A Father-Daughter collaboration, calligraphy, photography, watercolor
There are certain phrases and titles of books that I have been going back to for years as a touchstone. Nabokov’s memoir, Speak Memory is one of those. I could design the cover of that book a thousand ways. This version is a personal elegy to my father. Before he became a newspaper reporter he took about eight “art photographs” and put them in a little album which was passed down to me. The flowers are from that album, a tiny little black and white snap from the time of film and sprockets, when dust and scratches made themselves without a filter.
I do adore photocollage, and the infinite ways we can now merge media. Here I have blended my father’s photography with a painting and calligraphy of my own, a script done with a ruling pen and walnut ink. To collaborate in this way is a lovely way to bring someone who is gone back into your life.
Olde skool tools for modern tymes. In my process I use everything, but I have a special place in my heart for these timeless shapers of letters.
Designing a cover for a women’s novel isn’t as easy as it used to be. The line between “romance” and “literature” is getting increasingly blurry, and all of a sudden (with the merciless invention of the Kindle) nobody seems to want to be caught reading something that looks like a romance. So even if a book is about Love, somehow it has to look neutral. Yeah, Love. Whatever. I’ll call you, but maybe not. It’s cool . . . .
This cover for author Emily Giffin was a lengthy process. There is a lot at stake in a cover design for a major author. Even if a book is found online and is never picked up before purchase, the little half-inch avatar on the screen that represents the book has to capture the imagination. Once the book is in someone’s hands the job of the book cover is to support the reader’s belief in the words inside and to create a loyal bond. The book jacket also has to sit around, sometimes for years, when it isn’t being read. While it seems to be languishing idly on coffee tables and night stands it is actually working hard, whispering to anyone who walks into the room, come over here, sit down, fall in love with the world between these covers. It has to have presence.
I started out this cover design by testing scripts that could express different flavors of modern love. Casual, sophisticated, breezy, or nostalgic (just a little) for the days of holding hands.
New direction came in to go a bit retro, and “ornamental/but not.” Very tricky to get these particular words to lock up decoratively, and still read quickly at one-half inch on a small smartphone, the ultimate test these days. This one was drawn with pens and curves and then I laid in color and charcoal.
Another meeting, a new direction: let butterflies say romance and dial the letterforms back to a classic hand-drawn typography. (I did not do the butterflies or other illustrative elements, and it was decided early on to keep the author’s name in a font.)
On the other hand . . . maybe hand drawn is where we want to be, but looser. Pen calligraphy with watercolor, letting mistakes happen and not trying to control the process very much.
I refined and clarified the script design, returning to a typographically drawn style, and the charcoal texture I created was further distressed and integrated into the whole. The finished cover is very spare and open. When I see this book in a field of covers that rely for impact on color photography it stands out for its feeling of light and optimism, as well as the simplicity of the elements. This is an unusual combination of modern and retro styling, and it could only have emerged out of the process of a lot of back and forth and human collaboration. (#designbyhumans #notatemplate )
To see more of my book cover design and lettering check out my full portfolio here.
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This book cover titling project was recently finalized and I am very happy with how it turned out. The reversed brush lettering really sparkles in reverse, and I like the way the drybrush texture complements the starry sky.
You can see more of my custom typography and hand lettering for book covers here.
Details on this project soon, but I couldn’t resist posting these shots of work in progress. Watching ink dry as it sinks into paper is one of those rare occupational perks of being a calligrapher. The scent is heavenly on plush white rag Fabriano. Calligrapher’s perfume….
Ink on Paper: Expressive Lettering by Iskra. © Iskra Design
Here is a new book cover for The Hidden Man demonstrating the use of historical hand-lettered script. I did this with a pointed metal nib and ink on charcoal paper.
Below are a couple of other versions with notes on the process. Because this is hand done calligraphy it can be customized in ways not possible when working with a font.
Double letters are always tricky, and d’s especially. How to make the most of them, yet remain legible? These are two of the more complex variations for a double d.
Subtle refinements, experimenting with different ways of treating the H to balance the loops on the d’s, letting the handwriting evolve and see how the negative space between lines can be adjusted for the best balance.
This was actually my favorite version. It is done with a transitional pen that gives a little more weight overall. The trade-off is that it is less intimate, and loses some of the handwriting character of writing with thinner strokes. The loops were also a problem for legibility at a distance, and weren’t quite right for the character that the title typography needed to express.
Custom historical calligraphy © Iskra Design