Riverhead did not skimp on the production touches for this one. They sprung for a combination gritty matte finish (which covers the white paper portions of the jacket) and a shiny gloss for the yellow/magenta “crazy” half, thereby giving your sense of touch a noticeable edge if you find yourself blindly scanning your shelf for this book in a dark room (which I have done). This treatment was handled beautifully. Thank you, Alex Merto.
As is the case with most other incredibly rewarding projects, this one did not come together quickly. Helen [Yentus, art director] and I explored enough directions that by the time we arrived at the final, predatory treatment which became the approved cover, we were both sufficiently confident that no stone had been left unturned. Helen’s guidance was key. Disregarding the wholly separate directions which we tried on, a sampling of different versions of the final direction are below.
After much as-yet-documented exploration, arriving at the bunny vs. jungle cat combination bore one of those rare moments of consensus in which designer, art director, publisher and author all shared equal enthusiasm for the final direction. Once all was approved, proofed, printed and bound, this unsolicited note from Jon definitely didn’t hurt:
“I think this is the best jacket I ever had, really appreciative.” — Jon Ronson (the author)
Contributed by Nick Sherman
Contributed by Tânia Raposo
Contributed by Stephen Coles
Photo(s) by “Steve” on Flickr.
Contributed by Florian Hardwig
Contributed by Shiva Nallaperumal