Q&A with Designers

Greetings from Melbourne! Well, Geelong, to be exact. I've been here since Friday morning, and am slowly getting over jetlag. I'm staying with old friends who used to live in NY and am having a great time--getting a taste of what normal life is like, combined with a bit of sightseeing, too. Today I'm off to Melbourne to have lunch with author Karen Healey and her Australian editors at Allyn & Unwin.

Before I left NYC, I arranged a Q&A with two of our fantastic Associate Art Directors at Little, Brown Books for Young Readers. Thank you so much to Tracy Shaw and Alison Impey for answering some questions! Note: they both answered these questions independently, but I loved arranging this so it seemed more like a conversation--I thought it especially telling that they answered question five in the exact same way.

1) Please list five books you've designed in the last two years.

Alison:

The Time-Traveling Fashionista by Bianca Turetsky; Huntress by Malinda Lo; You Killed Wesley Payne by Sean Beaudoin; Ninth Ward by Jewell Parker Rhodes; Reckless by Cornelia Funke.

Tracy:

Bunheads by Sophie Flack, Sisters Red by Jackson Pearce, The Daughters series by Joanna Philbin, Jane by April Lindner, The Duff by Kody Keplinger

2) When you're coming up with concepts for a novel cover, what are the steps you go through?

Tracy:

I start with reading the manuscript and making notes along the way of anything that catches my attention, maybe a visual detail or poetic description. Anything that strikes me as interesting, no matter what it may be. I meet with the editor to discuss what he/she is envisioning for the book's positioning and audience. I then mock up rough covers using anything I can to get my ideas across, from stock images to random magazine ads or even sketches I do myself. I also try to come up with mood boards if the concept is hard to show, to convey an idea without the actual final image. If necessary, I pick illustrators or photographers whose work best matches the overall mood or feeling I'm trying to get across.

Alison:

I usually meet with the Editor before I read the manuscript. This initial meeting is quite brief and the goal is to make sure I understand all the necessary positioning details and expectations for the book. What is the target age group? Does it have more boy or girl appeal? Is it literary or commercial? These are just a few of the positioning questions we'll discuss. 

I love sitting down to read a manuscript for the first time. I don't usually take notes while I read, but as soon as I finish reading I make a list of all the themes in the book. I focus on the mood and tone of the book and jot down everything and anything that comes to mind. I then collect imagery and inspiration that supports the list. This becomes my "mood board" and my point of reference once I begin sketching and concepting. I find it's helpful to keep a brainstorming trail so that I can always go back to it when I get stuck or concepts don't get approved. You often cycle through the concepting process more than once before you get something approved.

3) What is the most unusual place you've found inspiration for a cover?

Alison:

I enjoy browsing bookstores and seeing what's new, but when it comes to searching for inspiration I like to go to places where I can be more indirectly inspired. I can't think of anything that unusual, but I like getting away from my computer and heading to art galleries and museums. I also like looking a fashion and art magazines. Sometimes it is simply the color or the composition of something that inspires me. I also love cosmetic stores, particularly Sephora for packaging ideas.

Tracy:

Sometimes an image will pop into my head in the initial read of the book and I won't be able to forget it, no matter how many other ideas develop. But the weirdest places I've found inspiration would have to be either a chewing gum ad or a perfume sample label.

4) You both have designed novels and picture books--do you have a preference on which type of project you enjoy working on most? How about Middle Grade vs Young Adult?

Alison:

They are very different design projects, and honestly, I like both for that very reason. At the moment I work on mostly novels, both YA and Middle Grade. Compared to picture books, I find novels to be more conceptual projects. You really do feel like you're staring at a blank canvas when you start thinking about the cover for a novel. Picture books are more about the development and art direction of the interior before you even begin to think about the cover. As for Middle Grade vs. YA, I find you can be a little edgier with YA, but I must admit I like both. I like having a mix of projects. I wouldn't want to only work one or the other. It keeps things interesting.

Tracy:

Picture books are so much fun to work on - the interaction with the illustrator and seeing original artwork up close is incredible, and being able to merge the story with the images is such a poignant development in the process. They also serve as a nice break from the challenges that come with designing novel covers. But I'd have to say novels are my favorite, they allow the designer to be more involved in the concept and creation of the cover image.

With that said, I happen to like YA better than middle grade, only because I'm more comfortable with it. For me, middle grade is a tough genre, being in between picture books and teen dramas with more adult content.

5) What are your greatest challenges in terms of your job?

Tracy:

Making everyone happy.

Alison:

Making everyone happy. Ultimately I want the author to be happy, but it's also necessary for the editor, sales, marketing, etc. to all be on board with your idea. It's incredibly subjective and a lot of times your favorite ideas end up on the cutting floor, but that comes with the territory and you develop a pretty tough skin. 

6) What do you like best about your job?

Alison:

Working with incredibly creative and passionate people. I love being part of the storytelling process. You might not judge a book by it's cover, but the cover does play a huge part in whether or not you pick it up in the first place, and hopefully once you do you feel like the design enhances your reading experience.

Tracy:

When you figure out a perfect way to design a cover so it lets the book shine, that really is an awesome, satisfying feeling. Also, being able to hire new artists, they have so much enthusiasm. It's contagious.

7) What does a typical day in the office look like for a designer?

Alison:

Well, it definitely begins with a cup of coffee. It's really a lot of juggling. You always have a lot of projects that are at various stages of completion, so while it may seem like every day is about coming up with great new cover ideas, a typical day also includes a lot of follow up with artists, editors, production, etc. It's busy. 

Tracy:

A typical day involves correspondance with editors and production, checking on the various stages of my books, scheduling meetings, organizing photo shoots, and oh yeah, trying to squeeze in time to concept. That can be the most challenging when what you need is just time to think.

8) Anything else you'd like to add?

Tracy:

This is a job where you have to put yourself out there, and the insecurity and doubt can be overwhelming. But it's also what makes the work so gratifying and why I'm still doing it after eight years.




Alison:
Thanks, Alvina!

Thank you Alison and Tracy! I love hearing how people work--I learned a lot!