Cover Design Quotes

There was a mission: To match the cover of 'Extraordinary' to the cover of the paperback 'Impossible,' which was commercially successful. Consider the outdoor natural setting, the single girl in motion with her hair blowing, and the cursive font used for the title; both covers have these in common.

It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.

How do you make something the same but different? That's the question I had to deal with in my approach to the cover painting for 'Percy Jackson's Greek Heroes.' I wanted it to have many similarities to 'Percy Jackson's Greek Gods,' but I knew they couldn't be too similar.

I believe in advancing the story with the cover so that the audience gets taken in immediately with that cover.

As far as ideas about book design: I have plenty. But I also try and let people do their jobs.

Generally, when it comes to covers, I try and add elements that may not take your immediate attention but really become important the more you look at them.

What is written beneath this heavy handsome book cover will count, so sayeth this cover.

Nick Cardy's work helped define some of the things we see in comics today and take for granted. He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio.

In Poland, for a while, my books all had cartoons on the cover. I trust my publishers in each country to know what works in their individual markets.

More often than not, the fans really gravitate towards who's on the cover as opposed to how it's drawn or how it's composed, and so, a lot of the time, what an artist likes will be very different from what a fan likes.

It's weird - sort of not terribly wise - to take a book that was successful and then change its cover.

I hadn't done a photo cover in a while, and I decided to do a take on the 'Pin Ups' cover, but do it in skull face and have the girl in skull face. People seem to dig it.

As an author on a corporate press, you have a lot less control over the finished product. I figure if I spend a couple years writing something, I want to be able to decide what the cover looks like and how it's going to be presented.

There's a lot more to publishing a book than writing it and slapping a cover on it.

I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.

'Cosmopolitan' used to publish five covers across the U.S. so that if one was unpopular, it wouldn't tank their entire sales.

There's a lot of books that I've purchased simply because of the cover design. On the other hand, there's certain books that, even if I'm very curious about the content, I can't bring myself to buy if I really dislike the cover.

I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.

Covers matter. In my experience, a different cover can make you think you're reading an entirely different book.

I used to want covers that represented the book's contents very closely and were also pretty. Many folks automatically believe that this is what makes a good cover. But I've changed my mind about this. While the cover should not lie (by implication or outright), its job is simply to say: 'Pick me up!' to someone who might like the book.

When' Voyager', the third book of the series, hit the 'New York Times' bestseller list, they very honorably redesigned the covers and started calling them fiction.

I have a strong say in how my books are marketed, and the covers - I am very firm that I don't want pink and fluffy, or stick figures sitting drinking cocktails. That's simply not appealing to me.

Of course, formulas always existed in journalism. When I was just getting into the business, 'Time' and 'Newsweek' knew if they could put Jesus' face on the cover that it would do really well on the newsstands. So every year, they would put Jesus' face on the newsstand. There was a formula there.

I am always consulted about covers, and give feedback, but I am also aware that what causes a customer to pick a book up off a shelf in the UK is very different from what causes a customer to pick a book up in the US.