Catherine Casalino, Designing an Unmistakable Cover
The most enjoyable part of cover design for me is coming up with something concrete and visual to illustrate an idea. If the idea is straightforward, the solution is usually pretty simple— if you want to say "love" in a visual way, you draw a heart— but when the idea is complex, like the idea behind Unmistakable (Portfolio Penguin 2016), you need an image that hits several notes at once.
Michel Vrana on Designing the Cover for Guy
"Reading the manuscript, I was struck by just how empty Guy seemed, and that’s what I wanted to evoke on the cover: an empty suit…the term ‘stuffed shirt’ also came to mind. A simple suit on a hanger wouldn’t work, though: there needed to be an indication of something ‘missing'. By removing the head, and more importantly the face, from the figure, Guy’s humanity has been replaced by his name. A name that’s synonymous with the generic. He’s no longer a man, he’s a symbol."
Christopher Lin, Woman Looking at Men Looking at Women
"I had the pleasure of designing the cover for Siri Hustvedt’s masterful 2014 novel, The Blazing World, so when Simon & Schuster reached out to me to work on A Woman Looking at Men Looking at Women, I immediately said yes even before looking through the brief."
Roberto de Vicq de Cumptich on Tell the Wolves I'm Home
Roberto de Vicq de Cumptich is a designer based in New York City. His portfolio of work includes the cover of Carol Rifka Brunt's Tell the Wolves I'm Home, published by Penguin Random House. Here is his creative rationale for the design in his own words.