07-18-2013, 03:55 PM
Hi MissLillyArt,
I like the simple concept of your image and I think the idea could work well for a cover. I would also say, that regardless of the mode of delivery (i.e. digital or print), a cover should work well at any size no matter the level of detail. So that usually means that a book cover's impact comes from its composition and NOT from its details. That being said, I think it is also important to realize that you need to approach the book cover's design as two separate, but equally important problems. One set of design issues deals with the image, and the other set deals with the layout of the type.
I would suggest that you re-visit the thumbnail stage of your idea process to refine your current value plan. There is not much about your image that communicates mystery or anything dramatic. The pose and anatomy of your character do have issues, but those are details that should only be addressed after a stronger composition has been decided upon. Perhaps you could utilize shadows to suggest mysterious elements out of frame that are threatening this character. Even simply playing up the action of light and shadow on the figure can add a lot of mystique to an image. Whatever your final choice is, it should be one that has impact and visual interest, and because the book is mysterious, it should make us want to find out more about the story.
The second part of this layout involves type. I think that typography should be approached every bit as seriously as the illustration would be. In some ways, the same kinds of 'rules' apply at a fundamental level. Contrast, dominance, focus, value etc. can all be found in type. For this layout, I would say that you currently have too many elements competing for our attention. Selecting one element and making it the focal point can go a long way towards creating a pleasing composition. Simplicity is often the key. The size of the letter is not usually as important as the negative space surrounding it. The negative space is what allows us to read the type easily. Arranging the words in a way that balances this space is what creates a pleasing layout. I created two thumbnails to give you an idea of what I mean. By no means is this the only way to approach this design, so I encourage you to make many more exploratory sketches. I hope this helps and good luck.
I like the simple concept of your image and I think the idea could work well for a cover. I would also say, that regardless of the mode of delivery (i.e. digital or print), a cover should work well at any size no matter the level of detail. So that usually means that a book cover's impact comes from its composition and NOT from its details. That being said, I think it is also important to realize that you need to approach the book cover's design as two separate, but equally important problems. One set of design issues deals with the image, and the other set deals with the layout of the type.
I would suggest that you re-visit the thumbnail stage of your idea process to refine your current value plan. There is not much about your image that communicates mystery or anything dramatic. The pose and anatomy of your character do have issues, but those are details that should only be addressed after a stronger composition has been decided upon. Perhaps you could utilize shadows to suggest mysterious elements out of frame that are threatening this character. Even simply playing up the action of light and shadow on the figure can add a lot of mystique to an image. Whatever your final choice is, it should be one that has impact and visual interest, and because the book is mysterious, it should make us want to find out more about the story.
The second part of this layout involves type. I think that typography should be approached every bit as seriously as the illustration would be. In some ways, the same kinds of 'rules' apply at a fundamental level. Contrast, dominance, focus, value etc. can all be found in type. For this layout, I would say that you currently have too many elements competing for our attention. Selecting one element and making it the focal point can go a long way towards creating a pleasing composition. Simplicity is often the key. The size of the letter is not usually as important as the negative space surrounding it. The negative space is what allows us to read the type easily. Arranging the words in a way that balances this space is what creates a pleasing layout. I created two thumbnails to give you an idea of what I mean. By no means is this the only way to approach this design, so I encourage you to make many more exploratory sketches. I hope this helps and good luck.
-Sketchbook-
"... for drawing is a thinking person's art." - Walt Stanchfield.
"... for drawing is a thinking person's art." - Walt Stanchfield.