Welcome to our monthly cover design round-up, turning our attention to books published in February. A small piece of housekeeping for the designers among you: entries for our returning Designer of the Year award, at the 2021 British Book Awards, close on 5th February, so we look forward to hearing from those of you planning to enter. If that sounds like you, further details are here.
We're also slowly reprising our Instagram feed of the best book jacketry, posting the picks featured here throughout the month, and in slightly higher resolution for those of you wanting to go deep. You can follow us here. As ever, the books featured here are chosen from the monthly lists compiled by our book previewers, spanning nearly 1,000 titles in a "normal" month. These are then whittled down, and our favourite 30 covers are selected.
Strap in, and enjoy.
First up for us in February is Edward Marston's The Lions of the North. This one was designed by David Wardle for publisher Allison & Busby. Alongside it is Aster's edition Walking in the Woods, by Professor Yoshifumi Miyazaki. This artwork was designed by Jonathan Christie, using artwork by Charles Shearer.
Holly Ovenden designed and illustrated Rosanna Amaka's The Book of Echoes, published by Black Swan. Andy Harkness' Wolfboy (Bloomsbury Children's Books) was illustrated by Harkness, designed by Sarah Malley, and is adapted from the original US cover.
Another Bloomsbury US-designed cover adorns Daniel Handler's Bottle Grove. We've not yet been able to identify who is responsible across the Atlantic, so if you are aware, do inform us! However, we do know that Alasdair Gray's Ludmilla and McGrotty was illustrated and designed by the late polymath Gray, using the Canons series framework designed by Rafi Romaya.
The Crying Book by Heather Christle is an adaptation of the original US cover, which was designed and illustrated by Nicole Caputo. Dialogue Books' edition of Diary of a Film, by Niven Govinden, was designed by Luke Bird and art-directed by Nico Taylor.
We're yet to identify the designer responsible for Josh Cohen's How to Live: What to Do, published by Ebury; once again, if you happen to know who created the cover, do get in touch. George Mackay Brown's An Orkney Tapestry, published by Polygon, uses an image by David Baker, courtesy of Arcangel. Editor of that title, Edward Crossan, oversaw that one.
Emma Eldridge designed the Faber & Faber Children's revamp of George Orwell's Animal Farm; this edition was illustrated by Chris Mould, who recently created a fabulous rework of Ted Hughes' The Iron Man, too. As Orwell's work comes out of copyright in 2021, expect to see plenty of new Orwell editions this year... including one within this very preview. Jo Thomson designed the Fourth Estate publication Fake Accounts, written by Lauren Oyler.
Granta Poetry's edition of Comic Timing, by Holly Pester, was designed by David Pearson. Maggie Blue and the Dark World, by Anna Goodall, will be published by Guppy Books. The cover for it was designed by Alison Gadsby, and illustrated by Sandra Dieckmann.
Zadie Smith's The Wife of Willesden (Hamish Hamilton) was designed by gray318; while Sarah Pinsker's A Song for a New Day (Head of Zeus) was designed by Jack Smyth, art-directed by Jessie Price, and using a photograph by Georgios Kaleadis.
Alexander Ikhide designed the cover for Judith Bryan's Bernard and the Cloth Monkey, for Penguin, while the same publisher's Business imprint will release The Conversation by Robert Livingston. The jacket for that was designed by Charlotte Daniels.
The designer for Penguin's edition of Flynn Meaney's Bad Habits was Ben Hughes, with illustration coming from Ellen Porteus, and art direction from Anna Billson and Jacqui McDonough. Jack Smyth designed the jacket for Shalom Auslander's Mother for Dinner, overseen by Picador's Katie Tooke.
Steve Leard created the cover for Women vs Hollywood by Helen O'Hara (Robinson), with art direction coming from Sophie Harris. The first of two Simon & Schuster Children's titles here, Michelle Harrison's A Tangle of Spells, was illustrated by Melissa Castrillon, art-directed by Jesse Green, and overseen by creative director David McDougall.
Me, My Dad and the End of the Rainbow by Benjamin Dean, the second Simon & Schuster Children's title, was once again art-directed by Jesse Green and overseen by creative director David McDougall; this one was illustrated by Sandhya Prabhat. The cover for this edition also has a lovely die-cut, which shows the colourful endpapers underneath. Scribe's Allison Colpoys designed Jessica Gaitan Johannesson's How We Are Translated for the publisher.
Morag Hood illustrated the cover for her picture book Spaghetti Hunters (Two Hoots), with art direction coming from Jo Spooner. Usborne publication The Shark Caller, by Zillah Bethell, was designed by Katherine Millichope, illustrated by Saara Karariina Soderlund, and uses lettering from Sarah Coleman.
Studio No Ideas designed Verso's cover for Mckenzie Wark's Capital is Dead: Is This Something Worse?, while Matt Broughton designed and illustrated Vintage's Epitaphs for Underdogs. That title was authored by Andrew Szopersy.
Our final pair come from Estuary English, which designed the cover for Harry Sword's Monolithic Undertow (White Rabbit), art-directed by Lucie Stericker; and Jack Smyth, who created the cover for a dual-edition of George Orwell's Nineteen Eighty-Four and Animal Farm. That title is published by William Collins.
Until next time!