Dedicated readers of the Ooligan Press blog already know that The Ocean in My Ears has an absolutely gorgeous cover (for those who are unfamiliar, click here). But did you know that—thanks to the keen and diligent eye of Maeko Bradshaw—we are soon to have an equally impressive interior? While the interior design of a book often doesn’t get the fanfare of the cover, a well designed interior creates a “cohesive product that enhances the entire experience,” as our own Justin Orendorff wisely points out in his post.
The Ocean in My Ears
One would think these principles of cover design to be universal, and yet I’m staring at a couple Japanese novels on my desk, and can’t help but wonder if the standards of design are a little bit different (read: awesome) there. Japanese bestsellers, especially foreign titles, are often printed as bunko, which are similar in form and function to mass market paperbacks in the West. They do tend to be a bit shorter and slimmer than Western paperbacks however, and are usually only about two hundred pages long. Because of this length restriction, many Western bestsellers are often split up into multiple volumes. These criteria mean that cover designers have less space to work on per book, but potentially more books available. You might also notice an almost universal trend of more numerous and larger typographic elements on Japanese covers. As my team has been working on a YA cover, I’m specifically interested in that market. As a teaching example of YA cover design differences between Japan and America, one need look no further than America’s favorite dystopian series about ritual teen murder and bird-themed rebellion: The Hunger Games.
The last time you heard from the Ocean in My Ears team, we were busy copyediting the manuscript. Well, now the copyediting is finished, and we have since turned our attention to the cover. Like many of our projects at Ooligan Press, this was a collaborative effort. Taylor Farris came up with the original concept for the cover that featured a watercolor splash, a denim textured font, and a clean aesthetic; Leigh Thomas built upon this design, adding the mountains and the reflection, as well as fine-tuning the details; and Riley Pittenger hand drew the illustrated car. Needless to say, the result is a cover that is more than the sum of its parts, but let’s go ahead and take a closer look at some of those parts anyway.
Fall term has arrived and has brought with it students new to Ooligan Press, students new to the book publishing program, and students new to The Ocean in My Ears team. Joining our team this term we have the talented Brianne Robinson, who is not new to Ooligan but is new to our team, along […]