• Project II – (Midterm) Dystopian Novel Book Cover (Jacket) Including: Colophon & New Font

T y P o G r @ P h Y


Choosing a Dystopian Novel: for which to design a new/original Book Cover:




Reflections / Thoughts / Inspirations / Considerations / Motivations:


In Literature: mythic/epic journeys of icons such as Ulysses, Anna Karenina, Sherlock Holmes, Scout Finch, Paul Atreides or Harry Potter, among others, seek to inject the awareness of being fully connected, fully ‘awake’ (alive, aware) in the consciousness of readers (like us). These characters emulate the imaginative outcome of risk taking (crucial to a good narrative) in general, and moreover teach us about the heroic attributes of our own humanity. Such ‘heroes and heroines’ are equally at the helm of dystopian stories.


With Paul Atreides, for example: his confrontation with ‘awakening’ occurs through a metamorphosis into “Muad’Dib (via introspection + preparation + action): a self-initiation also writ into the collective unconscious: to become a betterment of oneself.




“Without change, something sleeps inside us, and seldom awakens. The sleeper must awaken… I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.” – Quotes from Dune, by Frank Herbert, published in 1965.




Dystopian novels often present a degraded/imagined future… a hypothetical reality of what might and could go wrong (in some cases based on what has already come to pass, in various parts of the world, throughout history), if we lost our intended human empathy and enabled the rule of a ‘totalitarian’ society, at the expense of our own human rights.




Fortunately every story also presents the solutions and answers to an otherwise despotic foretelling and interconnects threads of hope and transcendence throughout.




Consider the scene/setting of the dystopian world you are personally envisioning:


Is it urban? Define the architecture:




Is it industrial? What are the modes of transport?




From this list (spanning more than 100 years)…


Please choose ONE book, for which to design a new and original book cover (book jacket), re-introducing your new ‘Colophon/Printer’s Mark’ – on the spine, and also making use of your new Typeface / Display Font (all, and each, of your own creation):


  • Jules Verne’s Paris in the Twentieth Century (1863)
  • H.G. Wells’ The Time Machine (1895), When the Sleeper Wakes (1899), The First Men in the Moon (1901), The Shape of Things to Come (1933)
  • Jack London’s The Iron Heel (1908)
  • E.M. Forster’s The Machine Stops (1909)
  • Yevgeny Zamyatin’s We (1921)
  • Franz Kafka’s {The Metamorphosis (1915)}, The Trial (1925)
  • Aldous Huxley’s Brave New World (1932), Ape and Essence (1948)
  • Sinclair Lewis’ It Can’t Happen Here (1935)
  • Ayn Rand’s Anthem (1938), Atlas Shrugged (1957)
  • George Orwell’s Animal Farm (1945)}, 1984 (1949)
  • Vladimir Nabokov’s Bend Sinister (1947)
  • Kurt Vonnegut’s Player Piano (Utopia 14) (1952), Harrison Bergeron (1961)
  • Ray Bradbury’s Fahrenheit 451 (1953)
  • William Golding’s Lord of the Flies (1954)
  • Anthony Burgess’ A Clockwork Orange (1962)
  • Philip K. Dick’s Time out of Joint (1959), The Penultimate Truth (1964), Do Androids Dream of Electric Sheep (1968), Follow My Tears, the Policeman Said (1974), A Scanner Darkly (1977)
  • William S. Burroughs’ Nova Express (1964)
  • Frank Herbert’s Dune (1965), Dune Messiah (1969), Children of Dune (1981), God Emperor of Dune (1981), Heretics of Dune (1984), Chapterhouse Dune (1985)
  • George Clayton Johnson and William F. Nolan’s Logan’s Run (1967)
  • Ira Levin’s This Perfect Day (1970), The Stepford Wives (1972)
  • Alan Moore’s V for Vendetta (comics: 1982-1988)
  • William Gibson’s Neuromancer (1984), Count Zero (1986), Mona Lisa Overdrive (1988)
  • Orson Scott Card’s Ender’s Game (1985)
  • Margaret Atwood’s The Handmaid’s Tale (1985), Oryx and Crake (2003), The Year of the Flood (2009)
  • P.D. James’ The Children of Men (1992)
  • Lois Lowry’s The Giver (1993)
  • Neal Stephenson’s The Diamond Age (1995)
  • Harlan Ellison’s Repent, Harlequin! Said the Ticktockman (1997)
  • Malorie Blackman’s Noughts and Crosses (2001), Knife Edge (2004), Checkmate (2005)
  • M.T. Anderson’s Feed (2002)
  • Marshall Brain’s Manna (2003)
  • Kazuo Ishiguro’s Never Let Me Go (2005)
  • Cormac McCarthy’s The Road (2006)
  • Suzanne Collins’, The Hunger Games (series, beginning in 2008)
  • James Dashner’s, The Maze Runner (series, beginning in 2009)
  • Veronica Roth’s, Divergent (series, beginning in 2011)




Dystopian Novel / Book Cover – Design & Print Specifications:


Size: (that of a ‘mass-media’ paperback book): back cover (7″ x 4. 1/4″), front cover (7″ x 4.1/4″) + the spine (1/4″ to 1″) – for one total page spread of 7″ x 9″




Files: Develop in Photoshop (imagery/illustrations) and complete layout in InDesign: at 300 ppi/dpi (pixels per inch/dots per inch) for input/digital imaging-rendering/output.




Print: in full color on matte jet/lazer paper (8.5″ x 11″ – letter size paper), leaving room for registration, crop/trim marks, front/back cover, spine w/colophon and image-bleed edges.


JulesVerne&FrancoisSchuiten*Note: Rather than creating art for just the front cover, remember to wrap visual imagery + background layers… around the entire book (across the spine), while isolating areas of selective focus to compliment display type – titles, subtitles and text blocks, as well as the spine’s additional title + author + (publisher’s) printer’s mark/colophon (at the base), tag lines, critic’s ‘praise’ drop-quote/s, and perhaps a bio + image of the wordsmith/scribe.


Project II Introduction – Mrs. Cruz