{"id":121666,"date":"2018-02-22T13:00:27","date_gmt":"2018-02-22T18:00:27","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=121666"},"modified":"2018-02-22T15:03:32","modified_gmt":"2018-02-22T20:03:32","slug":"twelve-illustrated-dust-jackets","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/02\/22\/twelve-illustrated-dust-jackets\/","title":{"rendered":"Twelve Illustrated Dust Jackets"},"content":{"rendered":"
\"\"<\/a>

From the collection of Martin Salisbury. Photograph: Simon Pask<\/p><\/div>\n

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We\u2019ve all been told told not\u00a0to judge a book by its cover, but what about judging a\u00a0decade, an artistic moment, or a society? In his latest collection, <\/i>The Illustrated Dust Jacket: 1920\u20131970, illustration professor\u00a0Martin Salisbury traces the history of the book jacket from its origins as a simple\u00a0dust\u00a0guard for expensive bound books to its evolution as a promotional tool meant to catch the eye. The middle of the\u00a0twentieth\u00a0century marked a high point for the medium, as the period\u2019s leading illustrators brought\u00a0contemporary visual styles\u00a0into readers\u2019 hands. A selection of these covers, in chronological order, appears below along with Salisbury\u2019s captions.\u00a0<\/em><\/p>\n

 <\/p>\n

<\/a>

Aubrey Hammond, 1927.<\/p><\/div>\n

 <\/p>\n

One of the standout dust jackets of the twentieth century, Hammond\u2019s design juxtaposes delicate color harmony with nightmarish vision.<\/p>\n

 <\/p>\n

<\/a>

Arthur Hawkins\u00a0Jr., 1929.<\/p><\/div>\n

 <\/p>\n

For this collection of stories featuring the intrepid international sleuth Barron Ixell, Arthur Hawkins\u2019s highly theatrical design is repeated to create a full wraparound jacket.<\/p>\n

 <\/p>\n

<\/a>

Ancona, 1936<\/p><\/div>\n

 <\/p>\n

The dramatic use of light and dark by Ancona (the nom d\u2019artiste<\/em> of\u00a0Edward D\u2019Ancona) immediately conveys that this is a mystery novel (one of only two written by Frederick Faust under this pseudonym) and echoes the film-noir genre of the period.<\/p>\n

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<\/a>

Rockwell Kent,\u00a01941.<\/p><\/div>\n

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The artist\u2019s lifelong preoccupation with the drama and beauty of landscape is given full rein in this spectacular wraparound design. The exaggerated, almost heroic, posing of the foreground figures suggests the influence of Soviet realism. John Buchan\u2019s adventure story (published the year after his death) follows Sir Edward Leithen as he travels in the Canadian Arctic to investigate a man\u2019s mysterious disappearance. No doubt Rockwell Kent\u2019s own experiences in Alaska helped him to capture the feel of the novel\u2019s locale. The jacket first appeared on the Houghton Mifflin (Boston) edition, published in the same year.<\/p>\n

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<\/a>

Alvin Lustig, 1948.<\/p><\/div>\n

 <\/p>\n

Alvin Lustig\u2019s distinctive hand-rendered lettering was a key pictorial feature of the early editions of this striking jacket design. Sadly, in later editions, this was removed and replaced by a font\u2014a rather ill-fitting Akzidenz-Grotesk Bold.<\/p>\n

 <\/p>\n

<\/a>

Barbara Jones, 1951.<\/p><\/div>\n

 <\/p>\n

Barbara Jones\u2019s dust jacket for her own book is one of the most memorably idiosyncratic designs of the twentieth century. The existence of an early rough with the title English Vernacular Art<\/em> suggests some dialogue with the publisher.<\/p>\n

 <\/p>\n

<\/a>

Edward McKnight Kauffer, 1952.<\/p><\/div>\n

 <\/p>\n

This is one of the most widely known of Edward McKnight Kauffer\u2019s designs. For the novel, narrated by an unnamed black man, the jacket features a clever solution to the problem of how to make invisibility visible.<\/p>\n

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<\/a>

Barnett Freedman,\u00a01953.<\/p><\/div>\n

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Many of Barnett Freedman\u2019s book jackets were cleverly designed to repeat the front image on the back seamlessly. This example shows the artist at his best. The design is also repeated on the cover boards.<\/p>\n

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<\/a>

Eric Fraser, 1957.<\/p><\/div>\n

 <\/p>\n

The jacket is one of Eric Fraser\u2019s most strikingly original designs. Dr. de Ropp\u2019s first book introduced readers to the joys and mental tortures of ancient herbs and modern drugs.<\/p>\n

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<\/a>

Adolf Hoffmeister, 1959.<\/p><\/div>\n

 <\/p>\n

Adolf Hoffmeister focuses on the American West in this design for Jules Verne\u2019s classic. Using collage, he somehow manages successfully to balance imagery of widely differing graphic origin as well as the ornate type, which echoes the strong reds in the profile of the Native American.<\/p>\n

 <\/p>\n

<\/a>

Beth Krush, 1964.<\/p><\/div>\n

 <\/p>\n

Eudora Welty<\/a>\u2019s only book written specifically for children was illustrated throughout by Beth Krush, who also designed the jacket. The use of overprinting to maximize color separations and the cleverly integrated titles make this a particularly pleasing design.<\/p>\n

 <\/p>\n

<\/a>

Milton Glaser,\u00a01968.<\/p><\/div>\n

 <\/p>\n

It is difficult to imagine a more appropriate choice than Milton Glaser for the jacket design of Tom Wolfe<\/a>\u2019s account of late-sixties psychedelic-drug culture through the experiences of Ken Kesey<\/a> and the Merry Pranksters.<\/p>\n

 <\/p>\n

Martin Salisbury is professor of illustration at Cambridge School of Art in Anglia Ruskin University.<\/em><\/p>\n

All images excerpted from <\/span><\/em>The Illustrated Dust Jacket, 1920\u20131970,<\/em><\/span> by Martin Salisbury.<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  We\u2019ve all been told told not\u00a0to judge a book by its cover, but what about judging a\u00a0decade, an artistic moment, or a society? In his latest collection, The Illustrated Dust Jacket: 1920\u20131970, illustration professor\u00a0Martin Salisbury traces the history of the book jacket from its origins as a simple\u00a0dust\u00a0guard for expensive bound books to its […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[32970,6908,32983,32979,32978,32974,32968,32980,32972,32976,32977,3840,4011,32967,25158,7833,32982,32971,3839,32981,32973,32969,32966,32975,877],"class_list":["post-121666","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-adolf-hoffmeister","tag-alvin-lustig","tag-anatomy-for-interior-designers","tag-arthur-hawkins","tag-aubrey-hammond","tag-barbara-jones","tag-barnett-freedman","tag-barron-ixell-crime-breaker","tag-edward-mcknight-kauffer","tag-eric-fraser","tag-festival-at-farbridge","tag-invisible-man","tag-jr","tag-martin-salisbury","tag-metropolis","tag-milton-glaser","tag-mountain-meadow","tag-pohadky","tag-ralph-ellison","tag-rockwell-kent","tag-the-electric-kool-aid-acid-test","tag-the-faber-book-of-childrens-verse","tag-the-illustrated-dust-jacket","tag-the-unsophisticated-arts","tag-tom-wolfe"],"acf":[],"yoast_head":"\nTwelve Illustrated Dust Jackets<\/title>\n<meta name=\"description\" content=\"Take a tour of the twentieth century\u2019s most exquisite book jackets.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2018\/02\/22\/twelve-illustrated-dust-jackets\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Twelve Illustrated Dust Jackets by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"February 22, 2018 \u2013   We\u2019ve all been told told not\u00a0to judge a book by its cover, but what about judging a\u00a0decade, an artistic moment, or a society? 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