I had spent quite a long time decided what I wanted from my front cover of this book. I always find this part to be the hardest, along with the title as these are the two things that the viewer is greeted with first, and we should judge a book by a cover but we all know first impressions are important (and we do all secretly judge a book by its cover).
I played around in Photoshop for a long while before I got anywhere near close to deciding which to go for. I spoke to Amelia about this struggle and I emailed over her the screenshots of possible covers, as below:
I soon realised that I didn’t want a full image on my cover, as this was what I was originally thinking of doing, and also not including the title. However after looking through the studio shots I did of the pieces once glazed, I thought that the minimalistic route would be the most successful. I knew from this point I wanted to keep it simple yet enticing. I wasn’t too sure how I could achieve this, and I found myself struggling to find the right place for the title to rest also. It wasn’t until I began to use only parts of the image that I found myself onto something. The screenshots that show only half or part of one the of the ceramic pieces I feel are the most successful. This title also fits well accompanied with the meaning of the title chosen. Having the piece almost creeping up on you on the cover also gives you a good idea of what is to come, and begins the flow of narrative through my book. After speaking wth Amelia we narrowed it down to the below image.
Once I had decided on this design, I began to play around wth the different fonts. I again wanted to keep it quite clean and in tune with the rest of the book, and I decided to go for Gil Sans Light. I then played around with the spacing between the letter and kept it at 200pt. I feel like this works extremely well; the simplicity draws the eye to the object on the cover, and hopefully if you like that enough you should e encouraged to see whats to follow. I tweaked the colours of the font as I felt the black was too harsh and offensive, this also worked well as there are grey tones in the image used, creating a soft and approachable cover.
Once this was done and decided, I could therefore begin to get the design together in InDesign for the printers. I worked from a few sketches and written measurements I had collected from Dan at Abbey Printing in order the create an accurate cover. I thought I would really struggle to get this together as I am not to best with InDesign, but hey ho I really did surprise myself! I got it all together and then got it checked over by Ian, one of the graphic tutors (as Dan Peterson wasn’t around that day) and he gave me the all clear. I took it down the the Printers and we looked over it together. We made a few changes, like stretching the image over the spine I had created giving the printers more space to completely cover the spine without worrying too greatly about meeting the lines, just incase the spine turns out to be a little larger than we expected. I got the all clear once more and I left the file there to be printed. Now, we wait!