Tag Archives: Kimberly Glyder

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

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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

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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

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

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

Ola Wihlke

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Interview: Kimberly Glyder on designing book covers

 

 

When I look at the book covers designed by Kimberly Glyder, of Kimberly Glyder Design, I sense that what you see is what you get. I would even claim that her designs have an honest quality, if that makes any sense, and they are rooted in different American traditions. Kimberly doesn’t use Helvetica very often and seldom play it safe and minimalistic. She makes covers for books of literary fiction, essays and more commercial novels, but she always finds a style and solutions – she is very good with typography and colors – that are bold and that makes you want to grab and explore the books.

 

 

Kimberlys work has been recognized by the AIGA in their 50 Books/50 Covers Show, the biennial AIGA 50 design competition for the DC area, the AIGA Philadelphia Design Awards, the AAUP Book Jacket and Journal Show, the New England Book Show, the New York Book Show, and in PRINT’s Regional Design Annual.

 

 

Kimberlys clients include: Random House, Ecco, National Geographic, Houghton Mifflin Harcourt, Grand Central Publishing, Johns Hopkins University Press, W. W. Norton, Abrams, Graywolf Press, and Little, Brown. We had the opportunity to ask Kimberley a few questions. For the interview I mostly chose covers she made for books from independent and university presses. They are not representative of her work as a whole.

 

 

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

I’ve always been a voracious reader and involved in the fine arts, so being able to combine books and design is an ideal fit for me. I attended the Rhode Island School of Design where I received a BFA in Graphic Design. Though I wanted to go into book design right out of school, there were limited oppor-tunities at the time, so I had brief stints in print design studios working on brochures, catalogs, branding systems, etc. Then I spent a couple years working as a museum designer creating exhibits for international and regional clients. Finally, I landed at Da Capo Books in Boston and began my career as a book designer, leaving a couple years later to strike out on my own (which I love).

 

 

What purposes are book covers supposed to fill?

Whether the cover is shown online or as a printed copy in a bookstore, the purpose of a book cover is to create an engaging experience for a potential buyer. Hopefully, a buyer “clicks on” a book online or picks up a book in a bookstore, and then it’s really the writing that must convince someone to buy the book. My job, as I see it, is to push a buyer to interact with a book.

 

 

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Are there differences between book covers and other kinds of graphic design?

Certainly, I think there is much more emphasis on conveying a specific concept or tone for a book cover. Authors and publishing companies have very definitive ideas of how they want to market books and there is a fine line between creating something visually appealing and accurate (enough). It’s not just about what is beautiful, but the balance of the author’s writing to take into consideration.

 

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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.

Over the years, I’ve been able to streamline my process effectively. I always begin a book by reading the manuscript and taking notes. These notes are usually “big picture” concepts. Sometimes they are specific visuals that stand out within the book (such as a variety of flower mentioned, or the color of a woman’s hair, etc.). At the beginning of many book projects, I will also get input from the author which then gets combined into my notes. After reading and note-taking, I move on to sketching. I always sketch first before turning to the computer. These small sketches are rough thumbnails where I distill my notes and take a first stab at translating the concepts into visuals. This also might be when I’m doing photo research. Often times, I will move on to hand-lettering or some painted element. I seem to be hired for more and more projects in which illustration is requested, so this has become an important stage in my process. Finally, I move on to designing.

 

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You are very versatile stylistically and have a quite varied portfolio – you have made covers for books of fiction and books of non-fiction and you also work for different kinds of publishers, from rather small and indie Graywolf Press to Random House. Yet I find unifying elements, many of your covers are bold, they certainly stand out against the background, and several of them are humorous. Could you please comment on the variation of your portfolio? Could you also say something about working with publishers with quite different identities?

I think as a book designer, you have to be varied in your style. There are some designers who aren’t and it works well for them, but for me, it’s rather a necessity to have the variation. Not only is this variety fulfilling since it allows me to work on a range of subject matters (one of the best parts of working with books in my opinion!), but it also brings in a number of varied clients. I have a soft spot for Graywolf Press, as I feel as though the covers I’ve worked on for them are my most successful from a creative standpoint. Part of the reason for this I think, is that they allow me the freedom to really stretch my creative limits and they value my contribution to the book. So many large publishers get saddled down by what they think is commercially viable, and in the process, the covers lose any uniqueness which would have made them stand out in the first place.

I do like bold covers and am happy to hear you think mine have that quality. I’m not someone who uses Helvetica as an afterthought. I like type as image. I think a lot can be visually conveyed with a little and that’s taken many years to figure out.

 

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Can you please tell us a little bit about the cover you made for Rails Under My Back and explain how it came about and how you intended it to work?

Rails Under My Back chronicles the lives of two African-American brothers and their families. The metaphor of the railroad (the themes of migration and uprooting) dominates the book. The “rails under my back” also signify scars from whipping and the legacy of slavery. The two brothers take divergent paths so my goal was to convey this break in a visual way. My solution was to  create a railroad graphic that splits to move off in two directions. The railroad design also refers to the human spine/back and the small yellow marks evoke the scars. The type is jumpy and carries a lot of movement, in keeping with the writing style. The color palette is intentionally limited to reinforce the strong visual impact of the typography and background graphics.

 

We really appreciate that Kimberly took our questions, thanks. These are the books featured in the interview:

The Empathy Exams by Leslie Jamison (Graywolf Press), design and lettering.

Dead Neon (University of Nevada Press), AD Kathleen Szawiola, the cover was awarded several prizes.

The Red Parts by Maggie Nelson (Graywolf Press), AD Katie Dublinkski.

Leaving Orbit by Margaret Lazarus Dean (Graywolf Press), AD Katie Dublinski.

Unbuttoning America by Ardis Cameron (Cornell University Press), AD Scott Levine, Vintage Pin-Up Illustration by Al Moore.

The Pinch by Steve Stern (Graywolf Press), AD Katie Dublinski.

Get in Trouble by Kelly Link (Random House), unused comp, AD Paolo Pepe, design & illustration.

Beyond Competitive Advantage by Todd R. Zenger (Harvard Business Review Press), AD Stephani Finks.

Woke Up Lonely by Fiona Mazeel (Greywolf Press), AD Michael Taeckens.

Your Presence is Requested at Suvanto by Maile Chapman (Graywolf Press), AD Katie Dublinski.

Mad Men Unzipped (University of Iowa Press), AD Karen Copp.

Rails Under My Back by Jeffery Renard Allen (Greywolf Press), AD Katie Dublinski.

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For more covers by Kimberly Glyder, visit the homepage of Kimberly Glyder Design and the blog Shelved Books, where you can see several versions of the cover to The Empathy Exams, among many other things.

Ola Wihlke

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Filed under Bokomslag bilder och foto, Intervjuer