When I started with the book covers on Monday I thought I was embarking upon a purely random choice from my bookshelves. But now I see that the first six covers I've chosen (in fact seven, because I've got a little treat for you tomorrow) have all been Penguins. And it's not a coincidence, as I see when I go back to the first book I plucked from the shelf: The Log from the Sea of Cortez by John Steinbeck, the 3rd edition published by Pan Books in 1967. And the cover's awful. So dreadful in fact that I'm not going to show you. So well done Penguin for supporting designers and good design over the last 70 years and more (as if you need me to tell you that).
So three more covers from the "it's what you leave out that's important, not what you put in" school of design:
Nice and subtle this one: the book's all about a world paralysed by genetic mutation. This one published in 1965, and with a cover illustration by John Griffiths (and I can't find out anything about him, I'm afraid).
Next is this from 1970, with a cover design by Minale/Tattersfield/Provinciali (who have subsequently become mintat in our url-important world). It must be many a year since Penguin could afford their fees, I'm guessing.
And here's simplicity taken to the extreme, with this cover design by Derek Birdsall from 1973.
Love that Derek Birdsall - wish I could be that confident sometimes (or should that be I wish my boss could?!)
The John Griffiths is great too - just turning it upside down says so much. Is the book good? Chocky is one of my favourites. That has a great cover too - I'll post it soon.
Posted by: Vicki Brown | 16 July 2008 at 01:34 PM
The Derek Birdsall reminds me of the (I think) current Faber&Faber poetry covers, and the John Griffiths of a Fletcher poster.
Interesting to see how ideas come around in new forms.
(and hi- first comment, but I love the blog- lots of good stuff)
Posted by: Tim | 16 July 2008 at 02:29 PM
I know exactly the ones you mean, Tim - I posted about them back in April http://www.davidthedesigner.com/davidthedesigner/2008/04/blue-and-orange.html
And welcome. That's two new commentators in as many days. Nice to see some new faces (well, you know what I mean) around here.
Posted by: davidthedesigner | 16 July 2008 at 02:36 PM
So true about leaving stuff out. The Graeme Green cover looks the strongest. Good lesson for me cause I'm a detail freak who's inspired by Outsider Artists that usually don't leave any white space on the page!
Posted by: Anna-Lisa | 17 July 2008 at 05:27 AM
Lovely, David. (That's why punctuation is important, by the way: 'Lovely David' has a very different meaning, doesn't it?)
Anyway, on the subject of detail, here's a layman's question. Why is there no 'fi' ligature in 'Confidential'? I'm really interested (perhaps too interested) in why a few fonts don't do this when most do. To me, that F and I still look uncomfortable. Is it because I is a writer?
Posted by: Mike Reed | 17 July 2008 at 03:16 PM
Well, I'd wondered that myself, lovely Mike. And trust a writer, not a designer, to point it out.
But I'm afraid my answer is 'search me'. I'd try getting hold of Derek Birdsall if you really want to know the answer.
Posted by: davidthedesigner | 17 July 2008 at 03:21 PM
Ooh. I feel very clever now.
Posted by: Mike Reed | 17 July 2008 at 04:36 PM
It's great to see people discussing the iconic design of Penguin book covers. There's an exhibition on currently exploring just that and celebrating 70 Years of groundbreaking and innovative graphic design. It's at the Shipley Art Gallery in Gateshead until 31 May and is fascinating. www.twmuseums.org.uk/shipley
Posted by: Katie Abram | 27 January 2009 at 03:30 PM