Monday, November 5, 2012

Brain on Fire

Brain on Fire is an inspiring memoir by Susannah Cahalan, a New York based journalist. Here is an excerpt from the author's site:

My memoir Brain on Fire chronicles the swift path of my illness and the lucky, last-minute intervention led by one of the few doctors capable of saving my life. As weeks ticked by and I moved inexplicably from violence to catatonia, $1 million worth of blood tests and brain scans revealed nothing. The exhausted doctors were ready to commit me to the psychiatric ward, in effect condemning me to a lifetime of institutions, or death, until Dr. Souhel Najjar—nicknamed Dr. House—joined my team. He asked me to draw one simple sketch, which became key to diagnosing me with a newly discovered autoimmune disease in which my body was attacking my brain, an illness now thought to be the cause of “demonic possessions” throughout history.


The original direction on this cover was for it to be warm, clean, and evocative—something that may allude to the medical aspect of the writing but still look approachable and human. The publisher nixed the idea of a photo of the author on the cover, so these were to be type driven comps.

Here are a few of the 1st round comps:


--> I wanted this comp to have a graphic pattern that might be mistaken for flowers, when in fact the elements are small icons of antibodies. The author explained that her condition meant that the antibodies began attacking her body, so in this case I have them attacking (in a beautiful, non-scary way) the title.    



The author speaks of chronicling her illness through her journal entries (and her father's own entries), so this is a nod to that important writing which was a crucial key to piecing her story together.



A more straightforward illustration....which is developed upon below in the 2nd round.

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The initial feedback was that these comps were too clinical, so my art director asked me to try a new angle. They wanted me to not use the brain or fire...to make this look more like a memoir, focusing on the survival story and the personal aspect of the book, as opposed to the brain science.





Here, I created a more intimate version of the silhouette. The title is trapped in her head and the painted background alludes to fire. The scattered sunflower petals also show a "burst," such as flames, but are softened in this context.



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The author explains how her speech and writing became increasingly incoherent during her illness. I used the title as though the author had written it out over and over, showing the progression of the title growing more and more illegible and then recovering at the end.




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I also wanted to try something that would suggest the inner functioning of a brain without being too literal. This image really struck me. I think it evokes a network of neurons without showing anything clinical or technical. It’s amazing how items from nature can call to mind completely unrelated phenomena. I also liked how the hand is reaching up and starting to lift. The one lone flower stretches through the top of the title in a hopeful way.

In the end, none of these comps worked and the publisher chose another designer’s more straightforward approach with an author photo on the cover. I'm happy I had the opportunity to read this inspiring book and design comps for it, despite not having one chosen.

Free Press, Art Director: Eric Fuentecilla


Friday, October 26, 2012

The Success Equation


Last Spring, I worked on this title for Stephani Finks at Harvard Business Review Press. Stephani, as always, gave me the perfect direction...and from there I had a great visual metaphor to draw upon:

The "Untangling" in the sub is really the crux of the book – Untangling Skill and Luck in Business, Sports, and Investing.

From the beginning a graphic, type driven design was my approach on all the comps. Here are two alternate designs and the final red one. It makes sense the author would gravitate to the comp that includes insets of each of the three topics discussed in the book (business, sports and investing), though it lacked any visual relationship to the word "untangling." I was still hoping for the green one which plays on this theme the best in my opinion, but the final design does make a good fit.







The final jacket


Wednesday, August 15, 2012

Designer Genes


A couple years ago I briefly worked on a title called Designer Genes. Here is a short summary from the tip sheet:

The possibility exists that there will arise an elite class of genetically engineered citizens, followed by an era where each generation selects the genetic makeup of the subsequent generation. This man-driven evolution will replace Darwinian natural selection.

This is a compelling concept. The approach needed to be accessible and warm, but sill authoritative. Here are a couple of the options I sent along (forgive the quick photoshop work). In the end they went back to a previous designer's comp. Still, an interesting topic and I was pleased with these two directions.






Thursday, August 2, 2012

Hello again / New book project




Signs, Streets and Storefronts is a new book project that recently wrapped up. From Amazon:

Signs, Streets, and Storefronts addresses more than 200 years of signs and place-marking along America’s commercial corridors. From small-town squares to Broadway, State Street, and Wilshire Boulevard, Martin Treu follows design developments into the present and explores issues of historic preservation.

I began with the interior design first and adapted the cover about a month later. Here is an alternate comp from the first (and only) round that is closer to the interior design. The idea was that the blue would be a metallic:





However, the consensus was that this orange cover was more dynamic:

 

Below is a sampling of the interior spreads. The book is b&w throughout with a color signature. The shapes and angles of the signs are appealing and it struck me that recreating them might be a nice addition to the chapter openers. Once I redrew the lines and integrated them into the spreads, I carried this style element throughout the book on the TOC and  frontmatter. Definitely a fun project (especially placing the Lustig graphics throughout).













Wednesday, November 30, 2011

50/50

Hope to see everyone there!

Come check out this year's selected covers & books

Wednesday, December 7
6:00–8:00 p.m.
AIGA National Design Center
164 Fifth Avenue (between 21st and 22nd Streets)
New York, NY 10010

Wednesday, October 19, 2011

The Color of Night


From Booklist:

“In this sharp blade of a novel, every word is weaponized as Bell stands at the portal to chthonic evil.”

This is a violent, disturbing, and engrossing novel, recalling the savagery of the Manson era. My self imposed direction was to display violence without being too graphic.

Early on in the story, the main character comes upon a dead fawn, and then makes the hide into a fawnskin to wear. For the first comp and the only one not showing a woman, I wanted to show the fawn and the juxtaposition of innocence and brutality.




Many of my other covers do show a 60s stylized version of women, appropriate to the era in which this novel takes place. Knives play a large role in the story, so I've incorporated them throughout.




A slash to evoke violence.




Probably the most literal depiction of the story, and one that was deemed too over the top.




Early on many of the comps use slashes I created on the computer.




Later, I was encouraged to try cutting the photos of women for a more unsettling effect. My studio looked very, very disturbing.



All credit to my art director, John Gall, for pushing this comp to what I think is it's best outcome. I scanned the final image (with slashes) and did quite a bit of Photoshop work to get the slash marks to be realistic, creating more depth and contrast. The final cover:




Thursday, June 23, 2011

NEW, NEW


A quick post to introduce my new design portfolio site: www.kimberlyglyder.com


Take a look!