What are your favorite Easton Press cover designs?
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1Bluesbird
Do you like book covers that are pictorial images or ornate designs? Do you like Classic, Art Nouveau, Art Deco, or Sci-Fi designs? Do you prefer a photo on the cover or multi-color stamping?
Have you seen the latest signed edition of the Fahrenheit 451 book with colored flames?
Have you seen the latest signed edition of the Fahrenheit 451 book with colored flames?
2Arknight
This cover of Robin Hood is one of my favorites....too bad it was printed and sold out before I knew about EP :(
http://www.eastonpressbooks.com/leather/product.asp?code=1982
http://www.eastonpressbooks.com/leather/product.asp?code=1982
3SaxonWarlord
Mostly ones they no longer do, probably because of cost.
Any of the two tone or multi-colored leather bindings. I always liked the ones with different colored title/author blocks on the spine. They look fantastic on the shelves. Also, the old Hemingway and Wizard of OZ collections with the raised embossing on the cover. These were very distinctive and much more attractive than the flat gilt stamping that replaced them in later versions.
Any of the two tone or multi-colored leather bindings. I always liked the ones with different colored title/author blocks on the spine. They look fantastic on the shelves. Also, the old Hemingway and Wizard of OZ collections with the raised embossing on the cover. These were very distinctive and much more attractive than the flat gilt stamping that replaced them in later versions.
4indigosky
I like a mix of cover designs. I wouldn't want them all to be one thing or another. I really, really love the two-color covers, like the Jane Austen set, and the multi-colored Fitzgerald book covers are heavenly.
I agree, the 451 cover is fantastic.
I agree, the 451 cover is fantastic.
5wailofatail
Some of my favorite covers are those that creatively blend the ornate flourish with the theme of the novel, such that at first glance, or from a distance, you might mistake it for any generic scrollwork but upon closer examination you discover elements of the design that are unique to the content of the book.
A perfect examples of this genre is the 'Famous Editions' version of Dracula. At first glance you might just mistake the cover art for any other ornate scrollwork pattern. Upon closer examination, however, you will discover the pattern is actually created by little, ornate bats arranged tail-to-tail in criss-crossed, mirrored rows.
Frankenstein, from one of the earlier runs of the '100 Greatest', is less subtle but still falls within this type. From a distance you might just perceive gilded scrollwork in the shape of a rectangle on the cover. Viewed at reading distance, you realize the scrollwork is actually a surgical stitch pattern, as if the cover of the book itself were sewn by Dr. Frankenstein.
The three complimentary editions of the Sherlock Holmes novels, one with little pipes, one with magnifying glasses, and one with hats arranged in orderly rows, is another good example. I especially like the design with the magnifying glasses as they are rotated from one another to create a design that is a little more subtle.
Perhaps the best example of this type of design is the cover of From Russia With Love, from the 'Masterpieces Of Espionage' collection. It has a flourish that at first glance is a pattern of ornate circles. There is an area in the lower right quadrant of the front board where a few lines are absent. From a distance, you might mistake the blank patch for a flaw in the gilding. Viewed more closely, though, the circles are actually gun sights and in the bottom quarter of the cover board enough lines are removed from the pattern such that the shape of a heart is evident. It is simply brilliant, in my opinion!
A few others worth mentioning are Moby Dick, where the scrollwork is a series of waves, Twenty Thousand Leagues Under The Sea with the pattern of little juxtaposed whales, The Last Of The Mohicans with the pattern of little juxtaposed arrowheads, and the three volumes from the 'Classics of Horror': Frankenstein, with a pattern of little, juxtaposed arms, Dracula with a pattern of little juxtaposed bats, and The Phantom Of The Opera with a pattern of little juxtaposed masks.
Of course, as has already been mentioned, there are a number of genres of cover designs, each with there own appeal. I may add my thoughts on some of the others later, time permitting, (... 328, 329, 330, 331 ... ), but I have to say that among my favorites are these, which are especially appealing for their apropos, yet subtle, design creativity.
A perfect examples of this genre is the 'Famous Editions' version of Dracula. At first glance you might just mistake the cover art for any other ornate scrollwork pattern. Upon closer examination, however, you will discover the pattern is actually created by little, ornate bats arranged tail-to-tail in criss-crossed, mirrored rows.
Frankenstein, from one of the earlier runs of the '100 Greatest', is less subtle but still falls within this type. From a distance you might just perceive gilded scrollwork in the shape of a rectangle on the cover. Viewed at reading distance, you realize the scrollwork is actually a surgical stitch pattern, as if the cover of the book itself were sewn by Dr. Frankenstein.
The three complimentary editions of the Sherlock Holmes novels, one with little pipes, one with magnifying glasses, and one with hats arranged in orderly rows, is another good example. I especially like the design with the magnifying glasses as they are rotated from one another to create a design that is a little more subtle.
Perhaps the best example of this type of design is the cover of From Russia With Love, from the 'Masterpieces Of Espionage' collection. It has a flourish that at first glance is a pattern of ornate circles. There is an area in the lower right quadrant of the front board where a few lines are absent. From a distance, you might mistake the blank patch for a flaw in the gilding. Viewed more closely, though, the circles are actually gun sights and in the bottom quarter of the cover board enough lines are removed from the pattern such that the shape of a heart is evident. It is simply brilliant, in my opinion!
A few others worth mentioning are Moby Dick, where the scrollwork is a series of waves, Twenty Thousand Leagues Under The Sea with the pattern of little juxtaposed whales, The Last Of The Mohicans with the pattern of little juxtaposed arrowheads, and the three volumes from the 'Classics of Horror': Frankenstein, with a pattern of little, juxtaposed arms, Dracula with a pattern of little juxtaposed bats, and The Phantom Of The Opera with a pattern of little juxtaposed masks.
Of course, as has already been mentioned, there are a number of genres of cover designs, each with there own appeal. I may add my thoughts on some of the others later, time permitting, (... 328, 329, 330, 331 ... ), but I have to say that among my favorites are these, which are especially appealing for their apropos, yet subtle, design creativity.
6SilentInAWay
Wow, wailo. I too am particularly fond of those covers in which an abstract design or border has been created out of an element that somehow reflects the subject, theme, setting, or tone of the book. In fact, my initial imagined contribution to this topic included most of the books that you've mentioned.
In addition to your excellent examples of the "abstract thematic" genre of covers, I would add the paired editions of Alice in Wonderland and Through the Looking Glass in which the covers are framed by repeated symbols -- spades, hearts, diamonds, clubs (for Alice) and the different chess pieces (for Looking Glass).
Another imaginative cover is the one for Two Plays for Puritans; when you turn the book sideways, you realize that the abstract flourishes on the cover are actually the initials GBS (George Bernard Shaw).
I also think of EP cover designs in terms of genres, each genre having its paragons and pretenders. One common genre is one that we might call "metonymic" or "emblematic" covers (in which a single feature or symbol from the book is emblematically represented on the cover). Perhaps the most famous example of this genre is the Treasure Island with the compass. Two of my favorites among this type of cover are Life on the Mississippi (with the ship's wheel) and Life of Pi (with its beautifully realized tiger).
Although pictorial covers do not always have text (nor do covers that sport the name of the novel always have pictures), there are certainly books that have both an illustration and the name of the book on the cover. Oddly, although I am not always fond of cover illustrations (they sometimes don't look as good embossed in leather as they might have on paper), there are a few of these "illustration with title" cover that I find particularly nice. Off the top of my head, I would have to say that my two favorites among this genre are Around the World in Eighty Days (the one with the hot air balloon) and Gone with the Wind (the two-volume edition with the flowering magnolia branches).
Although I'd love to look through my collection, identifying genres and picking out the paragons (and perhaps exposing a few of the pretenders), I'm afraid this will have to do for now.
In addition to your excellent examples of the "abstract thematic" genre of covers, I would add the paired editions of Alice in Wonderland and Through the Looking Glass in which the covers are framed by repeated symbols -- spades, hearts, diamonds, clubs (for Alice) and the different chess pieces (for Looking Glass).
Another imaginative cover is the one for Two Plays for Puritans; when you turn the book sideways, you realize that the abstract flourishes on the cover are actually the initials GBS (George Bernard Shaw).
I also think of EP cover designs in terms of genres, each genre having its paragons and pretenders. One common genre is one that we might call "metonymic" or "emblematic" covers (in which a single feature or symbol from the book is emblematically represented on the cover). Perhaps the most famous example of this genre is the Treasure Island with the compass. Two of my favorites among this type of cover are Life on the Mississippi (with the ship's wheel) and Life of Pi (with its beautifully realized tiger).
Although pictorial covers do not always have text (nor do covers that sport the name of the novel always have pictures), there are certainly books that have both an illustration and the name of the book on the cover. Oddly, although I am not always fond of cover illustrations (they sometimes don't look as good embossed in leather as they might have on paper), there are a few of these "illustration with title" cover that I find particularly nice. Off the top of my head, I would have to say that my two favorites among this genre are Around the World in Eighty Days (the one with the hot air balloon) and Gone with the Wind (the two-volume edition with the flowering magnolia branches).
Although I'd love to look through my collection, identifying genres and picking out the paragons (and perhaps exposing a few of the pretenders), I'm afraid this will have to do for now.
7wailofatail
>6 SilentInAWay:: Another imaginative cover is the one for Two Plays for Puritans; when you turn the book sideways, you realize that the abstract flourishes on the cover are actually the initials GBS (George Bernard Shaw).
I can't tell you how many times I've looked at the cover of this book and never picked up on that! That's great! I have a whole new appreciation for the cover.
However, I did pick it up on Roosevelt: The Lion And The Fox and Roosevelt: The Soldier Of Freedom, matching volumes from 'The Library Of The Presidents, which, when held sideways, reveal the initials FDR (Franklin Delano Roosevelt).
I can't tell you how many times I've looked at the cover of this book and never picked up on that! That's great! I have a whole new appreciation for the cover.
However, I did pick it up on Roosevelt: The Lion And The Fox and Roosevelt: The Soldier Of Freedom, matching volumes from 'The Library Of The Presidents, which, when held sideways, reveal the initials FDR (Franklin Delano Roosevelt).
8kdweber
>6 SilentInAWay:, 7 Wow - GBS, thank you silent! I never noticed that before.
9SilentInAWay
I'm afraid I can't take credit for having noticed it -- this feature is pointed out in the Publisher's Introduction. I remember having the same "oh really!" moment back when I read the book.
10veilofisis
I think the arabesque clusters on THE ARABIAN NIGHTS ENTERTAINMENTS are absolutely beautiful, and hence it's a favorite volume. I also love the ornate, pseudo-Victorian-wallpaper style (that's all I can describe it as) pattern used on CONFESSIONS OF AN ENGLISH OPIUM EATER, and the stamping on PARADISE LOST is pretty epic, if a little sparse. The stamp on THE DIVINE COMEDY, which just came in the mail the other day, is also beautiful! It reminds me of an old damask chair I have sitting in the room with it. I prefer abstract covers to literal renderings of animals or people or stuff like that, which may be a sort of Middle-Eastern reservation of mine coming back to haunt me from childhood...they've been known to do so before...
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