Here is the cover for Angela Slatter and Lisa Hannett’s ornate, interlocked Midnight and Moonshine, which is being published very soon by Ticonderoga Publications, with a foreword by Kim Wilkins.
It started with sketches and discussions over coffee with Angela, and then by email with Lisa, searching for an image that would catch the linked stories. In the end we focussed on the mythological elements, with flowing lines, a white raven and Mymnir being beautiful and mysterious.
I took the opportunity to play around with coloured inks, as Angela and Lisa wanted a more painterly style – in the end, we went with the softer style I used on Small Beer Press’ cover for Sofia Samatar’s A Stranger in Olondria, but that had not been finished at this stage.
At Continuum in Melbourne, we sat down in the hotel restaurant and worked out the general layout. It was fun working this way – I rarely get to work up a sketch over coffee with the interested parties, but it is much more fluid and less fraught process than the usual back-and-forth by email. At the top left is Lisa demonstrating arm poses.
Russell, the publisher, had sent me templates for the paperback and hardcovers. These have different dimensions. I layered the templates to get a single template which would let me allow for all croppings in the one drawing. I then did a layout sketch (above, lower left) to make sure there was room for the title, blurb, bar code and so forth, and sourced more cape and arm reference (courtesy of Aimee, and my hand).
From there: pencils, inks, colour flats and a long colouring/texturing/shading session in front of BBC crime shows, nominally keeping my father company.
And… in the end the line work was too bold and “YA”. But the cover for A Stranger in Olondria was in the wild by now, so I had some more experience (and everyone had more reference) for what we were trying to do. In the end, after tears and weeping, the only way to soften the lines was to redraw the whole thing in pencil. Which was much more soothing than aiming for precise inkwork. I griped a lot. They turned out to be wise and correct, but I reserve the right to guilt-trip Certain Authors into buying me coffee.
At this point, the lines were approved but the colours were still too bold. This is one reason why, with short turnarounds, I colour digitally! I knocked back the colour and transparency and brought up the paper textures in the sky. This is the point at which I began to grudgingly forgive Angela and Lisa, because this second version did look much, much better. They said kind and soothing words and presented the cover to Russell, who had been suffering in (not quite) silence. He had one request – to adjust the lady’s shoulder – which turned out to be more possible than I expected (to summarise: everyone involved was wonderful and reasonable and I apologise for my histrionics, subject to the coffee comment above).
And voila, the full wrap-around cover (which appears larger here).
Some time after this, Russell sent over the title pages for the limited edition hardcover and I spent a pleasant morning signing them with Angela over cupcakes. By the end – by even 20 pages – my signature looked like “K twitch-muscle-spasm”.
The launches are at Avid Reader in Brisbane on 30 November 2012, and at the SA Writers Centre in Adelaide on 14 December 2012, and you can pre-order the trade paperback or the limited edition hardcover at the links on the Ticonderoga page.
A fascinating story of the process of working out the cover design!
For what it’s worth, I like the original final better than the ultimate outcome. Much richer, and looks like a gorgeous painting. But I haven’t read the book, so maybe the grayer version is more appropriate.
I really ought to learn not to pose in my pyjamas. You owe *me* a coffee.
Other than that, this is one of my all time favourites of yours Kathleen! :D
Patience is a virtue. I love seeing the creative process for any project and this was fascinating. And, as always with a spectacular result. Looking forward to procuring my copy at Avid :) Great job Kathleen, Brain (& Aimee for modelling).
Beautiful work. I like both versions of the cover – so glad I didn’t have to choose between them (though I’d probably have gone with the second one because it’s more intriguing). And thanks for posting the process in such detail too.
Fascinating discussion of process. I love the original version as much as, possibly more than, the softer final version. But the final version has more of a Nordic sensibility – the original with its rich colouring suggests Russia to me.
I was thinking the same thing about the Nordic aspect – I think you achieved that with the cover that was used. For me, though, either cover version would have worked!
Love it (the finished product)…The bold colour option was great too but maybe for something other than a book cover??
Thank you very much for this post. It is always nice to see the process behind the art creation. I used to watch my mother paint, but at that time I didn’t spent that much time watching the painting unfolding itself. It was magical nonetheless.
A wonderful art piece, Kathleen! :)
Wow, fantastic. This is exactly what we do at the museum. Showing people how books are created.
Thank you all!
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I was just looking at this again after Karen mentioned it in the latest KOB email and I would just like to add my hurrah for both versions and in a universe where it was possible I would pay good cash money for a print of either. Though as a published book cover you probably can’t do that in this universe. But just saying. You’re great. That is all.
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