![]() Off-white colour from A List of Cages and Holding Up The Universe.I also love handwritten fonts/lettering, which I include in almost all of my book covers. So for the I’M DISAPPOINTED cover above, I included a textured background. Textured backgrounds, as seen in the collage below: By pointing out aspects of graphic design you like, you’ll better be able to understand your style as a cover artist. Me and Earl and the Dying Girl was actually not an inspo cover for this edition of I’M DISAPPOINTED, but as you can see, things I liked from it spilled over into my own design. Find a cover design you like, and point out the specific reasons you like it.I also love walking around my bookstore and taking a look at physical copies.Whenever I design a cover, I take a scroll through Goodreads to pick up some inspiration in designs I personally love.In turn, can help you find your cover design style.Finding cover designs or designers you admire may help you see what works technically.A really great way to start out in design.So take everything with a grain of salt! 1. These are also just my personal thoughts and Is merely something I picked up on my own, and I don’t have any formalĮducation/credentials in graphic design. I am in no way a professional cover designer. ***Before we get started, really quick disclaimer. ![]() Feel free to skip around to whatever section interests you most! This post will be divided into 6 parts: finding inspiration, concept art, incorporating elements of design, composition, tools and software, and resources. SO, I thought I’d kill two birds with one stone and post a written version of these tips! Going to get straight into this because I imagine this will be rather long! The Why Writing Is So Hard field of psychology is very interesting to me.Īround this time last year, I mentioned I would have a video up on how I make book covers/cover making tips, and to summarize: I did not do the thing, and this year old script is still sitting in my drafts. Why Writers Are the Worst Procrastinators - Megan McArdle - The Atlantic By the time you’re finished, you’re more like one of those 1940’s pulp hacks who strung hundred-page paragraphs together with semicolons because it was too much effort to figure out where the sentence should end.” Before you take to the keys, you are Proust and Oscar Wilde and George Orwell all rolled up into one delicious package. As long as you have not written that article, that speech, that novel, it could still be good. If you’ve spent most of your life cruising ahead on natural ability, doing what came easily and quickly, every word you write becomes a test of just how much ability you have, every article a referendum on how good a writer you are. Your stuff may not-indeed, probably won’t-be the best anymore. Unfortunately, when you are a professional writer, you are competing with all the other kids who were at the top of their English classes. ![]() This teaches a very bad, very false lesson: that success in work mostly depends on natural talent. It isn’t that they never failed, but at a very early age, they didn’t have to fail much their natural talents kept them at the head of the class. These are the kids who turned in a completed YA novel for their fifth-grade project. Where others read haltingly, they were plowing two grades ahead in the reading workbooks. (There are exceptions, but they often also seem to be exceptions to the general writerly habit of putting off writing as long as possible.) At an early age, when grammar school teachers were struggling to inculcate the lesson that effort was the main key to success in school, these future scribblers gave the obvious lie to this assertion. “Most writers were the kids who easily, almost automatically, got A’s in English class.
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