How did you come to choose a career in the creative industries?
I think it was inevitable. I was always drawing and painting as a kid and knew through high school that I wanted to attend an art school. I wasn’t sure exactly what I wanted to do at art school, but I knew that’s where I should be.
What makes a great book jacket and what’s your favourite?
A great book jacket is one that makes you pick it up. It can be a great photo or a great illustration or just a great concept. But the best ones are the ones that stop you in the store and make you look. As for favourites, I love Paul Rand’s cover for HL Menken’s Prejudices and Alvin Lustig’s Lorca.
How do you approach the design of a book jacket?
I always read the book, and spend the whole time bouncing ideas around in my head. Usually I might have a couple of ideas halfway through the book, and usually those won’t go anywhere. But once I’ve sat with the book for a while, and thought about it for a few days, things usually start coming together. And after I start working, there are hopefully some happy accidents that occur.
Do you exclusively design book jackets and if so do you ever get bored with it?
I do primarily do book jackets. I don’t try to be exclusive, its just happens to be what people hire me for! I never get bored with it. Every book is different and that makes every project feel unique.
How important is paper in your design choice?
Its important and definitely something that is always considered as books are objects that you should want to touch and the paper stock can enhance the idea and experience of the jacket. With me, its choice comes into play later on in the process, unless there’s a specific effect I’m after, like a die-cut. But usually it’s something the art director and I will discuss once we’ve settled on a cover image.
Who and what have influenced you, stylistically or theoretically?
Definitely the covers of Paul Rand and Alvin Lustig. They worked in such a playful way, which is something I always aim for in my work. And just being in New York is a huge influence, from the city itself to being able to spend an afternoon at the Met or MoMA. There are so many things to pull from places like that.
Do you think there are cultural differences in book jacket design, and if so which culture(s) has the most expressive or interesting jackets?
I do think there are differences. I can often tell if a book design is not American. Strand Books often stocks British paperbacks and they always stand out on the displays to me. I’m not sure why, they just feel different. Probably no-one else in the bookstore has a clue.
What is something you consider absolutely essential to your work?
Time! I have to be able to let an idea sink in or find me. I spend so much time just thinking. Walking all over the city, thinking about the book.
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