Cover Design: Behind the Scenes
Since Barbara Wright asked, today's post will be about what goes on behind the scenes when designing a cover. It's actually very similar to how publishers deal with their authors--only with me you deal directly with the artist.
When someone expresses interest in getting some work done, the first thing I do is send him a cover art questionnaire. I ask only for a brief synopsis where I look for keywords that will help me pinpoint what's important in the story, and what's saleable.
After I've emailed the client with my thoughts or questions (to make sure we're both on the same page), I toy with various pieces of art and fonts to see what clicks.
Why does it cost as much as it does?
There's a common adage that says, you get what you pay for. I think that's true for the most part.
I don't make as much as when I worked for 'da man' doing the same sort of work, but there are other perks for me. Like working on what interests me and creating visuals for an industry I love. A book cover or poster is so much more exciting than doing a plumber's full page ad.
Most of my expenses come from two things. Looking for art. And paying for it. Since I usually charge a flat fee, every hour I spend hunting for the right model is an hour I'm not getting paid for putting the final art together.
Maria's 3 Rules for Hard-working Art
Whether it's a cover, a Facebook banner, or a printed poster, I try to make sure the graphic obeys three rules.
Rule #1
It's gotta stop traffic. Good cover art is a selling tool. It should convey genre and subject matter to the intended audience. It must trigger an emotional response to stop and look deeper.
Rule #2
Make it memorable. I want it to haunt the viewer so that it becomes instantly recognizable when they see it again on someone's Goodreads bookshelf.
Rule #3
It should be unique. Especially with romance, if all you have are two people in a desperate clench, it loses its impact because that visual has become cliche.
Instead I try to design something subtler and more evocative. It's a psychological ploy. Your brain will catch the nuance, but it doesn't register except perhaps on a subconscious level. It's like planting a seed in someone's mind.
And because Barbara asked:
How do you deal with a client who thinks they're an artist (when they're really not) and uses words like, "this needs more zazz!" or "I love it. Change everything."?
You mean aside from swallowing dangerous amounts of aspirin? It happens, but fortunately not very often. I try to be gentle and steer them in the right direction.
Too much input diminishes the creative process to grunt work. You end up making compromises to please a client rather than producing a piece of art that will be a selling tool.
Sometimes I'll give them what they want and say goodbye. But, if what they want is utter trash, I walk away. I don't want my name associated with it.
That's the beauty of freelancing. I can work with who I want.
By the way, Barbara, great questions!
This was fun! If you guys have any other ideas for future posts, leave me a comment. Does anyone have any questions about the process?
I'll leave you with a few jobs I've done recently. If you need some art, this is where you can find more information.
When someone expresses interest in getting some work done, the first thing I do is send him a cover art questionnaire. I ask only for a brief synopsis where I look for keywords that will help me pinpoint what's important in the story, and what's saleable.
After I've emailed the client with my thoughts or questions (to make sure we're both on the same page), I toy with various pieces of art and fonts to see what clicks.
Why does it cost as much as it does?
There's a common adage that says, you get what you pay for. I think that's true for the most part.
I don't make as much as when I worked for 'da man' doing the same sort of work, but there are other perks for me. Like working on what interests me and creating visuals for an industry I love. A book cover or poster is so much more exciting than doing a plumber's full page ad.
Most of my expenses come from two things. Looking for art. And paying for it. Since I usually charge a flat fee, every hour I spend hunting for the right model is an hour I'm not getting paid for putting the final art together.
Maria's 3 Rules for Hard-working Art
Whether it's a cover, a Facebook banner, or a printed poster, I try to make sure the graphic obeys three rules.
Rule #1
It's gotta stop traffic. Good cover art is a selling tool. It should convey genre and subject matter to the intended audience. It must trigger an emotional response to stop and look deeper.
Rule #2
Make it memorable. I want it to haunt the viewer so that it becomes instantly recognizable when they see it again on someone's Goodreads bookshelf.
Rule #3
It should be unique. Especially with romance, if all you have are two people in a desperate clench, it loses its impact because that visual has become cliche.
Instead I try to design something subtler and more evocative. It's a psychological ploy. Your brain will catch the nuance, but it doesn't register except perhaps on a subconscious level. It's like planting a seed in someone's mind.
And because Barbara asked:
How do you deal with a client who thinks they're an artist (when they're really not) and uses words like, "this needs more zazz!" or "I love it. Change everything."?
You mean aside from swallowing dangerous amounts of aspirin? It happens, but fortunately not very often. I try to be gentle and steer them in the right direction.
Too much input diminishes the creative process to grunt work. You end up making compromises to please a client rather than producing a piece of art that will be a selling tool.
Sometimes I'll give them what they want and say goodbye. But, if what they want is utter trash, I walk away. I don't want my name associated with it.
That's the beauty of freelancing. I can work with who I want.
By the way, Barbara, great questions!
This was fun! If you guys have any other ideas for future posts, leave me a comment. Does anyone have any questions about the process?
I'll leave you with a few jobs I've done recently. If you need some art, this is where you can find more information.
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| Book Cover |
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| Bookmark, side 1 |
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| Post Card |
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| Blog header |
Comments
I would think this kind of job requires TONS of patience. And while I have more patience than my hubby, graphic work just frustrates me.
Have you ever done some website design - i mean, like a design for someone to then use as the background of their website?
Your post had just the right amount of zazz, btw. In case you were wondering.
Only once--for my first book--did the publisher allow me to talk to the artist. They won't do that anymore. I understand why, but it really shows up in the art. You get what you get.
This way the author can place the art where she wants.
I rather the author get this so I'm assured the template is set to exactly the number of pages the author needs.
Once I have the template, I'll change the color profile to CMYK (necessary for print) then move all the layers for the flat into place.
We all can't be on the same wavelength, so better that they find someone closer to their vision. We'll all be happier in the end.
But I think adding even a little something extra could bring another layer of involvement from the prospective buyer.
It's deeply satisfying.