Development was begun by photographing what would be the background and main element to the book cover. The concept of the wine glass will be shown through the imagery. Using two glasses shows the relationship the character has through the book. Multiple test shots were taken to find the right composition for the book. The shadows needed to be captured to represent the secrets within the story. The lighting was tested out to try and create more definition to the shadows and the imagery. The aim was to have the imagery wrap around the book, showing the photograph on the front with the shadows on the reverse. After the photos were taken, the shots were condensed down into the strongest finals.
After the photos were condensed down to the strongest images, the final photo that will be used was chosen. This was then enhanced to brighten the photography, showing the wine and shadows in a much clearer way. This particular image was chosen due to the composition of the glasses themselves. The glasses have created a interesting shadow that was dense and large enough to be seen on the back cover. The idea was to have the imagery on the front, with the shadows wrapping around the reverse.
After quickly mocking up what the imagery would look like on the cover it was then decided to convert this into black and white. This was done to create more depth and intrigue to the cover, relating well to the themes within the book. This was then cropped, to further enhance the imagery by making the glasses and shadow the focal point.
Type was then experimented with, the font chosen needed to be something that represents the book well. A serif font seemed to be the most appropriate type to go with due to the nature of the serifs and how they show a strict and structured theme compared to say a sans-serif. For these reason the bottom type, Constantine, was chosen. Experiments to refine this type were then conducted. A leaf illustration was added as a extension to the 'O', to show the idea of an orange tree, linking back to the title of the book.
Further refinements and experiments were developed with the typography. The idea of a script font, combined with the serif was tested. This was to show a more feminine nature to the book title. However the experiments were not visual appealing and the script type looked out of place with the rest of the letterforms.
Seen as the experiments with the script typeface did not go to plan, having all the title in the serif font was tested. In doing so it created more continuity as well as showing structure to the type.
After the typeface was settled, the layout of the book cover was attempted. The imagery was cropped and positioned on the template of the book. I was happy with the position of the photography as it showed the meaning I was aiming for when developing the idea. The type was then positioned within the space of the imagery, as well as testing what colour would be most suitable. The black and white colour scheme was kept to continue the themes of depth and intrigue to the cover. Negative space was also thought about as the type needed to work with the image, letting the photo speaking for itself. White was chosen as the colour for the typography so it did not overpower the cover.
As the typeface for the title was only available in uppercase letters, a secondary typeface needed to be selected for the rest of the copy on the book. This needed to work with the titles typeface, linking all elements together. To do this the secondary type needed to also be a serif font. Experiments were tried however Baskerville was decided as it was most suited to the previous typography used.
Further experiments on layout were attempted for the back of the cover. These took into account negative space and letting the imagery be the main focal point. A grid was used to keep consistency to the book, playing off the strict and structured themes that were used on the rest of the cover.
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