The adventures of me trying to DIY bleach my sweater pt.1.
I wanted to start with a logo before trying more and chose this one.
Everything went well until i saw that damn bleed out of the lightnings (left) from the mic. Of course something had to go wrong haha (i hope i can fix them somehow)
The mic and podcast font isn’t finished yet. I need to draw them by brush strokes.
It’s the first layer of bleach, so the logo is pretty dark atm (kinda rusty red). I am going to wash it, then bleach again until the logo is white-ish. Then i ’ll add some splatter, drops etc around it, maybe even dip dye/bleach.
I was really sad when I had to remove my fairy tail vinyl off my car. But when I woke up this morning I found this breathtaking beauty. Even with the sticker gone fairy tail will always be there, and will forever hold a special place in my heart♥♥♥
Don’t judge a book by its cover. That’s how the saying goes,
isn’t it? But in truth, that’s rubbish. (Note: I know, I know. It’s not talking
about an actual book with an actual cover, but let’s just pretend it
is.) The fact is, a book’s cover is its sales pitch even before the reader chances
upon the blurb. As a result, a lot goes on behind the scenes – from filling out questionnaires
to liaising with designers to a spree of back and forth emails – to turn out a
Here are some examples of beautiful covers on the YA shelf.
Stage One: filling out a
cover sheet. These come straight from the designer and touch on all sorts of helpful questions,
like: describe the main character in 50 words or less, including age and hair
colour, blah, blah, blah. Here, the author gets to pound out all the little
details that have been swirling around in their head. Also, this is their
chance to make sure the designer knows what not
to do. For instance, when I was giving pointers for UNTOUCHABLE’s jacket, I
mentioned I didn’t want faces glaring at me on the cover. I think faces
distract the reader, not to mention interfere with the movie in their head, but
that’s just me. (It also doesn’t help that a lot of stock models pull weird
expressions, like the photographer just farted and they’re trying not to show
Stage Two: seeing the draft
for the first time. It goes a little something like this: author opens email,
clicks on image attachment. Proceeds to squeal and jump up and down. Gets
tired, parks in front of the computer and studies the cover, sharply assessing
for chinks. I made sure to shoot the mock-up over to some author pals of mine
to see what their thoughts were. In the end, I only came up with one criticism,
which was to bleach the publisher’s logo in the top left corner. (Some
publishers, especially romance publishers, like to adorn their covers with
their trademark logo, but that doesn’t mean I wanted it popping out at me.)
Check out the original, raw
Stage Three: submitting the
final version of the cover for approval. Your publisher might have it written into your contract
that they get final say on the cover. Mine did. At any rate, the higher-ups loved
it, with their one mandate being that the logo didn’t look too faded. It still needed to be visible. That was fine with me.
Here’s what the designer
came up with. (This is the final version.)
it awesome? I think so. I was fortunate enough to snag April Martinez for my
cover, who’s like the Vera Wang of cover designers. She incorporated most of my
suggestions, including links to sample stock models I flagged, and added some
of her own into the mix. She wasn’t comissioned to design a back cover because
UNTOUCHABLE is an eBook and doesn’t need one, but I imagine if it had gone to
print, there’d be a similar process for the full wrap. Although there are
horror stories floating around out there, for me, drinking in the cover for the
first time was hands down the coolest part of getting published.