This is the first book for a new client, Texas Christian University Press, a novel, Girls of the Golden West, by James Ward Lee. I designed both jacket and interior.
Page design and layout for the University of Iowa Press, Jon K. Lauck, From Warm Center To Ragged Edge: The Erosion Of Midwestern Literary And Historical Regionalism, 1920–1965. The text was fairly straightforward, but half the book was an endnote chapter. Because there were so many notes (and presumably important), I had to balance readability with keeping them from taking up too many pages.
Shadows and Tall Trees, Vol. 7 came out a few months ago, from Undertow Publications. It’s an anthology of new short fiction. I did interior design and layout.
Vince Haig did the swell cover art and typography. My wife, Rebecca Kuder, has a story in it. Because this is my blog and I can do what I want, I used her story for a sample of story opener and story spread. Please go order a copy of the book here.
Book interior for the University of Iowa Press. Ordering info here.
This is a novella I did for PS by Steve Rasnic Tem, with cover art by Jason Van Hollander and interior ornaments by Jason McKittrick (converted to graphics by Jason Van Hollander from photographs of McKittrick’s three-dimensional objects). This was the first book I designed and laid out using InDesign, after many years using Quark XPress.
You can purchase the signed or unsigned edition here.
I finished a book for Michael Kelly’s Undertow Publications called Aickman’s Heirs. It’s a multi-author anthology of stories inspired by the work of Robert Aickman—a writer I very much admire. In his introduction, the editor, Simon Strantzas, describes it thusly: “a sampler of how Robert Aickman’s work has become a significant source of inspiration for contemporary writers.”
Designing a multi-author work is always challenging. Some stories had longer titles, some had section numbers, and two had epigraphs. I created a space for the story openers that would allow for two- or three-line story titles and epigraphs, but keep the first line (or first section number) of the story falling in the same place, regardless. I didn’t feel a need to try to capture the sense of unease and bafflement that fills much of Aickman’s writing; rather, I wanted something clean and clear.
This was a fun book to work on. I had read some of Brendand Connell’s Dr. Black stories over the years and gotten to be friends with him. We talked about some of the things he was looking for, one of which was a geometric look to the cover art. I looked at different images, thought about different treatments. It occurred to me to look for ceramic wall tile, which led me to a moon-like tile by the Kenzan company. I played around with an image. Brendan liked it. A friend of his in Japan contacted the company and got permission to use the image.