appealing cover designers for books on typography. I found this the most helpful in my research as these gave me a good insight into what I could create for my own design. I think that the most simple, minimal design are the most successful, however as this book is on typography, I'm finding it quite hard to conjure up ideas of what to do, as what is really important to me is to link the context of book to the cover design.
Chip Kidd
"All I ever hoped for in a book cover was not beige. Not that bland cream-to-tan range that is so tastefully discreet and complacently qual-lit that you want to scrawl lewdisms all over it before it sedates you completely. This cover arrived in the mail with a note inquiring cautiously whether I thought this was too,too...anything. Not, it's not too, I thought. It's visible. And you could fry eggs on it."
"What was needed was a unification of the classical and modern worlds, so we took a cue from antiquarian booksellers, who sheath their tomes in clear acetate to protect them, regardless of the vintage. What if they printed modern type on the covering, suspended above a classical statue on the binding? To us that was the way to go, but as far as we knew no one had done it on a novel before."
Peter Mendelsund
Jessica Hische
Jessica Hische is an American letterer, illustrator, and type designer.
Oliver Munday
Jennifer Carrow
Shirley Tucker
The cover is a modernist classic and perfectly captures both the sense of despair the main protagonist, Esther Greenwood, experiences but also conveys the shape of a bell jar without being too explicit.































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