Richard Johnson creates a powerful cover design for The Ocean and the Bones.
This week we shine a light on his recent collaboration with author Genevieve Carver for the cover of her latest haunting adventure - The Ocean of Bones. Set in the Stone Age, this atmospheric adventure follows Little Meg as she risks everything to honour the Spirits and guide a new friend home across an untamed sea. Chosen as the Sunhealer's Shadow, Meg has devoted herself to learning the ways of the Spirits - so when a ferocious storm devastates her village, she fears it's her fault. As the rain clears, she discovers a girl washed up on the shore, speaking a strange language and scratching pictures in the sand. Little by little, the two become friends.
Richard's cover illustration perfectly captures the essence of this gripping historical tale. Rendered in blues, purples and pinks, with two mysterious figures drawing you in, it pulls you hook, line and sinker into the mystery within.
Here’s what people think!
‘A rich and heart-warming adventure steeped in Stone Age history.’ Hannah Gold
‘This book transported me headlong into the Stone Age and returned me home with a bigger, warmer, wilder heart.’ Sophie Kirtley.
Richard kindly took a moment to answer a few questions about his creative process.
Claude responded: Here's my edit:
How do you collaborate with the publisher on book cover concepts?
The editor usually has a sense of the cover design and will speak with the author before approaching the illustrator. Their art direction notes are shared through the brief, though these are usually quite open to adaptation. I always try to read the text in its entirety before starting work, as this gives me a good sense of the tone and helps me identify the core visual elements. Getting information on characters, environments and key scenes is essential for accurate visual ideation. Quite often I'm trying to pictorially capture the broader themes of the narrative and the motivations of the characters - finding a balance between communicating those things symbolically without being too descriptive, although children's cover work usually requires a more narrative-driven approach. My designs usually get sent to the author for approval once sketched out, so they can feedback and help shape the process.
Do you get direction from the publisher regarding colour schemes?
The art direction notes can reference other illustrative work - usually from my own portfolio, but sometimes competitor covers or other visual material to help guide the styling, and to make sure the design becomes something distinctive on the shelf. After the rough stage is approved, I like to offer the publisher a few colourways so we can decide on an appropriate scheme before heading to production.
Where do you start your research process when you first receive a project?
After reading the text, I like to research other contemporary covers for the target audience, and similar thematic works, just so I can better understand how my illustration might function alongside these. I try to get a sense of the authors catalogue of work too, if I’m not already familiar with it. Then I’ll start researching the places, or clothing, or particularly visual elements from the book. I’m not a great graphic designer or typographer by any means, but I do like to try to consider the size and handling of the textual information on the page, as the illustration needs to work intrinsically with those elements. I’ll include these notes in my compositional designs and send them to the designer so they can understand my intentions when the design goes to production.
Can you tell us your top three creative tools? And do you still find time to sketch for pleasure?
Pencil and Paper, Scanner, Cintiq!
At the moment, sketching for pleasure involves my two and half year-old daughter, we like to draw different faces and various animals. It’s really amazing to see her young mind and fine motor skills developing, and we have a lot of fun drawing together. Quite often my own sketching for pleasure is either taking my sketchbook out of the studio to do some observational stuff or quickly doodling compositions and ideas for new works.
Do you have a favourite book cover from your childhood which has been particularly imprinted on your memory? Have you spotted a book cover recently which really caught your eye and why?
I tend to have favourite stories from when I was a child, rather than covers, although the covers were the things that gave those works their identity! The silhouette work from Jan Pieńkowski made an impression on me I think, and also Erol Le Cain’s illustrations, probably because of their moodiness.
I’m constantly looking at, and analysing, children’s cover artwork because my daughter has a vast selection of board books and picturebooks. Personally, I’m more inspired by cinematographic and scenographic works, but when it comes to illustration, I spend most of my time these days with graphic novels. I’ve just finished reading The City of Belgium by Brecht Evens, and In by Will McPhail. Their covers are very different but both fantastic.
I’m also very much a fan of the treatment Pete Adlington gave to Kazuo Ishiguro’s Klara and the Sun, published by Faber. That work kicked off an entire redesign for the Ishiguro’s backlist and I really like the balance of minimal illustration and bold type across the set.
If you could create a cover for an adult or children's fiction title which would you choose?
I always love to illustrate stories that have a darkness or tension to them. So, I enjoy working on anything that involves capturing a sense of a world or place, but that also builds an atmosphere. I suppose there are many stories that would appeal, but it’s the unfamiliar or strange that really excites me.
With huge thanks and congratulations to Richard.
The Ocean and the Bones written by Genevieve Carver is published by Rock the Boat and available to buy in all good bookshops.
With a cluster of best-selling and award-winning projects under his belt, Richard Johnson’s versatility and adaptability have led him to become a much sought-after creative for projects spanning a huge gamut of genres. Working with big brands, major press outlets, laureates and the country’s leading publishing houses, Richard’s delicate and thoughtful artworks bring a touch of magic to each of the projects he works on.
You can find Richard over on Instagram you can also view his online portfolio featuring his latest creative projects on our website. For more information about any of our amazing artists and how we can collaborate with you please email info@arenaillustration.com
