Sep
2nd
Wed
2nd
Spiegelman. He had seen DFTS on Charlie’s desk at Abrams’ New York City offices, and seen some of the discussions on the cover design.Art generously spent two hours talking about covers and cover design with me. I wish I’d recorded that conversation for future reference!The gist of Spiegelman’s comments and insights was that the cover has to really sell the heart and soul of the book. He expressed the importance of making an emotional connection to the potential reader/buyer. The main image on the cover might best convey the promise of drama, and of something compelling.He suggested that we take the most dramatic moment in the book and portray it on the cover. Alas, the Carters’ story has a lot of intense emotional drama, but none of it is of the screaming match/thrown crockery/drunken spree variety that some later country music biographies might contain.He also challenged us to get asymmetrical with our design. Our previous designs had tended to center everything. He suggested that an offbeat, asymmetrical design might further leap off the shelves and connect with the reader.
