The book addresses the serious topic of work, but my co-writer, Stephanie Di Biase, and I, strived for a tone that didn’t take the topic—and ourselves—too seriously. The cover’s handshake illustration, which echoes itself in the chapter “Language”, supported this tone. At the same time, it displayed a sense of humor, which was reflected in some of the feedback that was offered. Most of all, it was an opportune way to showcase the beautiful drawing style of Lucy Engelman, who made a witty series of splendid illustrations for the book.
Complementing the illustration are the typefaces: our book’s title proudly uses Recovery (ace name) designed by Dunwich Type Founders, and all other text uses Harriet designed by Okay Type. These typefaces persist throughout our book. Typographic control is one of the major benefits of self-publishing.
As with any design project, the cover-design iterations could go on and on. I was made naïve again, thinking that designing the front cover be quickly done, considering the writing process takes longer. I was reminded that there are lots of back-and-forth arrangements, intertwined with pauses, when designing a book’s cover.
We decided that the selected cover design aligned to the intent of our book. We’re satisfied with its design direction. Hope you agree.
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I’m particularly focused on getting the eBook version done, among many moving parts in releasing a book. A launch page was established. To find out when BROKEN is available and more, join the Design Feast Serving newsletter.