Tag Archives: WHITE

Friday Faceoff –Perfect love is to feeling what perfect white is to color… #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 – the first of 2021 – we are featuring WHITE covers. I’ve selected The One by John Marrs – see my review.

Edbury Digital, January 2017

This is one of the default covers, produced by Edbury Digital in January 2017. It is my favourite cover, as I think the heart is eye-catching and clever and I also like the strapline. The detailing of the genetic sequencing around the edge in the blue also works well – a nicely subtle touch that finishes the cover with a pleasing border. It was always going to be a challenge to design a suitably appropriate cover that didn’t give the impression that this is a love story – and I think this one achieves that brief really effectively.

Hanover Square Press, March 2018

Published in March 2018 by Hanover Square Press, this design takes a variation on the previous cover, with the obvious main difference being the initial O becoming a splatter of blood containing a fingerprint. I do wonder if the blood spatter gives this design more of a horror vibe, which isn’t correct as this is more of a thriller. The border is still in place, though the use of the black rather than the pale blue gives the cover more of a grungy feel, I think.

Romanian edition, 2019

This Romanian edition, published in 2019 by Editura Trei, is the least successful of my selection, I think. The knife dripping with blood gives the impression that this a murder mystery, rather than a techno thriller. While the fontsfor both the author and title fonts are plain boring.  

Hanover Square Press, April 2019

Published by Hanover Square Press in April 2019, this is the only coloured cover in my selection. I think this one is strikingly attractive – and I like the red darts sticking out of it. The contrast between the blue and red works well. I also like the uncluttered look, though once again, I think the title font is overly plain and a tad boring, which is a shame given how successful the overall design is. This is a strong contender – I so nearly went for this one…

Maxim, June 2018

This Hungarian edition, published in June 2018 by Maxim, is also a contender. I really like how it has taken the default cover design and added His and Her. It gives the cover real interest – my only major concern is that it gives the impression that this is a romance. And while all the protagonists are searching for The One, the novel is more about the process that’s used. Which one do you prefer?

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?