The Metropolitan Museum of Art Makes 375,000 Images of Fine Art Available Under a Creative Commons License: Download, Use & Remix

15 February 2017

From Open Culture:

What do you need to make art? Why, art, of course: the works that have come before provide inspiration, establish a tradition to follow and expand, and now, in our digital age, even provide the very materials to work with. The Metropolitan Museum of Art has assured us that we should feel free to “use, remix, and share” their latest batch of 375,000 digitized artworks of a variety of forms and from a variety of eras in any which way we like. In partnership with Creative Commons, they’ve released them all under the latter’s CC0, or “no rights reserved” license, which places them “as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright or database law.”

Link to the rest at Open Culture

PG says this appears to make these specific works of art (not the entire collection of the Met) available for use on book covers.

Here’s a link to Introducing Open Access at The Met for more information.

And here’s In the Library by Edwin Austin Abbey, released under the Met’s CC0 license:

and a photo taken by Alfred Stieglitz in Paris in 1908

and a Migrant Pea Picker’s Makeshift Home, Nipomo, California, taken by Dorothea Lange in 1936

Book Cover Design: How self-publishing authors can do it best

9 February 2017

From Reedsy:

Book cover design, also known as ‘book jacket’ design, is a favorite topic of conversation in the Reedsy office. Since we opened our digital doors over two years ago, we’ve seen hundreds of authors collaborate with designers — and much more join our regular ‘cover critiques,’ when our professionals offer feedback on self-published book covers.

Despite our fascination with the art of cover design, we were surprised how little we actually knew about the process and, crucially, its cost. In 2016, we published a report on the costs of self-publishing a book by crunching real quotes offered by Reedsy editors and designers over a year. We were able to give practical guidelines for the cost of editing, but when it came calculating an average price for a professional cover, the costs ranged from between $300 to over $1,500.

. . . .

At the most basic level, a professional-looking cover will help readers take you and your book seriously. Online retailers like Amazon do not distinguish between traditional and self-published books in their search results. That means independent authors must compete against traditionally published books and ensure their designs match or, if possible, exceed those the big boys are putting out.

You may have a friend who’s great with photoshop and has offered to help you for free. As enticing as it may be to work with a friend (for free!), a professional designer brings more than just photoshop skills to the table. Book cover design is a complex balance of images, text, and information — and you need someone who understands how each of these elements interacts with the others to best sell your book.

. . . .

“One of the benefits of hiring a professional cover designer is that he/she will have an intimate awareness of design trends within a given genre,” says U.S. designer Kevin Barrett Kane. “Emulating the designs of other titles within a given genre can make a book look generic, but being too original with the design risks confusing readers about the subject of your book. An experienced cover designer knows how to thread the needle between the overdone and the ambiguous.”

. . . .

A well-written brief will pay dividends. Not only can it help you secure your designer of choice, but it lays the ground for a smoother collaboration and will often result in a lower quote. A good brief doesn’t just describe the book in stunning detail; it’s also your first (and often only) chance to pitch yourself as a collaborator.

“I worked in advertising for 18 years so I can smell it on the air when I know I’m heading into a mire of endless demands,” says illustrator and designer Chuck Regan. “I know who’s going to get the blame when their book does not sell because of a cover they didn’t like.

“Ultimately, my decision to work for an author is based on a sliding scale. What’s the subject matter? How much detail is required? What’s the timescale? And how much fun do I think it will be to render the cover?”

Link to the rest at Reedsy

The 60 Best Book Covers of 2016, as Chosen by Designers

21 December 2016

From Literary Hub:

Today in “2016 was garbage but at least we had good ____,” we bring you: book covers. Because it’s true: this year, we had a healthy quantity of beautiful, inventive, arresting, unforgettable book cover designs, many of which deserve recognition. Now, of course, since it’s the end of the year, we are socially obligated to ask, but which were the very best? So I wondered: which were the very best? I know what looks good to my laywoman’s eye, but which were really marvelous and which simply pretty? To make sense of it all, I asked seventeen designers whose own work I have deeply admired to talk about their personal favorite book covers of 2016.

As might be expected, some of the artists I asked championed a few of the same book designs, so I feel comfortable saying that the very top three best book covers of the year are the following:

Cannibals in Love, designed by Na Kim (7 nods)
The Bed Moved, designed by Janet Hansen (5 nods)
The Mothers, designed by Rachel Willey (5 nods)

. . . .

Mike Roberts, Cannibals in Love, design by Na Kim

This jacket is one of the most perfect integrations of title and image I’ve ever seen. Every moment makes sense both intellectually and visually. It manages to be abstract and representational at the same time. But the main thing is I can’t stop staring at it, so not only is it a beautiful work of art, but it’s doing its job as a book cover. Genius!

. . . .

Rebecca Schiff, The Bed Moved, design by Janet Hansen

Simplicity in design can be a real battle, but designer Janet Hansen makes it look elementary with her design for The Bed Moved. Hansen manages to balance chaos and composition in such a way that the eye doesn’t at first detect the repeated letters. It’s a design triumph!

Link to the rest at Literary Hub

On Cover Design. Because It Matters.

31 October 2016

From The Dust Lounge:

I love covers.

I really love covers.

. . . .

I’m talking about book covers.

And if you turn around and tell me you don’t judge a book by its cover, then that’s damn great. But a little badger in the back of my mind doesn’t believe you. The cover is what makes a book stand out on the shelf, or on the screen. It’s the glint that catches your eye and won’t let go.

Of course, some covers are bad. They might be misleading. They might be hard to read. They might be photoshoppery disasters.

. . . .

And making a cover is hard.

But just because it’s hard doesn’t mean it’s not important. These days, we’re not just talking about browsing through shelves at the local bookshop. No, now we’re talking about miniature thumbnail covers that have to stand out in the vast sea of books competing for your attention. Which means it’s time to get all LOOK-AT-ME-LOOK-AT-ME, but in the right way.

. . . .


  • Stay simple. Clutter the cover too much, especially on the online thumbnail, and you ain’t gonna have a clue what it’s supposed to be.
  • Use an easy to read font. That font that looks so pretty when you’re zoomed in on screen could be illegible when shrunken down. Don’t make people work too hard to know what your book’s called.
  • Stay on trend. Written a horror book? What do the bestsellers look like? Are they pink and fluffy with pictures of high heels? Are they pastel images of someone running through fields of dandelions? Know what your market likes, and play to it.
  • Get striking. Go vibrant, go bright, go graphical. Make it pop.

. . . .


  • Finish without sleeping on it. This rule applies to everything. But then, I do really like sleeping. Also, there’s a lot to be said for letting fresh eyes have a peek.
  • Settle for something you hate. You’re going to have to market this book. This is your word-baby, so make sure you like the packaging.

Link to the rest at The Dust Lounge and thanks to Sal for the tip.

How a Publishing House Designs a Book Cover

1 August 2016

From Digital Book World:

It all starts with the pitch. I can actually find myself on the edge of my seat when our editors present each season’s new books. It’s the art department’s chance to vie for which titles speak to us the most—which books might work best with our particular styles and skillsets.

After working at the same publishing house for four years, I can almost always predict which designer will gravitate toward a particular title. But inevitably, it ends up being a mix of interest, talent and workload that determines our selections. We give our creative director our first picks and she ultimately assigns the list. I’m fortunate enough to work with a team that is incredibly versatile; they can work across all genres successfully.

The list is actually somewhat fluid, so if I ever feel like I’m working on too much or too little, things can shift around depending on everyone’s workload. If I’m passionate about a book that I haven’t been assigned, though, I’ll often offer to assist on it. This could include doing photo research, setting up a shoot, or anything else that’s needed.

. . . .

Stylistically, I tend to lean toward lifestyle books and gritty true-crime type stories. These are the types of books that speak to my personal style, and are where I feel like I can do some of my best work. On a personal note, I also enjoy reading these books, which I think tends to help the creative process (though isn’t always necessary, surprisingly enough). I may be biased, but I really do love the clean and modern aesthetic of our lifestyle books. The Life and Style imprint at Grand Central Publishing (my publisher) has been built into a successful brand over the years, which only makes it easier for our designers to have a list of successful in-house titles that we can base our aesthetic off of.

Again, though, I do also adore the grit and intrigue of a crime book. That style can offer some very interesting creative opportunities that you may not find in another type of book, and it’s always an experience to be able to do a deep dive and explore that world. Perhaps more important, it’s also fun as an artist to be able to move between different styles depending on the book. I think it keeps me engaged and also helps me to use qualities from one genre on something that’s unexpected in another.

. . . .

When the titles are assigned, the work really begins. Sometimes, a book comes to us almost fully cooked. It’s been completely (or mostly) written, it’s got a concrete, confirmed title, and it’s up to us to capture the essence of the story on the cover. I think that’s how most people envision the book jacket process, and while it’s our best-case scenario, you’d be surprised at how rarely that actually happens.

Sometimes we’re given a book without a manuscript or even a full outline, and we need to rely on a synopsis or just some basic notes. Understandably, these can be the most challenging designs to capture, as it’s difficult to find that one visual feeling or icon that speaks to an overarching theme of a book. You can’t pull visual cues or themes from the book if the book doesn’t exist! But thankfully, there are other ways to crack the code.

. . . .

Don’t get me wrong, though: whenever I’m given an early manuscript or any sort of glimmer into what the book is about, I’m grateful for it. I find myself constantly thinking of different designs and directions I could take things in, and find inspiration almost everywhere—from New York City itself to weird posters and ads in the subway or the streets, and most importantly, from other books.

Sometimes I’ll see a type treatment or style working on someone else’s book and I’ll be so inspired by it that I’ll need to put my own spin on it. I think more so than most designers, book designers are inspired by each other.

Link to the rest at Digital Book World

Perhaps PG missed it in the OP, but he didn’t see anything about the cover designer actually talking to the author of the book about the cover.

Call him crazy, but PG thinks the author might — just might — have some good ideas.

Book Covers See Yellow to Attract Online Shoppers

29 May 2016

From The Wall Street Journal:

Amazon’s sway in the publishing world now extends to even the design of books themselves. The company now accounts for about 45% of all books sold in the U.S., according to Peter Hildick-Smith, president of industry researcher Codex-Group, LLC.

As Amazon’s importance as a bookseller has grown, publishers are pushing their designers for brighter, bolder covers that pop for online shoppers. That has led to a spate of brightly colored book jackets, with blaring yellow covers now appearing in profusion.

“There’s a kind of maximalist attitude toward color, I think mainly because we operate from the fearful assumption that no one’s going to look at the book unless it’s screaming at you,” said Peter Mendelsund, associate art director at Knopf.

. . . .

In 2008, he used Pantone 803, fluorescent yellow, for Stieg Larsson’s “The Girl with the Dragon Tattoo,”setting the novel apart from the traditional dark hues of thrillers.

“Everything gets simplified to what the eye can see at one inch. That can be the size of the graphics, the colors, the amount of detail,” said Robbin Schiff, executive art director at Random House.

Link to the rest at The Wall Street Journal (Link may expire) and thanks to Barb for the tip.

It’s the Cover, Stupid! Why Publishers Should A/B Test Book Covers

5 April 2016

From Digital Book World:

Every publisher and bookseller knows that covers sell books. But do consumers also form expectations from looking at the cover? Well, based on the results of some of the initial reader analytics data at Jellybooks, we think they do.

. . . .

The first case shows how a cover shaped readers expectations. The cover was well designed and clearly aimed at grabbing book buyers’ attention both online and in physical bookstores. This particular cover had a single dominant color and “told a story” with a single image. But it seemed to have told the wrong story.

Users who picked the title in one of our test reading campaigns told us afterward that, based on the cover, they had expected to be reading a crime novel or perhaps a spy thriller. However, they were surprised to discover that the book was instead a work of non-fiction.

The narrative described a slice of post-war history at the Central Intelligence Agency. The spy and crime themes were there, but not in the novelized form readers had expected. As a result, the drop-off in reader engagement we measured during the initial chapters was swift and sharp (over 60 percent) when readers realized that this was not the book they had expected.

. . . .

The second example comes from a different reader analytics promotion. Once again, readers were allowed to choose from up to 20 titles on offer, but instead of being able to choose only one title, they were allowed to pick up to five. One title frequently chosen, though rarely as first or even second choice, was a psychological thriller with a somewhat quirky cover: a cat staring at the consumer. Astounding, though, were the results for this book relative to its sales.

The book was a debut novel from recent years for which the publisher had held very high expectations. However, sales had been poor. In a rare case of post-mortem “what went wrong,” the publisher had the courage to investigate whether the content or the publisher’s marketing was at fault. The reader analytics showed that the content was not responsible for the poor sales performance:

i. The book had an exceptionally high completion rate: more than 75 percent of those who tried the book finished it—a rate achieved by fewer than 5 percent of books that we test.

ii. The thriller had a very high velocity. Readers were glued to the pages, and a majority read the book from start to finish in just a few days.

iii. The book had an excellent recommendation factor based on the Net Promoter Score concept. Readers were strong promoters of the book, recommending it to their like-minded friends.

However, many test participants also noted that the cover was “weird.” Readers indicated that they really enjoyed discovering the book, but that based on the cover, they would never have picked it up in a bookstore. Well, why not?

The cover was clearly outside the genre conventions readers were familiar with and accustomed to.

. . . .

How does Jellybooks design A/B tests for book covers?

Test readers are invited as normal, but half the test audience is randomly selected to receive one cover, while the other half is selected to receive an alternative. Readers think we are measuring their reading behavior, as usual—which we are—but in addition we also look at:

i. Whether the cover influences which book is picked by test readers from a selection of available titles to read (remember that test readers do not know that there is more than one cover in play). Does one specific cover make it more likely that the book will be picked compared to an alternative?

ii. How completion rates, velocity and recommendation factor might be influenced by the cover, as the cover has created a particular “promise” or expectation for the reader. In other words, we are very specifically measuring whether a cover can influence the results of a reader analytics test and how strong that effect is. This kind of potential reader bias depends in part on whether readers form their expectations primarily based on the cover or on the synopsis of the book.

An A/B cover test might not perfectly replicate the environment, stimuli and selection pressure that occur in an online or physical bookstore, but for the first time it allows us to judge—in a reasonably objective way—how readers’ expectations are shaped by the cover, if one cover might be a better fit for a book, and to what extent a cover might shape a book’s future success.

Link to the rest at Digital Book World

PG will note that, outside of the publishing world, A/B testing of advertising and promotion materials has been happening approximately forever. For example, A/B testing was common during the days of Mad Men.

With Romance Novels Booming, Beefcake Sells, but It Doesn’t Pay

5 April 2016

From The New York Times:

Jason Aaron Baca is good-looking, not handsome like the Ryans (Gosling and Reynolds) or rugged like Daniel Craig, who is fetching in a tailored Tom Ford suit. But when Mr. Baca, 42, slipped on a pair of dark aviator glasses recently, he looked remarkably like Tom Cruise in “Top Gun.”

He was dressed for work in a khaki military jumpsuit. And even though it was barely noon, he had already stopped by the gym to make sure his biceps and legs looked combat-strong. His assignment: To be a military helicopter pilot saved in a crash by a female rescuer with whom he once had a torrid affair. Now that they’re reunited, their passions have flared.

Mr. Baca is a cover model for romance novels. He has been on nearly 500 book covers, by his own account — one of scores of men like him vying to be heroic heartthrobs. Not since the flaxen-haired Fabio Lanzoni dominated drugstore book racks in the 1980s and 1990s, with his lion’s mane and bulging biceps, have cover models been in such demand.

“Look at me like you are really mad at me,” cooed Portia Shao, his photographer that day. “Show me your good side.”

After a few more clicks of the shutter, he and Ms. Shao paused to examine his work on a 2-by-4-foot television screen. “It looks good because it has everything,” Mr. Baca said. The smoldering gaze. A glimpse of his six-pack abs. Mr. Baca had even thrust his pelvis forward, a trick he learned to make his stomach appear flatter and ensure the ladies looked, well, you know,there.

Romance writers and publishers, as it happens, are among publishing’s most innovative participants. They were early to digital serialization. Booksellers, too, now crowdsource ideas to find fresh writers. And if you want to explore a virtual relationship, you can try a romance-novel app.

How hot are romance novels? Over all, annual sales totaled $1.08 billion in 2013, according to the Romance Writers of America, which tracks sales.

. . . .

 Despite the perception that blockbusters like “Fifty Shades of Grey” drive sales, self-publishing has proved a boon for this particular genre. E-books make up nearly 40 percent of all purchases, according to the writers group.

. . . .

 Sexy still sells. At Brazen, Entangled’s more risqué fiction line, Ms. Pelletier said book covers with male models sold three times as much as with a woman alone. And for new authors in particular, “the cover is really critical,” said Dianne Moggy, vice president for romance fiction at Harlequin.

. . . .

Unlike the Fabio era, when covers were painted by hand, today they are more assembly line than art. Consider Daemon Black, a space alien with dark curls and emerald green eyes who is the hero of Entangled’s Lux series, written by the New York Times best-selling author Jennifer L. Armentrout. In 2011, Pepe Toth saw a photograph of himself and his then model girlfriend, Sztella Tziotziosz, on the cover of “Obsidian,” the first in the Lux series, published that December.

Mr. Toth, 26, then living in his native Hungary, had been transformed into Daemon Black without his knowledge. “I thought, what kind of book is this?” he said in a recent interview.

Mr. Toth, a professional soccer player, learned that Ms. Armentrout had used a stock photo taken from a shoot he and his girlfriend had done three years earlier in Budapest. So, he emailed the author. “I’m the guy on your book,” he said he wrote. Ms. Armentrout invited him to visit the United States.

. . . .

For Mr. Baca’s helicopter-pilot shoot in Santa Cruz, Eileen Nauman, a writer better known by her pseudonym, Lindsay McKenna, emailed a series of guidelines. She wanted to see him looking alert, with a “slight, playful, teasing smile” and, she wrote, with his “flight suit open to sternum, showing off your great body, but nothing too flagrant or obvious.”

“The cover of an e-book is the size of a postage stamp,” she said. “Everyone has about three seconds to peruse, and the first hook is going to be that cover.”

Few romance models, if any, make enough money to eke out a living. Mr. Baca, for example, works at the Housing Authority of the Santa Clara County, Calif., as a customer-service clerk. And although he has an agent, he said he earned only $20,000 in his best year. This, despite the fact that he is a tireless self-promoter who fancies himself the next Fabio. Industry executives say it will be difficult to topple the king. “Nobody did it better than Fabio,” said Allison Kelley, executive director of the romance writers group. “He really did create the brand.”

Link to the rest at The New York Times

eBooks and the Limits of Technology

24 March 2016

From The Writers’ Block Blog:

I feel indebted to Esther Porter and Kurtis Scaletta at the Loft for editing my story of a bold Chinese heroine fighting the establishment for the greater good into three hundred crisp pages that have formed into my favorite book ever. (Leave it to writers like ourselves to think our own work is the best ever, but that really is how I feel.)

I’m in the heart-wrenching process of converting my beautiful paperback meant for bookstores like Common Good Books to an ebook version for sale online everywhere later in the year. I am finding surprising limits to our current epub technology that I want to share between you and me, writer to writer. As a consumer of ebooks I never realized what I was giving up when buying the electronic version of a book.

. . . .

 My printed book was designed by Alan Pranke to take the shape and 3D form of an old wood jewelry box containing… get ready for this… a severed hand of a baby, which is central to the novel’s plot. In contrast, the ebook cover is disappointingly flat. It is no box. The smell and the weight of a book or box is not there. This is a complaint you usually hear from book loyalists.

. . . .

 More surprising to me though is that all of the tasteful typesetting that MK Ross and I have been laboring over for what feels like a year of final edits were instantly washed away by the ebook. The carefully considered spacing between words, the choice of font size and grouping of words on a line were, well, gone. The text defaults to each user’s own past settings and specs. It pains me to look at my labor of love wrung through the wash like this on my iPad. I understand the benefit of giving each reader the ability to make the text readable—of course older eyes need bigger text—but this way removes the visual poetry of the page layout that we authors struggle over to make just right. I now understand why publishers of experimental novels like mine might not offer an ebook version.

Link to the rest at The Writers’ Block Blog and thanks to Nikki for the tip.

The Hunk Who Loved Lady Liberty: Fabio becomes U.S. citizen

18 March 2016

From CNN:

She’d played hard to get for years. But now, it was time — so what if it was in a convention center. She called to him. He rose, a red jacket covering his broad chest, hair swirling around wide shoulders as he moved. Then Fabio slowly raised one callused hand and said the words America had been longing to hear.

“I hereby declare, on oath, that I absolutely and entirely renounce and abjure all allegiance and fidelity to any foreign prince, potentate, state, or sovereignty …”

Yes, Fabio is now a U.S. citizen, the, uh, climax of a lengthy process that can take years to complete.

The Italian-born model, known for gracing the covers of countless bodice-ripping romance novels, took the Oath of Allegiance on Wednesday at the Los Angeles Convention Center, along with nearly 6,000 others from 140 countries, according to U.S. Citizenship and Immigration Services.

“America just got better hair,” agency spokeswoman Claire Nicholson tweeted Wednesday.

Link to the rest at CNN and thanks to Dave for the tip.

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