Justine Anweiler, We'll Always Have Paris, and A Manual For Cleaning Women
"I tend to think I’m more of a curator and that the true talent of many of my favourite covers (both one’s I’ve been involved in and one’s that I admire) lie in the hand of the illustrator behind it. As a visual consumer I prefer to feel the human that created the work of art and I apply this to the covers I create. Although I love slick traditional Swiss type that’s adhering to the strictest of grids, I much prefer an opinion confidently expressed through imperfect mark making."
Rachel Willey, Designing the Cover of Brit Bennett's The Mothers
"From the very beginning, The Mothers was described as a book that was going to be a literary event upon it’s release and our team at Riverhead wanted to be sure that this was communicated through it’s cover. Even though this was Brit’s first novel we wanted to make a big, bold move and grab the attention that she deserved."
After 27 years at Penguin Random House, Senior VP and Executive Creative Director Paul Buckley possesses an enviable amount of professional freedom. "It's up to me what I choose to art direct or what I choose to design personally," he told Spine. He and his staff oversee 16 imprints, annually shepherding more than 1,000 book covers and jackets through the design process. Buckley himself designs several dozen. But despite attending the School of Visual Arts on an illustration scholarship, Buckley had never illustrated for Penguin. "In all these years I've never tried to pitch myself as an illustrator to my team," he said. "I can always find someone far better than myself." Or could until Penguin decided to publish a series of well-known horror titles as part of its Classics imprint.