Samantha Russo on Designing F*ckface
Samantha Russo is a graphic designer who currently lives in Philadelphia and specialises in designing book covers, logos and editorial layouts. Here she tells us about her process for designing the provocatively titled F*ckface.
When Chris Serigo, a former Art Director and good friend at Penguin Books where I previously worked introduced me to Karen Horton of Henry Holt + Company, I was ecstatic. I had just moved to Boston, was missing my publishing roots and was starving for some creativity. Karen proceeded to inquire about my availability to work on a book of short stories called F*ckface. They were seeking something bold, playful and colorful and with a title like that it was right up my design alley.
Once I received the manuscript, I got right to work with my tried and true process; I read each story with my sketchbook close by and jot down any symbols, quotes, key words and definitive plot points that pop out to me as an “average reader”. I believe that is one of the most important parts of being a book cover designer – you have to read like you picked the book up for yourself, you have to read it with enjoyment and curiosity. If you skim it with a designer’s eye you’re just going to see what you want to see as an artist; visions of grandiose covers and intricate details that may be intriguing to you and your fellow industry mates but won’t be converted in to an appealing cover for the audience. A simple rule I not only design to but live by is “If you have to explain it... it is not working.”
Leah Hampton’s writing is engaging and raw, it strikes notes deep within your soul and they resonate for days – it has been a year since I worked on this cover and yet I can still remember a few beautifully haunting moments from various stories. One being the moment a woman makes the dire mistake of stepping on some frog eggs during a nature tour but moments later a young boy sees a large croaking bullfrog in the pond. I thought this was such a touching way to represent resilience. How one can be stepped on, poisoned, have a blind spot or weaknesses but still despite it all -- grow large and be admired. Even if you're just a big old ugly bullfrog you're still magnificent and a deserving part of this world.
This is what led to the bullfrog image that was ultimately chosen. There were a few revisional rounds between Karen, Chris, the editorial team and myself regarding the colors – we all agreed the colors should be bold, something that pops and isn’t reminiscent of a bullfrog’s drab coloring especially if it was going to be pictured on the front. Handwriting vs. standard typography – there was a split in the team about this, the handwriting, especially the intentional scribbling of the asterisk in “F*ckface” brought back a human and emotional element to a surreal and otherworldly cover but could also be tricky to read. Illustration or photography of a frog – there was concern that the cover may look too derivative of Karen Russell’s Orange World and the possibility of a photograph would make it have more of a sense of place but could also be off-putting as bullfrogs aren’t exactly the most pleasing thing to look at.
That is the great thing about working with a team though, the input conclusively creates a harmonious balance. The final product allows the title to pop, keeps the human element within the author name and subtitle and keeps the mystical and strange element of the bullfrog without being too repulsive.
Final cover
I thoroughly enjoyed working with Karen, Chris and the editorial team at Henry Holt – we are still in touch and have checked in with each other during these strange times to ensure we are all surviving both physically and mentally. I have moved away from Boston and have begun re-discovering my passion for design. I currently reside outside of Philadelphia and am always seeking more freelance opportunities that inspire me to create strong solutions.
Editor, artworker and lifelong bibliophile.