Book covers
Brief
I thought I would try my hand at a few new book cover redesigns. Choosing a couple of my favourite books I sought to explore their subject matter in experimental and symbolic ways. The first two books thus far are Aldous Huxley's 'Brave New World' and Joseph Heller's 'Catch 22'. I have now added 'Fear and Loathing in Las Vegas' and 'Labyrinths' too.
Response
After my little success with A cover for Random House I would like to continue in the publishing industry. In order to facilitate this I am accumilating a collection of covers of my own design to illustrate my ability. I have approached each with my own perspective and have tried to avoid much plowed furrows, bet I'll let you be the judge of that.
1.
Brave New World takes a terrifying look at conditioning and social engineering. One of the first shocking instances of this is children interacting with a bouquet of flowers while being electrocuted, conditioning the under classes to dislike nature. Some of the overriding themes of the novel are an abhorrence toward nature and what we would consider natural instincts. The bouquet of flowers on this cover loosely illustrates a skull symbolising horror within nature. Its symmetrical shape is similar to a psychologist's rorschach prints
2.
'Community, Identity and Stability' make up the tripod of virtues within Huxley's Brave New World.
3.
When I read Brave New World I get a 1950's postwar boom impression; optimistic, futuristic, prosperous etc. Taking inspiration from this impression, I made a collage using 50's culture images. Huxley's world is somewhat sterilised, lacking in any real culture, real interaction or real life, the moon is a perfect symbol for this, there is a pneumatic woman from the era of obedient, sexy, and uneducated 50's, a smiling cattle skull referencing weak will and an apathy towards death.
1.
The term 'Catch 22' refers to an impossible predicament, a bureaucratic labyrinth used to enforce obedience.
"There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he were sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to."Using the Penrose triangle I have collage images referring to WW2 aviation.
2.
Incessant bombing missions
3.
This book cover has a similar concept to the first. In this a squadron of planes flies in a never ending loop of missions, unable to reach a final destination or break formation.
Hunter S Thompson examines the condition of the American dream post 60's counter culture boom. I love the original cover illustrated by Ralph Steadman, it is perhaps as iconic as the book itself. But I find it curious that its never been re-interpreted. Here are my attempts.
1. The book is a riot of encounters, a maelstrom of incidents. I wanted to reflect the convolution and diversity of the novel with an equally rich and tightly composed visual.
2.
Using similar imgery I used a combination of clipping masks to evoke a sense of paranoia and intensity, while centring on the title.
3.
The third example is a colour version of the previous image using an oppressive and brooding palette to describe the mood and depravity of the characters.
Labyrinths is a collection of short stories by Argentine author Jorge Luis Borges. A work thought to be the height of intellectual and imaginative renderings.
1.
The stories are complex, extraordinary and a navigation of the writters inner workings. An optical illusion seemed the perfect vessal for the cover. True the book title is barely legible, but the writting inside is similarly inaccessable in places, demanding an investment of time, intimacy and investigation.
Edwin A.Abbot's meditation on mathmatics and philosphy is still a powerful read today. It questions the fabric of our perceptions and offers a short, sharp and imaginative allegory.
1.
My first design illustrtes the myriad sides of the upper class shapes, radiant and perfect. The edges of are slightly blurred, an indication of shifting lines of understanding and perspective.
2.
The second Design is a simple exercise in space and perspective. Flatland isn't really flat, each dimension is a facet of another. The book invites the reader to see beyond their senses to imagine in broader panoramas.