design Archives - Reidhead & Company

How does one create a book cover? Does it materialize in the mind of the designer in a brilliant moment of inspiration? Or is book cover creation a formula in which the designer plugs in the genre of book and out pops a cover?

I liken it to an architect designing a building, though admittedly designing a book cover is a far simpler task.

There is a discovery phase in which the designer learns about the needs and wants of the client and about the restraints of the project. The drafts come next. These are conceptual ideas that can be presented to the client. Once a draft is chosen, multiple iterations are created within the style of the draft. Lastly, one of these iterations is chosen and refined, refined, and refined some more.

I am a visual learner, so here is the draft-by-draft book cover creation process.

The Initial Drafts

The book is a collection of the writings of Cindy Kamler, a community leader in wildlife rehabilitation. This background information established the theme of the book and directions for the cover.

Draft one from the first round of conceptual cover ideas.

Draft two from the first round of conceptual cover ideas.

We had several meetings after drafting these covers. We decided to create iterations based on the two covers with tracks and eliminated the vector-based image with the mountains.

Note the aspen leaf background on the middle cover. This was a sample stock illustration. Using stock illustrations helps to speed up the drafting process. Later, if the project needs custom art, you will be further along in the creative process and thus have a better idea of what you need.

Also, note that we used two different subtitles. We did this to get a feel for how the different subtitles would interact with the layout of the cover.

Iterations of the Selected Drafts

Next, we created a different version of each draft. We decided that the human footprints were a digression from the book’s theme, centering the book on a human rather than wildlife. And the cross-hatching on the cover with the animal tracks also had to go. So here is where we arrived after that:

Draft one from the second round of the cover creation process.

Draft two from the second round of the cover creation process.

At this point, we needed to pick one or the other. Our team chose the cover with the various types of animal tracks. It speaks to the style of nature guides and books of the past, including some that the client admired.

Creating Iterations of the Final Draft

Once we picked a draft and its accompanying style, we were then ready to create numerous versions, or iterations, of that draft. Here are three of those, but in fact, there were far more. Many of the iterations had a minor color or layout adjustment.

One of three final candidates for the book cover.

One of two final candidates for the book cover.

On this round, we decided on the cover with grass above both the title and the author’s name. With that decision, we were ready to create the back cover and refine it.

The Final Cover

Here is the (almost) final cover. I say “almost” because there will be a few inevitable minor changes to the back blurb copy, and the subtitle is still undergoing iterations.

The final book cover that was selected from the book cover creation process.

Print Considerations

Once the cover is ready to submit for a printed draft, we will have to decide between a gloss finish and a matte finish. I have a suspicion that a matte cover will look best (I like glossy covers for photographs and matte covers for illustrations). But all of this remains to be seen … EDIT: We went with the matte book cover, and it looks great.

Just like writing a book, the book cover creation and the design of the interior layout are also deliberative and intensely creative processes. They require time, openness, curiosity, and a willingness to step into new spaces. While many authors want to rush through this phase of the publishing process, don’t! Enjoy it, as this is the final physical manifestation of your idea.

Perfect bound. Casebound. Softcover. Hardcover. Sewn signatures. Glued signatures. Case wrap. Dusk Jacket. Board book. Chapbook. Saddle-stitched. These are a few of the book binding types available to the publisher.

What does it all mean? And what combination is best for your project? In this article, I will explain the basics of the most commonly used book binding types and the types of publications for which they are suited. In the next article, I will discuss book cover types.

First, what does it mean to bind a book? A book consists of the interior pages (called the book block), a binding that holds the block together, a binding that attaches the block to the cover, and a protective cover. Binding a book refers to the method used to hold the book block together and then attach a cover to the block. In sales and marketing, the book cover type is often used to describe the binding, but, as we will discuss, that can be misleading, for cover types and binding types can be mixed.

Important in the binding process are the signatures. A signature is a folded sheet of paper that makes multiple pages. A book block typically consists of multiple signatures. One signature can have 2, 4, 8, 16, 32, 64, or 128 pages.

Saddle-stitching

A saddle-stitched binding is what you will often find in magazines, notebooks, comic books, or small booklets. Staples go through the center fold of the publication. This is one of the fastest and cheapest book binding types, and works best on thinner publications.

Board book

A board book is a special type of book in which the book block and binding are made from the same heavy-duty paperboard. They are designed to be very durable and therefore are used almost exclusively in children’s books. The pages and cover of a board book are typically two pieces of paperboard glued together, then the entire book is cut to shape (often with rounded corners for safety).

Perfect bound

Perfect binding, or adhesive binding, is the most popular of the book binding types used (it is also used in some magazines). It is also the fastest and cheapest method. Signatures are glued together to create the book block and the cover is glued to the spine of the block. In some production processes, the ends of the signatures at the spine are cut off before the glue is applied. While in other processes, the signatures are glued together intact. In the later case, sections of the signatures are milled to allow glue to penetrate into the spine of the block and thus adhere to each page. Fully cut signatures are what you will see in most Print-on-Demand solutions. They are less durable than the alternative, but cheap.

If the book block is going into a softcover (a.k.a. paperback), the cover and book block are trimmed to size once assembled.

It is important to note that hardcover books can have a perfect binding. Once again, this production method is used for cost and time. Print-on-Demand hardcover books are printed this way.

The most common of book binding types, perfect binding. — Perfect binding.

Sewn bindings

The terminology can get confusing here because the terms are often used interchangeably between the block binding and the cover type. Case-binding is a popular sewn binding for hardcover books, but can also be used for softcover books. Signatures are stitched together, then fabric is glued over the spine of the book block. The cover, or case, is then glued to the book block.

There are different types of sewn bindings, including oversewing and Smyth Sewing. Again, it is important to remember that sewn bindings can have either hardcovers or softcovers. Softcover books with durable sewn bindings include nature and outdoor guide books, which need to be both durable and portable.