In 2016, Scholastic conducted a survey on over two thousand US children ages six to seventeen and found that when it came to reading, boys generally do not like it as much as girls do.
As a writer, the process of designing books can be overwhelming. You already know what good book covers and interiors look like, and you probably already know some of the basic concepts of design, but you may not necessarily know the right terms to use.
The first step was to pick a font; this was not an easy task as there are literally millions of fonts out there. Luckily I was restricted to choosing from the hundreds that Ooligan already has the rights to. So I browsed through hundreds of fonts, tried out a couple dozen, printed out eight, then finally sent in five.
I worked as an editorial intern at Dark Horse Comics in Milwaukie, Oregon, during PSU’s winter term this year, and while I was there, I ended up learning more than I ever anticipated. In my previous post on my time at the Dark Horse offices, I focused on explaining DHDPs and work orders. In this entry, I’ll continue my detailed look into what exactly a comics editor does, and I’ll focus on two more editorial tasks: creating bookmaps and comp lists.
Keeping a consistent brand, no matter how personal the account, is so important. People want to follow accounts that they can trust will post fairly similar art, because they like that art. You wouldn’t commission an artist who gave out a different-styled piece every time someone requested their services; in a similar way, people will not give you that follow if you remain inconsistent and unpredictable.
When one thinks about memoir cover design, the first image that usually comes to mind is a sober portrait of the author, often in shades of black and white or otherwise having the subject posed in a thoughtful, cerebral way. Certainly, this is a representative picture of the memoir standard, and in many cases, the most profitable design route for publishers to pursue. But when might other options work better?