Tag Archives: Alban Fischer

Några av de snyggaste amerikanska bokomslagen 2017

Vi är inte helt främmande inför tanken att väga in omslaget när man bedömer en bok. I allra bästa fall är omslaget som en förlängning av och portal till bokens värld. För att uppmärksamma dem som gör särskilt snygga och effektiva omslag gör vi varje år listor. Det här är årsbästalistorna med svenska omslag: 201420152016 och 2017.

BearBooks är ju delvis amerikanskt orienterad. Det här är tidigare års listor med de bästa amerikanska bokomslagen: 2014, 2015 och 2016. Och det här är årets snyggaste och coolaste amerikanska omslag:

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Tom Fisher – Writing Not Writing (University of Iowa Press) Design: Anne Jordan & Mitch Goldstein

 
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Cedar Sigo – Royals (New Wave) Design: Jeff Clark

 
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César Aira – The Little Buddhist Monk & The Proof (New Directions) Design: Rodrigo Corral Lettering: June Park

 
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Chris Miles – Spurt (Simon & Schuster) Design: Lucy Ruth Cummins

 
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Deb Ulin Unferth – Wait Till You See Me Dance (Greywolf Press) Design: Kimberly Glyder

 
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Jenny Erpenbeck – Go, Went, Gone (New Directions) Design: Rodrigo Corral

 
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Ralf Rothman – To Die In Spring (Farrar, Straus & Giroux) Design: Oliver Munday

 
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Mike Scalise – The Brand New Catastrophe (Sarabande Books) Design:  Oliver Munday

 
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Moshin Hamid – Exit West (Riverhead) Design: Rachel Willey

 
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Timothy O’Leary – Dick Cheney shot me in the face (Unsolicited Press) Design: David A. Gee

 
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Leif GW Persson – The Dying Detective (Pantheon) Design: Oliver Munday

 
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Jacob Bacharach – The Doorposts of Your House and on Your Gate (Liverlight) Design: Nathan Burton

 
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Osama Alomar – The Teeth of the Comb & Other Stories (New Directions) Design: Erik Carter

 
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Sina Queyras – My Ariel (Coach House Books) Design: Ingrid Paulson

 
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Lindsay Hunter – Eat Only When You’re Hungry (Farrar, Straus & Giroux) Design: Abby Kagan

 
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Ayobami Adebayo – Stay With Me (Knopf) Design: Janet Hansen

 
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Timothy Morton – Humankind (Verso) Design: Anne Jordan & Mitch Goldstein

 
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Red. Roxanne Samer & William Whittington – Spectatorship (University of Texas Press) Design: Anne Jordan & Mitch Goldstein

 
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Nancy Pearl – George & Lizzie (Simon & Schuster) Design: Gray318

 
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Gabriel Tallent – My Absolute Darling (Riverhead) Design: Jaya Miceli

 
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Gabe Habash – Stephen Florida (Coffee House Press) Design: Karl Engebretson Illustration: George Boorujy

 
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Hanif Willis-Abdurraqib – They Can’t Kill Us Until They Kill Us (Two Dollar Radio) Design: Two Dollar Radio

 
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Katie Kitamura – A Separation (Riverhead) Design: Jaya Miceli

 
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Owen Egerton – Hollow (Counterpoint) Design: Matt Dorfman

 
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Hari Kunzru – White Tears (Knopf) Design: Peter Mendelsund

 
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Michael Robbins – Equipment For Living on Poetry and Pop Music (Simon & Schuster) Design: Thomas Colligan

 
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Karl Ove Knausgaard & Fredrik Ekelund – Home and Away (Farrar, Straus & Giroux) Design: Alex Merto

 

Jerome Charyn – Jerzy (Bellevue Literary Press) Design: Alban Fischer

 

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Katherine Faw – Ultraluminous (Farrar, Straus and Giroux) Design: Rodrigo Corral Lettering: June Park

 
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Eve Babitz – Sex & Rage (Counterpoint) Design: Kelly Winton

 
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Fernando Pessoa – The Book of Disquiet (New Directions) Design: Peter Mendelsund

 
Skriv gärna kommentarer och berätta vad du tycker. Vilket eller vilka omslag är snyggast? Känner du till något som vi negligerat och absolut bör ha med? Och missa inte våra intervjuer med Kimberly GlyderAlban FischerAnne JordanJeff Clark och Emily Mahon.

Ola Wihlke

Lämna en kommentar

Filed under Artiklar, Bokomslag bilder och foto, Listor

Årets bästa bokomslag 2016

Vi har redan sammanställt en lista med några av våra svenska favoritomslag 2016. Nedan följer en rad amerikanska, samt en del brittiska, omslag som vi tycker står ut i 2016 års utgivning. Omslagen är inte rangordnade på något sätt.

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Rivka Galchen – Little Labors (New Directions) Design: Paul Sahre

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W.G. Sebald – Vertigo (New Directions) Design: Peter Mendelsund

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W.G. Sebald – Rings of Saturn (New Directions) Design: Peter Mendelsund

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Safiya Sinclair – Cannibal (University of Nebraska Press) Design: Nathan Putens. Artwork: Wangechi Mutu

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Ben H. Winters – Underground Airlines (Mulholland Books) Design: Oliver Munday

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Renee Gladman – Calamities (Wave Books) Design: Jeff Clark 

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Ari Banias – Anybody (W.W. Norton & Co) Design: JAM Design

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Geoffrey Nutter – Cities at Dawn (Wave Books) Design: Jeff Clark

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Jade Chang – The Wangs vs. the World (Houghton Mifflin Harcourt) Design: Kimberly Glyder

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Claire-Louise Bennett – Pond (Riverhead) Design: Alex Merto

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Nick Seeley – Cambodia Noir (Simon & Schuster) Design: Alex Merto

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Reiner Stach – Is That Kafka? 99 Finds (New Directions) Design: Erik Carter

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Tennessee Williams – Now the Cats With Jeweled Claws (New Directions) Design: Erik Carter

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Roger Lewinter – Story of Love in Solitude (New Directions) Design: Erik Carter

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Damien Angelica Walters – Paper Tigers (Dark House Press) Design: Alban Fischer

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Alejandra Pizarnik – Extracting the Stone of Madness (New Directions) Design: Rodrigo Corral

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Ricardo Cavolo & Scott McClanahan – The Incantations of Daniel Johnston (Two Dollar Radio) Design: Ricardo Cavolo

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Jonathan Lethem – A Gambler’s Anatomy (Doubleday) Design: gray318

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Jesse Ball – How to Set a Fire and Why (Pantheon) Design: Kelly Blair

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Augusten Burroughs – Lust & Wonder (St. Martin’s Press) Design: Olga Grlic

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William Shakespeare – The Tempest (Penguin Books) Design: David Pearson

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Rae Earl – My Mad Fat Diary (St. Martin’s Press/Griffin) Design: Olga Grlic

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David Salle – How to See (W.W. Norton) Design: Peter Mendelsund

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Suzanne Buffam – A Pillow Book (House of Anansi/Canarium Books) Design: Alysia Shewchuk

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Ronald C. White – American Ulysses (Random House) Design: Eric White. Foto: © Colorized History. Kolorering: Mads Madsen

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Charles Lambert – The Children’s Home (Scribner) Design: Jaya Miceli

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Angela Palm – Riverine (Graywolf Press) Design: Kimberly Glyder

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Danielle McLaughlin – Dinosaurs on Other Planets (Random House) Design: Emily Mahon

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Alec Ross – Industries of the Future (Simon & Schuster) Design: Jason Heuer

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Robin Wasserman – Girls on Fire (Harper Collins) Design: Robin Bilardello

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Erik Axl Sund – The Crow Girl (Knopf) Design: Peter Mendelsund & Oliver Munday

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Franz Kafka – Letters to Felice (Schocken) Design: Peter Mendelsund

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Franz Kafka – Letter to Friends, Family & Editors (Schocken) Design: Peter Mendelsund

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Stefan Hertmans – War & Turpentine (Pantheon) Design: Oliver Munday

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Harry Mulisch – The Assault (Pantheon) Design: Oliver Munday

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Mark de Silva – Square Wave (Two Dollar Radio) Design: Eric Obenauf & Eliza Wood-Obenauf

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Brit Bennett – The Mothers (Riverhead) Design: Rachel Wiley

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Alejandro Zambra – Multiple Choice (Granta) Design: Jonathan Pelham

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Agustin de Rojas – The Year 200 (Restless Books) Design: Edel Rodriguez

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Yoss – Super Extra Grande (Restless Books) Design: Edel Rodriguez

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Gaku Yakumaru – A Cop’s Eyes (Vertical) Design: Peter Mendelsund

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Eliot Weinberger – The Ghosts of Birds (New Directions) Design: Paul Sahre

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Max Porter – Grief is the Thing With Feathers (Graywolf Press) Design: Scott Sorenson

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Robert S. Lehman – Impossible Modernism (Stanford University Press) Design: Anne Jordan & Mitch Goldstein

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Amy Hungerford – Making Literature Now (Stanford University Press) Design: Anne Jordan & Mitch Goldstein

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Michael DeForge – Big Kids (Drawn & Quarterly) Design: Michael DeForge

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György Spiró – Captivity (Restless Books) Design: Rodrigo Corral

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Olivia Laing – The Lonely City (Picador USA) Design: Henry Sene Yee. Foto: Jerome Liebling

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Cal Moriarity – The Killing of Bobbi Lomax (Faber & Faber) Design: Alex Kirby

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Eileen Pollack – A Perfect Life (Ecco) Design: Allison Saltzman

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Boris Groys – In the Flow (Verso) Design: Everything Studio

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Ezekiel Boone – The Hatching (Atria Books) Design: Chelsea McGuckin

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Mike Roberts – Cannibals in Love (FSG Originals) Design: Na Kim

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Jonathan Safran Foer – Here I Am (Farrar, Straus and Giroux) Design: gray318

Jag har ingen riktig överblick vad gäller amerikanska bokomslag – det ges ut så oerhört många titlar varje år – men ett par små och stora trender tror jag att jag kan identifiera i årets utgivning.

Färgen orange har under året använts flitigt jämfört med förra året och med hänsyn tagen till att den inte tillhör en av de vanligare färgerna. När den är som starkast är det en färg som är ovanligt visuellt anspråksfull, nästan påträngande, som på omslaget till Rivka Galchens Little Labors ovan. Men mer dämpade nyanser kan istället ge ett sobert och harmoniskt intryck.

En liten trend verkar vara omslag med växter och blommor på, som man framställer som om de slingrar sig runt och igenom bokstäverna. Jag tror att jag har sett ett tiotal omslag av det slaget, och jag tror att man kan koppla denna trend till en mer allmän barock eller dekadent trend.

Och den trenden hör, tror jag, i sin tur samman med att man på många omslag fragmenterar kroppar och ansikten, särskilt bilder av kvinnors kroppar och ansikten, men också den yttre verkligheten fragmenteras, som på Peter Mendelsunds fantastiska omslag till några av W.G. Sebalds böcker. Om bokomslag överhuvudtaget kan anses spegla samtiden, så framstår vår samtid som splittrad och svår att orientera sig i. Ja, postmodern, kan man väl hävda, med ett lite slitet begrepp.

Skriv gärna kommentarer och berätta vad du tycker. Vilket eller vilka omslag är snyggast? Känner du till något som vi missat och absolut bör ha med?

Och missa inte våra intervjuer med Kimberly Glyder, Alban Fischer, Anne Jordan, Jeff Clark och Emily Mahon.

Ola Wihlke

1 kommentar

Filed under Bokomslag bilder och foto, Listor

Interview: Alban Fischer on designing book covers

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Horse Less Press, 2015

I have made brief interviews with a few Swedish and American graphic designers I admire. I have asked somewhat similar questions, but interestingly enough the answers vary to a considerable degree. “It’s a hopeless question,” one of them answered, while another answered the same question with enthusiasm.

I really enjoy reading about how each and every one of them approach the task to make an excellent book cover, one of those that makes you want to snap up that book, not one of the others, immediately. Alban Fischer, author and graphic designer, have made several covers with that quality – beautiful, haunting, melancholic and nostalgic.

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Trnsfr Magazine, 2015

Fischer has designed covers for poetry and literary fiction for some of the finest American small presses, including Horse Less Press, YesYes Books and Birds, LLC. He has also designed magazines like Trnsfr and PANK. His portfolio is varied and very enjoyable to explore, some of my favorite covers have a layered quality to them, a depth that makes them visually captivating.

Fischer is the author of the poetry chapbook Status Area (Varmint Armature, 2011). His work has appeared in BlazeVox, Kindling, Past Simple, Thieves Jargon, amongst other publications. He is the founding editor of Trnsfr and he lives in Grand Rapids, Michigan.

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Aforementioned Productions, 2014

Could you please tell us a little about your background and how and why you became a designer of book covers?

I became a designer somewhat by accident. I’m a little wary of how that sounds, I must say; it seems blithe or capricious or something. Serendipitous, even. But I’ve certainly worked hard to make a career for myself. When I was young, I thought I’d grow up to be an artist. I’d discovered at an early age that I had a talent for drawing, for making things. I was even excused from handwriting exercises in school because I had such nice penmanship. The trade­off was that I’d clean erasers instead. (It’s funny—it occurs to me just now that this is something of a model for what my life is like now as a freelance designer.) I don’t think I had any real idea what an artist was, though, or what an artist did, exactly. I figured I’d just go on drawing things.

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Tiny Hardcore Press, 2014

Then, in my early teens I became a voracious reader, and discovered what I’d really wanted to do was write. So, naturally, in my twenties I began reading tons of literary journals, and submitting my work. And I thought, sort of vaguely, that maybe one day I’d start my own journal. And at thirty I did. Obviously, I knew I’d need someone to design the thing, but I didn’t know anyone. So I taught myself. Trnsfr was my education in design. At the time, though, I didn’t think of what I was doing as design. I just wanted to make something unique. A few years later, I was out of work for a brief period. It occurred to me that I’d developed through Trnsfr a number of contacts in indie publishing. I thought maybe I could get work doing layout for a small press or something. Luckily, there were a number of them that needed help. Some of them really responded to the look of Trnsfr, so I started doing book covers as well.

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Curbside Splendor, 2015

What purposes are book covers supposed to fill?

Well, obviously book covers were initially purely utilitarian. Dust covers were just that—meant to protect books from dust and whatnot. They’re now of  course a kind of art form unto themselves. Naturally, we want them to be pretty. And pretty certainly goes a long way, but we need them to do more than just look pretty. A lot more. They have to say, I have what you’re looking for. They’re advertisements. We also need to be able to trust them. So in a certain way a good book cover has to tell it straight. But in the most attractive way; it has to be astute. And book covers are a kind of visual shorthand for the book itself, for its contents. A designer has to be cognizant of that. And a cover has to be able to withstand that responsibility, that challenge. And when it does, it can sometimes itself become as iconic as the book it clothes.

When I think of one of the books that has always meant a great deal to me, Ulysses, I think of the cover—in this case the Gabler edition, with that beautiful design by Carin Goldberg (whose work I revere). And I think this is all the more underscored by the current age, with so many people buying their books online. Covers have to be more aesthetically concise than ever before. But I think they have to reward us too. Maybe like a validation of our taste and intelligence. People want to possess something that is really remarkable, something they can cherish. We need covers to reinforce our belief in a book’s power, that its contents are invaluable and truly meaningful (this extends to a book’s interior layout and production, too). You’re not impelled to pick up an ugly book.

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Arcadia, 2015

Are there differences between book covers and other kinds of graphic design? I think quite a few of your covers would work well as posters.

Absolutely. And certainly there are similarities. For instance, what I said about rewarding us, and the validation of taste. With any design—in whatever discipline—those are definitely concerns. But perhaps we view books as even more tied to our taste and intelligence as intellectual flags, signifiers, mirrors, projectors. We view them as communicating something deeper about who we are than, say, one’s choice of footwear. I know this all sounds a bit superficial, but at the same time, I think those concerns are important. Because these signifiers are communicating a certain truth. What a person wears obviously says a lot of things about him or her, but class and fashion can be cleared away. Intelligence, what we know, our moral core—these are something else altogether.

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Elixir Press, 2015

And I think the haptic nature of books informs their design to a greater degree: they don’t become what they are until we open them. Obviously, one could say that about a shirt, but a book keeps becoming a book, forever. Its stories don’t exist until we imagine them. And then, too, we want precious objects to feel good in the hand, but with books this feel also tells us something that is directly connected to the content of a book. Is it serious?, say; or is it light?

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Trembling Pillow Press, 2015

Do you have a philosophy, rules of thumb or rituals that you follow during the creative process? Please tell us a little bit about the creative process.

I don’t—not really. Certainly no ritual, or at least nothing I would recognize or categorize as ritual. Maybe just that I don’t think a book cover should pander to easy expectations or simply be a patchwork of fashionable motifs. I don’t see why a work of genre fiction, for instance, should look a certain way or should follow a proscribed set of visual tropes. Design for me is more an intuitive process than anything. And I don’t see why those same tropes can’t be exploited or queered, too—even for genres with which they’re not customarily associated. I think tradition is important—hugely so. Without it, without a keen knowledge of it—and even respect for it—what do you have to push against, spring off from, broaden, or tear down? It’s heuristic, in a sense: paradigms can themselves be tools to dismantle other paradigms. As far as process is concerned, it is in many respects different for each book.

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YesYes Books, 2015

It seems most of my covers rarely resemble the original concept. Of course, I’ll read a book, take notes. Often the author or publisher has a few ideas or images they’d like me to do something with or keep in mind. Sometimes I’m given artwork to incorporate into the design. With some publishers, albeit rarely, I’m given carte blanche; with others, it’s a little more collaborative, in a way: they’ll like certain aspects of two different concepts, say, and ask that I merge them, or suggest a different angle I hadn’t thought of. And sometimes—also (very) rarely—I nail it the first round.

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PANK Magazine, 2015

You have made covers to small and cool niche magazines, like PANK Magazine and Arcadia Magazine, and to books from rather small presses oriented towards literary fiction, like Tiny Hardcore Press, YesYes Books and Birds, LCC. Looking at your work I see all kinds of different styles, from Dadaism and collage to very contemporary visual expressions, like the beautiful cover to Dolan Morgan’s recent story collection. Do you think that you enjoy a greater freedom than a graphic designer working exclusively for large presses?

I find it hard to apprehend my own “style.” A client will contact me and say they love my style or aesthetic or my sensibility. But it can be hard for me to see what that is. Or perhaps to see what they perceive it to be. I know how I don’t want something to look. Maybe a person’s style can be defined by what they choose to not do. I’ve wondered this about larger presses, whether I’d have less freedom with a major house. Perhaps one does have more freedom with an indie press. But I have no idea, I’ve no metric for that. I mean, it’s rare that I have a marketing or sales team to please, or a distributor. But I do have to deal with this too for a few of the presses I work for.

And while one might say I’ve created work in many different styles, I don’t think I’ve ever consciously tried to create anything in a certain style, unless asked to do so outright. I like to think I’m flexible. And I’m influenced by a lot things. Graffiti, for instance. Things that aren’t design—happy accidents— like the look of a casually laid stack of junk mail, even. Or completely utilitarian things, user manuals. But as a freelancer, I have to be flexible. Maybe that necessity is what accounts for the freedom one might see me as having as an indie designer.

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Horse Less Press, 2014

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Can you please pick one of your covers and explain how it came about and how you intended it to work?

A cover I’m particularly proud of is James Tadd Adcox’s Does Not Love. There is a scene in the book in which one of the characters peruses online profiles of surrogate mothers. In all of the profile pictures, the women’s are eyes blacked out with a bar. Tadd wanted an image like that for the cover, and I believe even had a particular one in mind. Eventually, the editor on the project, Jacob Knabb, sent along the images you see on the book now. I wanted the placement of the text to work in the same way the black bars over the eyes would, to obscure identity, to give a sense of something hidden or verboten. The book has a lot to say about identity—identity in the context of a marriage. The book is about a lot of things—pharmaceuticals, paranoia, conspiracy theories, jealousy, infidelity, the American dream, the inviolable ideal of the nuclear family—and I needed the tone to encompass all of those things. So the images on the cover are somewhat classic, suggesting a more “proper” time in which our roles in our relationships and the world were, we imagine, more clearly defined. But I wanted the book to feel big, too. Because it does feel like a big novel, even though it is short (its dimensions are quite small, too). For Adcox’s first book, I placed a quote from the book on the spine, no author name or title, and I wanted a similar treatment for this one. I thought it would be interesting to have a pharmaceutical label on the spine. The mysterious pill one of the characters takes is called Milamor, so I thought it would be perfect to create a mock label for that. It would look sort of institutional and threatening, and seem a bit strange, which the book is—in the best of ways.

Ola Wihlke

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Filed under Bokomslag bilder och foto, Intervjuer

Årets 35 bästa bokomslag 2015

Vi har sammanställt en lista med listor över årets bästa engelskspråkiga böcker, och då har vi fastnat för vissa bokomslag. Dem och omslag som vi samlat på oss under året, för att de är snygga, intressanta eller effektiva eller fängslande, presenteras nedan. De presenteras inte i någon speciell ordning, men de här 35 tycker vi särskilt mycket om:

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The First Bad Man av Miranda July (Scribner) Design Mike Mills

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Capitalism in the Web of Life av Jason W. Moore (Verso Books) Design Anne Jordan & Mitch Goldstein

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Ball. Stories av Tara Ison (Counterpoint) Design Kelly Winton

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North of Order av Nicholas Gulig (YesYes Books) Design Alban Fischer

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Building Art av Paul Goldberger (Knopf) Design Peter Mendelsund

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Mental Hospital av Ross Robbins (YesYes Books) Design Alban Fischer

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Tender Data av Monica McClure (Birds) Design Eric Amling

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Hall of Small Mammals av Thomas Pierce (Riverhead). Design Grace Han. Cover art Kate Bergin

New American Stories design by Peter Mendelsund.

New American Stories Red. Ben Marcus (Vintage) Design Peter Mendelsund

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I Think You’re Totally Wrong av David Shields & Caleb Powell (Knopf) Design Chip Kidd

Early Stories of Truman Capote design David Pearson

Early Stories of Truman Capote av Truman Capote (Penguin) Design David Pearson

Season of Trouble design by David Gee

The Seasons of Trouble av Rohini Mohan (Verso) Design David A. Gee

Home is Burning design by Rodrigo Corral

Home is Burning av Dan Marshall (Flatrion) Design Rodrigo Corral

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Making Nice av Matt Sumell (Henry Holt). Design gray318.

Memoirs of a Dipper design by Gray318

Memoirs of a Dipper av Nell Leyshon (Fig Tree) Design Gray318

i-am-radar

I Am Radar av Reif Larsen (Penguin Press) Design Will Staehle

Vegetarian design Tom Darracott

The Vegetarian av Han Kang (Portobello) Design Tom Darracott

Beauty is a Wound design John Gall

Beauty is a Wound av Eka Kurniawan (New Directions) Design by John Gall

killing and dying

Killing and Dying av Adrian Tomine (Drawn & Quarterly) Cover art & design Adrian Tomine

A Brief History of Seven Killings Special Edition design James Paul Jones

A Brief History of Seven Killings av Marlon James (Oneworld, special edition). Design James Paul Jones

Bream Gives Me Hiccups design Jean Jullien

Bream Gives Me Hiccups av Jesse Eisenberg (Grove Atlantic) Design Jean Jullien

musical-brain

The Musical Brain av César Aira (New Directions) Design Rodrigo Corral

Ally Hughes design by Darren Booth

Ally Hughes Has Sex Sometimes av Jules Moulin (Dutton) Design Darren Booth

Complete Stories design by Paul Sahre

The Complete Stories av Clarice Lispector (New Directions) Design Paul Sahre

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Rails Under My Back av Jeffrey Renard Allen (Graywolf Press) Design Kimberly Glyder

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Voices in the Night av Steven Millhauser (Knopf) Design Janet Hansen

Music mfor Wartime design Lynn Buckley

Music for Wartime av Rebecca Makkai (Viking) Design Lynn Buckley

Only Forward design Stuart Bache

Only Forward av Michael Marshall Smith (HarperCollins) Design Stuart Bache

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Street Poison av Justin Gifford (Doubleday) Design Michael J. Windsor

 

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KL av Nikolaus Wachsmann (Farrar, Straus & Giroux) Design by Alex Merto

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Schlump by Hans Herbert Grim (Vintage) Design Suzanne Dean; illustration Clare Curtis

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American Warlord av Johnny Dwyer (Knopf) Design Oliver Munday

Infinite Home US

Infinite Home av Kathleen Alcott (Riverhead) Design Alex Merto

knife

The Knife av Ross Ritchell (Blue Rider Press) Design Alex Merto

woman-who-read-too-much-design-anne-jordan

The Woman Who Read Too Much av Bahiyyih Nakhjavani (Stanford University Press) Design Anne Jordan & Mitch Goldstein

Ola Wihlke

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