In designing the cover I looked at all the books I had on my shelves that really attracted my eye. There was one designer common to most of them, David Bullen, so I studied his style to find why I liked it so much. I also searched through the different typefaces used on the covers to see what really worked for me. There are so many fonts available that it’s an overwhelming task to sort through them, to even know where to begin. I wondered how I could possibly identify the particular font that I liked because there was no colophon at the end of the book to help me out. Fortunately I discovered a free and virtually instantaneous service at Myfonts. One has only to scan the font in question and then upload the image to the Myfonts website where it is quickly computer-analyzed and identified.
For the back cover I managed to get permission from another favorite artist, Tom Killion, to use one of his images. Tom works in the style of the great Japanese woodblock masters, only he has created his own unique style that he applies to the California landscape. His latest book, The High Sierra of California, combines his images with the writings of Gary Snyder and John Muir. The image I used is called “Kaweah Lake” and is a rendering of a high Sierra lake set in a granite bowl framed by snowfields and wildflowers. Since my book in large part is set in this high Sierra backcountry of the drainage of the Kaweah River, the image is a perfect fit and captures the intended spirit of my writing.
All this would not have been possible if I had gone with a traditional publisher. I took these layouts and images to a local graphic artist for refinement. Again I needed someone completely familiar with the process to smooth my ideas together and to get them into a press-ready state. We had a fruitful relationship for several months as we discussed our ideas and layouts back and forth. She once told me that I was very unusual in that I could critique my own work and see what worked and what didn’t. I think this is a skill that anyone seeking to delve into the world of self-publishing should cultivate.
Article comments
1 - Gordon Hauptfleisch
John--another solid, informative article. Thanks, Gordon
2 - Laura Mitchell
You do have options when it comes to publishing. We at Night Owl Publishers, LLP like to call ourselves a Hybrid-Publisher. You get the knowledge and experience of talented artists and editors, and don't sign over rights to your own work. You also get way more control over how your book will look and read. While we don't market your book as a standard service, we can certainly provide tips and assistance and all the marketing materials you need while maintaining a beautifully-designed, professional image for your book and business.
3 - Victor Lana
I'm really enjoying this series, John. I also can relate to that feeling of first seeing the book cover. It's a rush.
Thanks for another great post!
4 - John Spivey
Thanks Victor and Gordon.
Laura-You provide an interesting alternative, but your logo doesn't make me think of quality. Maybe I'm wrong, but that's why I put so much energy into my design. I want people to think quality.
For those of you who may have tried to access my website, it has been temporarily down, but is now functional.
js
5 - Lisa McKay
John, as someone who has a casual (i.e. non-professional) interest in book design, I found this fascinating. Kudos to you for paying as much attention to the outside as you did to the inside - your written words deserve to have a container worthy of them. By the way, I have made many impulsive book purchases because I was attracted to the way a book looked and felt, and I know I'm not alone in that! All writers would do well to heed your advice.
6 - John Spivey
Thanks Lisa. Most writers who self-publish or POD publish have no sense of the impact of things like font selection. Font size, white space and layout all contribute to readability. It has to be a rare and important book for me to buy it if it doesn't look comfortably readable. The cover, the readability and the writing itself should be one.
js
7 - gypsyman
John:
Nice thoughtful piece as usual. I've had many a conversation about just this subject with a friend who's published. It's funny how many people have written him to tell how they don't like the covers for his work, or to make suggestions on what they think would be appropriate.
He's always very polite in telling them he has no control over what appears on his dust jackets. (he says he's lucky enough to have control over what appears inside the covers some times) He says so often what happens is the publisher decides how they are going to market the book and that plays heavily into what appears on the jacket.
His initial American publisher wanted to present it as a science fiction fantasy book and made a cover to suit, other publishers went after a more epic fantasy style look, while others have played the history angle. So there have actually been three different covers for the same book in the same market as it has been reissued by each publisher...
Having control over the whole process is wonderful, I do know that Lulu allows you to create your own art work and covers, but of course there the feel of the book is beyond your control..
There is nothing so wonderful as picking up a book in your hands and savouring the feel and appearance of it...I can only imagine how great that must have felt to have that experience with your own book that you had designed from the typeface to the covers. Lucky you.
gypsyman
8 - J Cook
Hiya John,
Maybe 20 years ago I dropped by the shop you and Davis shared in SH. I have a copy of Davis' 'Raven' on the wall right in front of my keyboard. Where do I find a copy of your book?
Regards,
J