A great book cover should be striking, memorable, profound, and, most of all, eye-catching. It should pull a reader across a bookstore with a flash of color or a slick effect. But today, designers must think beyond the physical bookstore and consider the digital one as well. The parameters of each differ in nearly every respect. So, how have designers adjusted? With the huge growth in online sales, has the digital bookstore begun to drive the design process?
Here are some tips offered by Penguin Random House experts on cover design and selling online.
The Sizing Challenge.
The most noticeable difference between a cover’s presentation online and in person is its size. On the shelf, a cover might be 10″x6″, but online it shrinks to about an inch on a computer screen—and even smaller on a mobile device. Given this discrepancy, you might think that the solution to this conundrum would be creating two different covers—one that works on a larger scale and one that pops at a fraction of that size. But designers warn against this. The cover is the most obvious consumer-facing branding of a book, and designers want to ensure that a reader can recognize that brand across all formats and platforms. Whether a reader sees the cover in a promotional email recommending the book, in the window as she passes her local bookstore, or online when she goes to buy it, she should see the same image every time. The consistency bolsters her relationship with the book and increases the likelihood of purchase.
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Unbeknownst to most sports fans was a completely different Super Bowl competition being played out on the sidelines. Sponsored by Intuit, maker of QuickBooks, TurboTax, Intuit and Quicken software, the contest drew 15,000 small business contenders who vied for the chance to win a free 30-second spot during the big game last weekend.
And the Intuit winner was GoldieBlox, a startup that offers construction toys strictly for little girls. A Kickstarter-funded project, GoldieBlox was founded by Debbie Sterling, a Stanford-graduate engineer who was disturbed to learn that 89% of all engineers in America were men. Taking a walk through a toy store, Sterling noted that the “blue aisle” was lined with construction toys and chemistry sets, while the “pink aisle” had lots of princesses and dolls. Sterling vowed to redecorate the “pink aisle” with construction toys to send little girls the message that they could pursue a career in science, engineering, technology ad math too. San Francisco-based Sterling developed an interactive storybook series with a companion construction kit. The book’s heroine is a girl named Goldie who likes to invent mechanical things and seeks the assistance of the young reader to build them using pieces from the project kit.
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When you think of it, words get in the way of appreciating typography. You find yourself reading what’s said and paying scant attention to the characters from which the words are composed. In fact, idiosyncratic typefaces can be distracting and irritating if you are trying to read long passages. Type should affect the reader on a subliminal level, adding to the reader’s enjoyment, not stressing the eyes or competing for the reader’s attention. But as graphic forms, typefaces can be beautiful, elegant, whimsical, futuristic, historic, geometric, sculptural, and even funny, if you count Comic Sans. Used as a design element, quirky fonts can add a lot of spice to a page.
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