anonymous asked:

Hi! I haven't gotten my copy of Journal 3 yet but I've seen a bunch of pictures of the cover and I was wondering since you have yours, can you take the Gravity Falls logo off at the top of the book? I really hope you can, I feel like it would seem more authentic without the logo

Yes, it a book jacket that unfolds into a poster, it looks (and feels!) like the actual journal underneath.

Ranger’s Apprentice: The Royal Ranger - Book 12

Book 12 of the Ranger’s Apprentice series by John A. Flanagan, The Royal Ranger. I’m honored to be illustrating the repackaging of the Ranger’s Apprentice series, Art Directed by the amazing Irene Vandervoort and the Art team at Penguin.

Read more about the books on the author’s Web site here:


Really happy to be able to show you my Book Jacket design for Moonstone by Icelandic Author Sjón

What an honor to work from such a beautiful novel from one of my favorite authors! Huge thanks to Natalie Chen for the wonderful art direction.

Moonstone will be published in June this year by Sceptre, an imprint of Hodder & Stoughton.


I stayed up all night doing a mock-up cover for a book that doesn’t exist. I wish I could explain myself. I cannot.

Original photo credit to happierman (which is why he’s the “author” of this masterpiece).

A Book of Spirits and Thieves: The Darkest Magic

Book jacket illustration (full wraparound) for Morgan Rhodes’ second book in the A Book of Spirits and Thieves series, The Darkest Magic. Simple, but powerful and iconic in its simplicity I think.

Published by Razorbill and Art Directed by Anthony Elder.

Read more about this book on the publisher’s Web site.


Copyright Sanna Annukka

Artist, printmaker, and textile designer Sanna Annukka discusses her beautiful reworking of the Hans Christian Andersen classic The Snow Queen, with stunning illustrations inspired by her Finnish roots. 

What is the inspiration behind your style of illustration?

I’m a big fan of the design scene from the late 50s and 60s, particularly from the Nordic countries, and if I’m being even more specific- from Finland.
Being half Finnish and with both parents into collecting Finnish glassware and ceramics during my childhood, I grew up appreciating a lot of Finnish design. Not just for what my parents collected but for graphic design, textiles (both woven and printed forms), sculpture, architecture and jewellery also.
What appealed across all these different mediums was the bold simplicity in which themes were interpreted. It certainly influenced my desire to use bold shapes and pattern in my own work.

A lot of my work is based on nature and the landscapes of where I spent my childhood summers in northern Finland. Nature is possibly the core motif behind Finnish design- there is a massive respect for it. I think that’s why so much Finnish design appeals to me.

I’m also fascinated by old traditions and folklore particularly from Karelia where some of my family roots are from. I see my work as a way of keeping that alive by way of storytelling. Celebrating the old but interpreting it in a refreshed and new manner.

Copyright Sanna Annukka

Why did you choose the story of The Snow Queen? Were you familiar with this tale as a child?

The theme really suited my work. A winter setting, forests, northern lights, not forgetting the Snow Queen! There was so much exciting content to illustrate.
Also with the success of Frozen, considered a modern interpretation of The Snow Queen, it was nice to have a nod back to the traditional tale which has been a favourite of mine since childhood.

Who is your favourite character in the story?

The Snow Queen! I love when she is introduced into the story as a snowflake that grew bigger and bigger until it last turned into a woman ‘who was dressed in the finest white gauze, which looked as if it had been made from millions of star-shaped flakes’. I really enjoyed illustrating her.

But also a favourite is the old lady with the flower hat that Gerda meets on her journey to find Kay. Her face alone took me three weeks to get right! I was so happy when I finally achieved it. Thankfully, not all the illustrations took that long!

Copyright Sanna Annukka

Talk us through your creative process from getting an idea, to bringing it alive.

I start with loads of sketching. Quite a lot of time is spent experimenting with composition and trying to push the boundaries with it. It can be very easy to illustrate something quite literally.

So the key challenge is to be visually as inventive as possible so that it heightens intrigue and therefore enjoyment for the reader. Once there is a potential contender for the composition, I scan the drawing and construct the rest of the design on the computer using illustrator.

At the beginning of this project I also researched all other illustrated versions of the Snow Queen so that I wouldn’t end up illustrating the same kind of scenes. I also compiled Pinterest mood boards of all sorts of reference material from wintery settings to golden carriages.

What tools do you use?

Pens, paper, a scanner app on my phone and then many long hours using illustrator.

What are you working on next?

I have just recently finished designing my latest homewares collection for Marimekko, with the collection releasing next Christmas (2016).

I’ve also just started working with tapestry. I really look forward to realising my designs in this new medium.

So watch this space!

You can find out more about Sanna Annukka by visiting her site. Will you be adding The Snow Queen to your winter wish list?

DIY Vintage-Style Book Dust Covers (by designsponge)

Looking at this picture, can you tell which of these books are actually hardbound? I’m not super fussy over the books on my shelves, but I will admit that sometimes a really garish or unattractive book spine will jump out from the bunch and irritate me every time I walk by. I don’t think I would ever take the leap to cover all of my books, but I really like the idea of using these nifty deceptive hardbound dustcovers by Alex Cobbe to gussy up the real eyesores in my collection.