Adjust and deliver was the catch phrase for completing the front cover for ‘Hand Drawn Maps – a guide for creatives’. Front covers are never easy to nail and this one was no different.
Cover #1 was the cover I had initially drawn out for the first proposal. It wasn’t clear whether, as it was a book about drawing, the image would be a line drawing or fully coloured in. The designer liked my idea of reversing the image with Photoshop so that the original pencil rough became white – its negative – giving it the look of a chalkboard.
By the time the book was finished, views had changed. Covers are tricky things as they need to encapsulate the contents of the publication with one single image, be aesthetically pleasing, commercially bold, swimming strongly in a competitive sea of other books. I needed to revamp the original cover idea to take all these points into account. I was asked to create a couple of thumbnail images as proposals for the cover. The main design team would discuss and feed back. These were the thumbnails I came up with.
After some deliberation, the response was that actually the design team quite liked the very first cover with the compass rose that I had drawn. I was asked to create a full scale pencil rough with an indication of colour. The cover was to be full colour because it needed to stand out in a competitive market. It was also very important to include my name as author and the subtitle – ‘a guide for creatives’. The publisher additionally asked for a busy detailed map in the background. For this, I chose an axonometric urban map which could feature some of the very random symbols from the interior of the book. Lighthouses, pagodas, building size beer bottles and hipster coffee cups all started popping up in this fantastic city.
I waited for a response. Cover #3. The sales team were involved. They wanted the cover to sum up the wide scoping subject matter of the book which ranges from picture maps, to word maps, underground metro maps to platform game maps, palmistry and phrenology charts, architectural and mind maps. A border with chapter titles was called for. There was also a question about where the logo should sit. Could I provide another rough?
Cover #4. Another meeting had happened and it was suggested that perhaps the compass should be made smaller to give the background map more room to breathe. It was decided that the logo could actually go on the back of the book but the subtitle didn’t look very prominent. The subtitle ‘ A guide for creatives’ was very important in reaching out to potential buyers. Could I come up with a way of making it more eyecatching? The adjustment was made by adding a banner with the subtitle to the image.
Finally, I was given approval but was first asked to provide a colour rough. In my experience this is a fairly unusual practice. As I work by hand, providing a colour rough would be time consuming at a moment when the deadline was already well in sight. I can only imagine that the design team were more used to working with illustrators who generally used digital tools to colour. A click of the button can infill space in less than a second. For me, painting the colour rough, even at 25% of the full dimensions, took a few hours.
Cover #5. The design feedback on the colour rough was that the subtitle still wasn’t visible enough. Apparently, although Westerners read from left to right, the eye lingers on the bottom right corner. I could go to full colour but was asked to swap the subtitle to the other side (the bottom right corner) with my name which should be made smaller.
The adjustment was made. Done, dusted and delivered. I just had to wait for final approval. It didn’t come.
The design and sales teams were still not happy. The subtitle still wasn’t prominent enough. Could I make it cross the entire banner at the bottom and move my name to a smaller banner crossing the compass points at some place aesthetically convenient? The only way to do this, other than repainting entirely was to add using Photoshop, collaging in the repainted wording over the top of the original. Painting by hand really doesn’t lend itself to making easy and fast adjustments unfortunately and this was becoming increasingly clear.
Cover #6. With the print deadline acting like some kind of guillotine the final change was made. Once more, Photoshop was the only thing that made it possible in time without having to repaint. I was asked to change the central compass rose from the originally agreed red to a blue. This made the main book title popout against the contrasting oranges of the compass points. Again, very much a sales decision based on how well the book would stand out visually on a physical book shop shelf and how well it would stand out as a thumbnail image online in virtual stores like Amazon.
This entire process took about a month to complete. I’m not used to artwork being tweaked quite so often and over such a long drawn out period. In my experience, usually all teams come together after the rough stage and then to discuss and approve on artwork delivery but here it was clear that there were multiple voices involved in the decisions being made, on multiple occasions and with multiple sales and design boxes that needed to be ticked. I wonder whether the increasingly anachronistic nature of my working practice – working by hand and taking time – is becoming a hindrance in meeting the demands of a fast paced sales driven publishing economy more than ever before. It was expected that I could adjust artwork easily and deliver changes immediately, probably with the click of a mouse. Ironic if you take the title of the book into account. However, although the experience felt fairly stressful for me, I did learn a lot about the process of creating a truly commercial cover for a large publisher specialising in design led books. I hope the thought and hard work that went into it, really does make ‘Hand Drawn maps’ stand out from the crowd and sell many many copies