Tag Archives: book covers

Friday Faceoff – The devil is in the detail… #Brainfluffbookblog #FridayFaceoffdetailedcovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with lots of DETAIL. I’ve selected Just One Damned Thing After Another – Book 1 of the Chronicles of St Mary’s by Jodie Taylor, see my review.

Night Shade, 2016

This offering was produced by Night Shade in June 2016 and is one of the default covers for this quirky book. It certainly features some of the elements that pack the book, though my grizzle with it is that you don’t have a clue about the madcap humour running through the book by looking at this design. Though I really like the treatment of the font – I just wish the lower half of the cover wasn’t such a dreary brown, which makes it look far too dark and forbidding.

Accent Press, September 2013

Published in September 2013 by Accent Press, this is the other default cover and the one that immediately sprang to mind when I thought of this week’s them. I know that it doesn’t look all that detailed initially, but if you look closely through the steam of that inviting cuppa, you’ll see glimpses of some of the time travel projects the St Mary’s team embark on. I love the bright colour that gives an indication of the comedy that runs through this book. Taylor is the only one of a handful of authors who I can rely on to make me both laugh and weep when reading her books. In case you didn’t already realise, this is my favourite.

Accent Press, November 2013

This edition, published in November 2013 by Accent Press is another strong contender, even though I don’t like it quite as much as the previous design. The border in this instance works well. While the design is pared right back, there is still a lot going on in this cover, though it isn’t as busy as the previous offering. It is all held together by the clever use of the black and red shading, making it eye-catching and elegant.

Accent Press, November 2013

This Kindle edition, published in November 2013 by Accent Press is another eye-catching effort. Using a blurry version of the teacup, the illustrations in the top half of the cover are more apparent in thumbnail – someone actually thought about how this one was going to look at a smaller scale, which is refreshing. And indeed, the design is far easier to decipher and stands out well. However, my preference is still for the second cover, though I think it comes down to the fact that I’ll always go for brighter colours, given a choice.

Italian edition, February 2020

This Italian edition, published by Corbaccio in February 2020, has gone for a more pared back effect, with the designer using an art deco feel, clearly trying to evoke a classic British style, as there is something manically Brit about the way St Mary’s is run. But this version is far too elegant and crisply up together. For instance, Max is far more likely to be found wearing a boiler suit, than a smart skirt. And again, the subdued shades of garnet don’t give an indication of the sheer fun of this engaging series. Which is your favourite?


Friday Faceoff – Simplicity is the ultimate sophistication… #Brainfluffbookblog #FridayFaceoffminimalistcovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring MINIMALIST covers. I’ve selected The Hound of the Baskervilles – Book 5 of the Sherlock Holmes mysteries by Arthur Conan Doyle.

Enhanced Classics, 2014

So who knew that such a classic would be a source of such minimalist covers? But this edition, released in September 2014 by Enhanced Classics is one of a number of pared back designs that trades on our abiding affection and knowledge of this quirky detective. I really like it – though I do wonder if the dog ought to feature on the cover, given the way the fear of the beast looms throughout this tense murder mystery.

Vintage Classics, 2008

Published in September 2008 by Vintage Classics, this is another simple design. Despite the apparent simplicity, there’s quite a lot going on here. I like the graduated colour fading to black at the outer edges, which essentially puts that magnifying glass and the title in the spotlight. It’s a clever move having the snarling muzzle of the dog within the magnifying glass. The cover projects tension and menace without a splash of blood, or any garish visual tricks regarding the title. My one grumble is that I think the title could do with being less Victorian and self-effacing.

Portuguese edition 2013

This Portuguese edition, published in 2013 by Zahar, is a real gem. Again, it has used the ubiquitous silhouette of Holmes to produce the heart of the design, before adding another layer that absolutely nails this one for me. Within the shadowed outline of Holmes is the ruined house where a certain character hid, thus thoroughly throwing dear old Watson right off the scent of the real villain. And then we have the cemetery and the dog, himself… I also absolutely love the way the smoke curls up from the pipe to give us the name of the author. This is my favourite.

Marathi edition, 2012

And this Marathi edition is another example of a simple outline featuring on the cover. Published in January 2012 by Diamond Publications, the almost cartoonish creature on the trail of his prey immediately draws the eye. Again, the background is effectively shaded, pulling our attention onto the snarling beast in the centre of the cover – while that hill than provides the text box for the title and author fonts. This one was so nearly my favourite – it was the wisping smoke turning into Conan Doyle’s name on the other other contender that edged for me.

Lithuanian edition, 2013

This Lithuanian edition, published in May 2013 by Baltos Iankos, is another effective and simple cover. The shaded background allows the black outline of the dog to stand out, so although he is running more or less towards us – a difficult angle when most of the details aren’t apparent – we can make him out with no difficulty. I like the fact the designer has taken the trouble to give him a shadow, thus anchoring him to the background, instead of just plonking him onto the top of it. I do think the title font could be a bit larger and punchier, but that is a personal preference. Which is your favourite?


Friday Faceoff – When snow falls, Nature listens… #Brainfluffbookblog #FridayFaceoffsnowcovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers depicting SNOW. I’ve selected Snow Falling on Cedars by David Guterson.

Bloomsbury, 2009

This offering, produced by Bloomsbury in 2009, is a strong image and was the reason why I chose this book. However the sense of chilly isolation is spoilt by all the chatter cluttering up the cover – and for once, I’m not a fan of the large author and title fonts as I think they overwhelm the image.

Houghton Mifflin Harcourt, September 1994

Published in September 1994 by Houghton Mifflin Harcourt, this is the default cover for the book, which is a real shame. The cedar forest on the side of the cliff is certainly atmospheric and it would be ideal with the title was MIST OVER CEDARS – but it’s not. The title mentions snow – and there isn’t any. Oops. But that didn’t stop a raft of other publishers adopting this cover, anyway. Worse, the title and author fonts are so small and underwhelming, so they disappear in thumbnail and aren’t all that visible when full size.

Portuguese edition, February 1998

This Portuguese edition, published in February 1998 by Relógio D’ Água, has taken a different path with a painting. It looks lovely, but I’m not a fan of the border that grows into a textbox across the top of the cover, though at least the title and author name are clearly visible.

German edition, February 2013

This German edition, published in February 2013 by Hoffmann und Campe and is clearly influenced by the default cover above, in that it is a close-up of cedar branches in the mist. At least the title and author fonts are more effective in this cover design and work well within the image, in addition to being clearly visible in thumbnail, as well as when full sized.

French edition, 1996

This French edition, published in 1996 by France loisirs, at least features snow falling – a sleeting blizzard that makes me shiver just looking at it. I’ll forgive the lack of cedars to have some snow – and a suggestion of a river in full spate with snow-shrouded branches growing over it. Though whatever they are, they’re not evergreen cedars. I think this cover is the most successful in capturing the mood of the book, as well as evoking the title. Which is your favourite?


Friday Faceoff – Straight roads do not make skilful drivers… #Brainfluffbookblog #FridayFaceoffroadcovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with a ROAD on them. I struggled a bit this week, but in the I’ve selected The Crow Trap – Book 1 of the Vera Stanhope series by Anne Cleeves.

Pan MacMillan – October 2001

This edition was produced by Pan MacMillan in October 2001. It’s very plain – just black lettering on a red background, with a single feather. I wish they’d left it at that and had resisted the temptation to add the chatter, because with such a minimalist approach, any extra fluff really jars, as in this case. The lettering is slightly fuzzed, which I really like, because it forces me to refocus on it, pulling at my attention for a second look. If it hadn’t been for the extra line of chat, this would have been a real contender.

Minotaur Books – February 2017

Published in February 2017 by Minotaur Books, this cover is another strong contender. I just wish they’d left off the ugly button featuring Brenda Blethyn, who plays Vera in the very strong TV series. But I love the outline of the crow against the plain purple cover, showing a deserted barn in the desolate countryside, which is part of Vera’s patch. Overall, I think this is another strong, effective design that works well, with plenty of visual appeal.

Pan – April 2016

This edition, published by Pan in April 2016, is the first to feature a landscape. And what a dark, brooding landscape! It’s this cover that caused me to choose the book for this week’s theme and I have to say that I love it. The wild moorland, the rutted road and that gorgeously ominous sky. This would be my favourite, but for my concern that the feel and tenor of the cover is more suited to a horror thriller, rather than a rather downbeat police procedural murder mystery. And that ghastly blob, of course.

Pan Publishing – August 2010

This edition, produced by Pan Publishing in August 2010, is even bleaker. That midnight blue suffusing the cover, with the image of the crow dangling from the barbed-wire fencing definitely gives this one a strong horror vibe. The reason why I suppose they feel comfortable using such bleak imagery, is the very clear lettering announcing that this is a Vera Stanhope novel. It’s also significant that by now, the author’s name is larger than the title, which shows the success that she had achieved by then. Although the TV series wasn’t aired until 2011, so this cover was designed before then.

Russian edition – April 2020

This Russian edition, published by Эксмо in April 2020, is another cover featuring the bleak but beautiful Northumberland coastline. The aspect of the cover that particularly caught my attention is the way the title is resting in amongst the grass, seemingly rooted there. It creates an interesting and unusual visual dynamic. This one is my favourite – it gives a sense of menace, without a strong horror vibe. I’d pick this one up, whereas I think I’d probably leave most of the others on the shelf. Which one is your favourite – and have you read the books, or watched the TV series?

Cover Love – 2 #Brainfluffcoverlove #CoverloveNKJemisin

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Welcome to a second helping of Cover Love where I’m displaying N.K. Jemisin’s covers😊. I was inspired by the awesome covers of the Broken Earth trilogy – which is also one of my all-time favourite reads. See my reviews of The Fifth Season, The Obelisk Gate, The Stone Sky, The Killing Moon, The Hundred Thousand Kingdoms, and The Broken Kingdoms. Which ones do you particularly like?


Friday Faceoff – There is but one genuine love potion – consideration… #Brainfluffbookblog #FridayFaceoffpotioncovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers depicting POTIONS. I’ve selected The Potion Diaries – Book 1 of The Potion Diaries series by Amy Alward.

Simon & Schuster – July 2015

This offering was produced by Simon & Schuster in July 2015 and is the default cover. It certainly ticks all the boxes – the title is clear with a quirky font and the whole design is straightforward and gives a strong sense of the genre. But while I think it’s okay – I don’t love it, or even particularly like it. It just doesn’t speak to me.

Hardcover edition – Simon & Schuster – September 2015

Published in September 2015 by Simon & Schuster, this hardback edition – rather unhelpfully – has been renamed. My guess is that it is referring to the film, Truly, Madly, Deeply. As a design, I think it works really well. I love the rich pinks and purples of the potion-effect backdrop, which allows the thin, scratched-out effect of the design and lettering to really pop, even when in thumbnail. While I admire this offering, and think it’s clever and apt – this cover isn’t my favourite, though it comes mightily close.

Nocturna – March 2016

This Spanish edition, published by Nocturna in March 2016, is using the classical idea of potent potions as the main reference. The hand, wreathed in ominous smoke and vivid lightning is dramatic and beautiful – but although the nails are wearing nail varnish, I’m still unsure if the tone of this cover gives a sufficiently modern vibe. That lettering looks far too like something from Arabian nights. That said, I’m aware it’s more of a niggle and this one is a close contender.

Cbj – July 2016

Cbj, the German publishers for this edition in July 2016 decided to go all out for the cute and feminine, hoping it would appeal to their YA readership. Could it be any pinker? Blossoms… a heart-shaped bottle – and just in case anyone didn’t get that it is aimed at a young, female audience, they also threw in some gold sparkles, too. I don’t think anyone told the designers that less is more… That said, it’s very pretty – but I’m guessing from the blurb, the book is a bit more edgy than this Disney-princess treatment might suggest.

Talpress – March 2018

This Czech cover is a far darker take on the story. Published in March 2018 by Talpress, this cover is clearly set in a laboratory. I love the details of other bottles and that tap in the background, while the trapped mermaid glowing in the glass is beautiful and eye-catching. Normally, I’m not a fan of textboxes, but given that this one is so clearly designed as a label to place on a bottle – it gets a pass. This is my favourite – I think it’s attractive, punchy and very well done. Which one do you prefer?


Cover Love – 1 #Brainfluffcoverlove #CoverloveMarieBrennan

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This is a new feature, prompted by Tammy at Books, Bones and Buffy, who featured Kings and Queens in book titles. I love the pretty montage, but decided that instead, I’d feature book covers by authors whose covers I particularly like. So starting this week – welcome to Cover Love where I’m displaying Marie Brennan’s covers😊. And I cannot deny it – what prompted this choice are those fabulous Lady Trent covers. Have you any particular favourites? Let me know…


Friday Faceoff – Four eyes are better than two… #Brainfluffbookblog #FridayFaceoffglassescovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring covers with GLASSES. I’ve selected My Sister, the Serial Killer – by Oyinkan Braithwaite.

Doubleday Books 2018

This edition was produced by Doubleday Books in November 2018. I think it is a fabulous cover. The woman on the front is sublimely beautiful and yet we cannot fully connect with her, because of those sunglasses – which reflect a raised hand clutching a knife. So clever! While that catchy title pings off the cover in a luminous green that makes me wonder why more cover designers don’t use it. This is the default cover and my favourite.

Alpha Decay 2019

Published in November 2019 by Alpha Decay, this Spanish edition isn’t nearly so successful. The manner in which we are prevented from fully connecting with the strong young woman on the cover is far clumsier. While those tiny textboxes are making a poor job of highlighting the title and author, while at the same time further disrupting the cover design.

العربي للنشر والتوزيع January 2020

This Arabic edition, published by العربي للنشر والتوزيع in January 2020, demonstrates why I hate textboxes so much. The woman featured on the cover is even more mysteriously alluring than the one adorning the Doubleday edition. I love the colours of her headscarf and the bold, blue lipstick – and they have the good sense to hold onto those marvellous sunglasses. Then they go and ruin it by covering up a quarter of that marvellous image with a mustard-coloured textbox! Worse, they plaster another charmless effort right across her forehead… Otherwise, this design would have been a real contender.

Kapulana 2019

This Portuguese edition, produced by Kapulana in April 2019, has done away with beautiful girls wearing sunglasses – and instead gives us the CSI version. We have a cover featuring some of the utensils necessary for getting rid of a body. The bright yellow font nicely pops from the reddish brown background – the colour of drying blood? But I personally still prefer the first offering.

This Macedonian edition, published by Антолог in 2020 is back to poised beauty hiding behind those sunglasses reflecting the stabbing knife. This time, the image has been given the graphic novel treatment, which I think works really well. I love the shading and the fact we see more of her neck and shoulders. I also love the grimy yellow background and bold, tilted treatment of the title font, with the author’s name featured along the top. This is a classy, sophisticated cover that so very nearly got my vote… but which is your favourite?

Friday Faceoff – Words may inspire, but only action creates change… #Brainfluffbookblog #FridayFaceoffactioncovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring ACTION covers. I’ve selected The Line of Polity – Book 2 of the Agent Cormac series by Neal Asher.

Tor Books 2003

This offering was produced by Tor Books in March 2003. I’ll be honest – it’s something of a hot mess. Clearly there is a large, destructive event unfolding – but that thing cluttering up the spacescape looks rather like a huge anemone – and I’ve no idea what those red lines denote… Neither do I particularly care – because it looks exciting and action-packed, and I really like the way the title runs down the side of the cover. This isn’t my favourite, but it is a contender.

Tor UK 2004

Published in May 2004, by Tor UK, I think maybe this cover is giving us the inside view of that anemone creature, which – having read the blurb – is apparently a nanomycelium. Whatever it’s called, it is clearly on the warpath and by the look of it – all set to blow something up… I like the way Asher’s name is colour coordinated with the cover design, though perhaps the title could be just a bit larger and punchier.

Tor 2018

This edition, published in July 2018 by Tor – and this cover… Wow… Just – wow! I absolutely love it. Explosive in gorgeous fire-shades of red and orange that glow against the darker edges with spaceships doing their thing. This one is my favourite, in case you hadn’t already guessed😊.

polaris 2007

This Czech edition, published in Polaris in 2007 is another great offering. Clearly, someone is having a bad day. I love the slight blurring of the poor soul staggering through the glowing vegetation so that we cannot really gauge the enormity of the damage, which means we cannot totally come to terms with it, either. The construct in space is very similar to the second cover – a clever nod to one of the default covers for this book. I also like that title down the side, again.

Eridanas 2008

This Lithuanian edition, published by Eridanas in 2008 is far calmer. Just a spaceship flying through a narrow defile – in fact, it’s positively chilled in comparison to the former offerings. But I love the detail of the cliffs glowing in the sunlight, the hint of a glowing stream of lava right at the bottom of the chasm and the colouring of the spaceship that picks up some of the colour palette of the backdrop, so drawing our attention to it. It’s subtle and effective, but I’m not sure if I’d have noticed the lava stream if it hadn’t been for the flare of the exhaust highlighting the same colour. I think all these are strong covers – but which is your favourite?


Friday Faceoff – In the distance between black and white lies the colour of the soul… #Brainfluffbookblog #FridayFaceoffwhitecovers

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This meme was started by Books by Proxy, whose fabulous idea was to compare UK and US book covers and decide which is we prefer. This meme is being nurtured by Lynn’s Book Blog and this week we are featuring WHITE covers. I’ve selected Miss Smilla’s Feeling for Snow by Peter Høeg.

The Harvill Press 1996

This offering was produced by The Harvill Press in 1996. I really like this cover. The snowscape isn’t pure – it’s scruffy with grass poking through it and the protagonist is facing away from us. I love the red coat flapping open – that one pop of colour works really well – as does the title font, in particular. This is my favourite.

Farrar, Straus and Giroux, 2012

Published in April 2012, by the publisher Farrar, Straus and Giroux, this 20th Anniversary edition is far more beautiful. The snow heaped up on those branches is lovely and complex, initially catching my eye. But good luck working out who wrote it and what it’s called in thumbnail. In fact, the author and title font are so ridiculously small and understated, you need to pay attention when the book cover is a whole lot bigger, too. And as far as I’m concerned, that’s a dealbreaker. Surely a book cover should be featuring the title and author without having to resort to a magnifying glass.


Portuguese edition, 2010

This Portuguese edition, published by Edições ASA in October 2010, is another beautiful offering. I really love the punchy red SMILLA jumping out at us as the protagonist walks towards us. But there is a glaring problem here – Smilla is part Greenlander and a lot of her depression stems from the fact that she doesn’t fit in. Her features are not that of a typical Caucasian female. We are told repeatedly she is stocky and short, not willowy and tall… Nope. Not good enough.

Carl Hanser, 1994

This German edition, published in February 1994 by Carl Hanser, is another beautiful offering. There are other versions of this frosted design in a bright turquoise and deep blue – but this is the colour that does full justice to the stunning fractal patterns. I also like the treatment of the title and author fonts – that red really pops. This is so very nearly my favourite…

Norstedts, 1994

This Swedish edition, published by Norstedts in 1994, is too boringly generic. As well as being an intriguing whodunit, the book explores what it means to belong, culture and alienation. A few footprints in some fluffy snow doesn’t give a sense of the complexity of the story – unlike those fractal patterns above. And once again, the publisher has decided the title is a secret, by making it almost as small and unobtrusive as one of those fluffy snowflakes. Which is your favourite?