Covered Up Blog

Where you will find interviews, company news, and more

Websites, Audiobooks and more!

Sorry! Been a while—we started out 2018 with a good bit of website work and audio book recordings. Rio Koviak has been busy recording kids books, thrillers, YA and more. It’s always fun to branch out from doing book covers and book interiors. Keeps you nimble and on your toes since they tend to be very different disciplines. We enjoy doing it all.

Let us know if your needs extend beyond the book as a medium to reach your audience.

Rio recording…

Carin Goldberg 2016

Designer/Artist Carin Goldberg, who was interviewed here some years back has offered some nice thoughts and practical insight into her career today.

Carin worked in publishing for many years spanning the 1970s-90s and beyond. Her work has redefining what book design was and is today. Her so-called post-modern take on design and her ability to push the envelop with her conceptual approach to art and design has created a body of work that is still relevant and fresh today as it was 30+ years ago, not to mention, highly inspirational to designers in publishing today.

These days, Carin is a teacher and is not doing work in publishing to the extent she had in the past. She focuses a lot of time on personal projects and continues to explore art and ways to push concept and form. You can see some great posters she has for sale here.

And so we begin—


Lets refresh for our readers: What does your design practice look like these days? are you doing much work in publishing?

Well, I don’t really practice design, as such, these days. I teach and make personal work. I took a sabbatical in 2014-15. I was a Rome Prize winner and spent 6 months at The American Academy in Rome pursuing my own work and have continued that pursuit since.

You have had an amazing career. Are you finding it harder to get work over the years? What are some things that you’re doing to advertise yourself?

I don’t think it would be completely accurate to say that I find it hard to find work these days. I find it hard to be interested in doing the work that’s available to me. Therefore, I don’t promote or pursue work with much vigor.

Recent personal work…

Do you feel like you get pegged as a female designer and as a result get more female centric work?

Not really. Plus, I’m not adverse to being asked to solve problems for subjects I’m familiar with.

Do you ever panic that your work is getting worse? Or do you feel that you’ve gotten better at what you do?

I don’t panic about that anymore. I’m too seasoned. But I am comfortable admitting that the younger generation of designers do it better than I do. I take solace in knowing that I paved the way for them. Its the nature of the beast. I know my craft, I teach it really well and I’m content with that.

Has it bothered you to be stereotyped for doing female centric work?

No. And I haven’t done what I would define as female centric work.

Have you seen any particularly major shifts/trends in design that have affected how you work?

Everything affects my work. Trends, politics, history, technology, age, family, money, gender…but I would say that technology has changed my work. For better and for worse.

What are some projects that you have worked on that you feel are reflective of some of your better work?

I am proud of my career and body of work in general. That said, I usually hate everything I’ve done until it becomes an artifact and have little personal stake in it. Specifically, I continue to like the School Of Visual Arts Senior Library 2004 and the non-profit work I have done for urban public institutions that help those in need.

What are some ways that you feel technology changed the way you conceptualize or execute work that has either made it better or worse at times. Do you feel you results were more consistently good when you were not relying on a computer or the internet?

The computer/technology changed both to some degree. Its difficult to assess if it had a deep effect on my conceptual thinking but I am certain it had a profound effect on my formal solutions. My hands felt very tied during the transition from no computer to all computer. The learning curve was steep and I learned whatever I know painstakingly. Its impossible to become proficient while running a studio. I rely on assistants to help me produce my ideas and images. I sketch on the computer. My work became somewhat minimal. Simpler. I relied less on form and more on concept.

Ultimately it was good for me. And I do think my worked changed and did get better in some ways. Limitations are often helpful. That said, having limited facility in certain programs is frustrating and makes me feel powerless more often than not.

Do you have more of a tendency as a designer to rely on the internet to look at new work being done by other designers? How much of that seeps into your work?

I do look at on Pinterest and Instagram. I use Instagram exclusively to post my work and to look and other work. Short of a few friends and family I try to avoid following those who post their meals, their kids (unless I adore them) and their vacations. I have begun using Pinterest as a way to archive my work. I am going to soon have an URL that simply has my name and the links to Pinterest, etc. No need for a complicated web sight. Pinterest is genius for students to acquaint themselves with the history of graphic design. Its all there. And I read Hyper-allergic. I don’t exclusively follow graphic design. As an educator it is crucial that I am current on all forms of visual art and artists. Its not always healthy to look at too much work of others. Better to spend time making my own work and let the “seepage’ come from other sources. But for students its vital they look at all work past and present and become fluent in all of it.

How are students these days? Are you finding that students are coming to your classes more design savvy? What are some draw backs in your teaching careers that has been directly affected by technology?

The changes in my students come in waves. Sometimes I have a great year of fantastic students and other years I want to tear my hair out. Are they blowing me away these days? Not really. They are definitely not more design savvy. I find that perplexing and frustrating given the access they have to EVERYTHING. TMI can be overwhelming and they need guidance on how to navigate the giant pou-pou platter of visual stimulation. That’s one of my jobs as an educator.

No particular drawbacks other than keeping up with technology without losing the what is essential: good ideas and beautiful form working together.

Who continues to inspire you and your work as a woman designer?

Although I feel I’m gender agnostic, I do admire and look towards talented/accomplished woman. Artists and designers alike. I am particularly interested in HOW they did it in a culture that makes it REALLY hard.

Who are some women designers today that you feel are doing phenomenal work in book cover design and other disciplines?

Phenomenal? Thats a tall order. No. Nothing phenomenal from either gender. Conservative times foster timid work. As does a fragile economy.

Is there a lot of sexism in your line of work?

I’ve been around for a long time. Sexism in my profession in the 1970’s and sexism now has mutated. Sexism continues to exist but is revealed differently.

What are some regrets that you have in your career?

No. Won’t go down that rabbit hole…

Route to Market website

So it’s been a while since much has happened on the old blog. That can be a good thing or a bad thing. It’s been a fairly busy year for us, but what’s been most defining is that we’ve ventured into old stomping grounds: websites. Here’s a recent one among others…

Route to Market LLC.

Sometime last year we worked on a few book projects with culinary consultant, Jennifer Bushman. And while we do offer author websites, we don’t necessarily push it as a major service. But when she approached us earlier this year to develop her website, we were ready to roll our sleeves up and get back to it. We had worked successfully with a programmer on our website and were really happy where it ended up. We wanted to see if we could do a similar thing for Route to Market LLC, Jennifer’s culinary consulting company.

The process was rather smooth. We were able to approve the overall design very quickly. In working with a developer, we learned a lot about responsive web design and best practices as well as what things we can do better in the future. But the end result is something we were very proud of and served the client well. We then went a step further and made sure that all of the companies social networks were visibly branded and matched the look of the website. I think this is something that;s often overlooked. People have a great website or great social media presence but there’s a visual disconnect with the other web-related platforms. In terms of impact it’s sending mixed messages. And the feeling one gets from having all of those components function smoothly and have a consistent visual voice is really empowering for a start-up, or any company for that matter. It makes it feel finished and complete.

Visit the social sites to see the continuity:




Anyway, that’s that, and we invite you to take a look at the whole package. Now back to the other websites on this book designed plate…

Happy Holidays!

As we draw closer to a years end, we’re reflecting on all the great projects we have had the fortune to work on and all the wonderful new people we have met. It’s been a crazy year with lots of ups and downs, but one thing is for certain: theBookDesigners continues to be the little book design studio that stands the test of time. We’re moving ever closer, as the month nears the new year, to being a decade old. 10 years folks! We never expected to be in business that long and we never expected to work on some of the amazing projects we have worked on. We’re proud of the portfolio we have built and the authors and publishers we work with every day. On that note, please have yourselves a terrific holiday season and we’ll see you around in 2015!

Jason Gurley: The Double-ended Cyclops of Indie Publishing

Jason Gurley is a rare species in the world of Indie publishing. Both a seasoned art director and prolific writer/indie author, he is making a name for himself doing the things he loves to do. I met up with Jason once out in Lake Oswego, Oregon where we chatted about his passions and it’s then that I realized that he was not just another designer turned writer. His approach to creating visibility for his work—both writing and design—comes off as professional and expert. Perhaps because he is a graphic designer, anything that he touches on a marketing level—his blogs, newsletters, social media postings and book cover work that he has done for all of his novels and plenty for the likes of Hugh Howey, and many successful indies—he somehow manages to make it all flow together seamlessly like he’s been at it for 20+ years. While his current novel, Eleanor, slated for release this coming June 27, 2014, took him some 13 years to massage to perfection, he has written numerous other novels and short stories in between that time. I received a few of his newsletters as of recent, encouraging advance readers to write a review of the title in advance of the pub date. His approach to selling his storytelling is something every indie author should take notes on. He advocates that design is important in selling your book, that hiring professional editors is critical to a book being well received, that creating a narrative about the life of your book, leading up to it’s birth, and showing baby pictures of it afterwards is critical (while I’m talking about pictures of his book, he does also post a ton of cute shots of his baby girl—and if that don’t sell books, I don’t know what will). Just as much as your book tells a story, it’s important to create a narrative surrounding your books life. I feel like I’m taken on a mini journey every time I read one of Jason’s book promo posts, I feel encouraged to help him make it a success, I feel a part of something. I think an author who can make their potential audience feel that way about a book is doing something very right. We all know it’s a tough sell out there. Might as well make it memorable and personal.

Anyway, this is meant to be an interview with Jason, so here it goes:

How much of your family dynamic thwarts or inspires what you do creatively as a writer and designer?

I adore my family. The most important thing to me is that I’m doing something that they can be proud of. My wife sees it, I think, but my daughter is only two. One day, I hope she picks up Eleanor or The Dark Age and thinks that I’ve made something good. Creatively speaking, most of what I do works around my family, as opposed to the other way around. There are exceptions, of course, when I’m just crushed under fifty things that need to be done at the same time. But I never want to regret spending more time on my own projects than with them.

Right now my daughter’s favorite thing seems to be impromptu dance parties, and they are the most amazing thing ever. Ever, man.

I’m going to lump your lucky turn of fate into one: you are both a book designer and seasoned indie author, how much do you think about the cover as you write? Do you consider yourself lucky to be the creator of package and content? Or do you ever feel you would rather see some other designer take a stab at your novels covers?

I think about the covers for my books quite a bit while I’m working on them. Sometimes I have a good idea of what they’ll become, but often I’ll surprise myself when I actually sit down to begin designing. Just like a novel, sometimes a cover has its own idea about itself, and it will surprise me. I’m sure you know this feeling well, too.

I don’t want to call myself a control freak, because I don’t think that I am, but I’m a very curious person, creatively speaking. I want to know how to do everything, which is how I’ve come to design my own covers and my own book interiors as well. There are only a few things that I currently ask for help with, and that’s the actual manuscript itself — I hire an editor and a proofreader to help me polish the words. But I’ve never hired anyone else to design my books. And so far that hasn’t been a curse, only a blessing.

I’m a tinkerer. I have a hard time adding people to my process, and then depending on them when things need to be changed. I think I’m relatively good at what I do, and I’m always trying to improve, so I tend to go it alone.

Though I’d be curious, of course, to see what a designer like you or Archie Ferguson might do with a book like Eleanor. I am not by any means under the impression that I’m the best designer of my own work — just the most accessible one!

Do you find your design inspiration is often found in similar territory as your writing inspiration?

Oh, man. That’s a really hard question to answer! I’m not entirely sure I can ever really put a finger on what inspires me as a designer, but you might be onto something here. I’m inspired, mostly, by questions — that is, by work that forces me to have questions about it. There’s a French artist, for example, named Francois Schuiten, whose work I absolutely adore. He’s incredibly proficient, technically speaking — he has an architecture background, and his work is very intricate and real — but what I love about his work is that it begs for questions. This is one of my favorite illustrations of his: It’s a perfect example of what I mean. It demands you to ask questions. Who is the man? What is he doing? What is this wonderful place? A library? A junkyard of books? Who are the men behind him?

This illustration makes me think of a hundred stories to tell, and is exactly what I try to do in the best of my work, I suppose: provoke the viewer into wanting to know more.

Do you see yourself dying at the writing table or the gates of Adobe?

I hope to die at neither! I hope that when I go I’m with my wife and my daughter and my grandchildren, and we’re gathered around the little portholes of our space transport, leaving Earth and headed for the stars…

Okay. I clearly can’t answer this question without flights of fancy interrupting my answer. But in ridiculous seriousness: I don’t have any interest in dying anywhere, ever. There’s way too much about where we’re going that I want to know, that I want to see. I read a novel once about an astronaut who travels to the edge of our solar system to investigate a strange object that’s appeared there. The object turns out to be a gateway, and the astronaut goes through it… and for the next eight millenia, he bounces around in a series of wormholes, occasionally popping out to see what’s happened to Earth. It goes through some dramatic changes. That’s what I want, except without the bouncing-around-the-wormholes thing.

I want to be Ted Williams’s head. Or a vampire, but one that prefers breakfast to blood.

That book, for anyone interested, is Stephen Baxter’s Manifold Time. I think. It’s one of the books in the Manifold series.

What are the major themes in Eleanor that you feel are most personal in your aging process and maturity as a writer, since the process spans 13 years?

Well, the biggest one, at the beginning, was my own doubts about the existence of a god. I was a pastor’s son, and it took me a long time to be bold, to ask myself hard questions about the things that everyone around me believed in. At twenty-three, I sometimes think I was late to my own party — I think sometimes that I should have been asking those questions years earlier, and I don’t know why I wasn’t. But other times, I think that I was right on time.

In the beginning, Eleanor was a vehicle for my questions. My protagonist struggled with a similar question, though her direct experience was much more dramatic than mine. She’d gone cliff-diving with friends, but had a terrible, brutal accident, and wound up in a coma. And while unconscious for months, she had a sort of spiritual experience. A conversation, really, with someone she thought might be God. But when she wakes up, the real world is a terribly disappointing place. After that kind of experience, how does real life compare?

So that’s how the book got started. But as I got older, and as I began to realize what I did and didn’t believe in, Eleanor started to change. The book didn’t have to answer any questions for me anymore. Frankly, it didn’t even have to exist. But I never lost my fascination with Eleanor herself, and I never stopped writing about her. I experimented with her character, taking her out of the world I’d created originally, and dropping her into all sorts of other small worlds — what would Eleanor do if she woke up and there was nobody else on the planet? What would she do if she was middle-aged, and having an affair? What if she was perfectly domestic and happy?

Eventually I plucked her story out of those different experiments, and it became the version of the novel that’s coming out next month. The important thing is that, finally, I feel as if I’ve figured out enough of myself to figure her out, too. The novel that Eleanor has become is literally nothing like the novel I began thirteen years ago.

Well, except for its title.

How much of your writing is driven by marketing concerns? You planned to release Eleanor as a three book series at one point. Was that a marketing effort in light of being a rising indie author or because you felt it could pace readers through an otherwise epic journey?

That was part of the reason that I considered serializing the novel, yes. But I think that my own impatience was probably the root of that entire consideration. It’s killing me that the book is still a month from release! After thirteen years, you’d think that a month would be easy. But it’s not, not at all.

The important thing, though, is that I realized very quickly that Eleanor is not a novel that can be easily serialized. It asks some very big questions, and it’s more patient than I am about doling out answers. There are no perfect cliffhangers. There’s just one absolutely enormous arc that Eleanor takes through this story, and it would be utterly unfair to readers to unnaturally divide that story into pieces.

So: it’s one novel, the biggest one I’ve written so far.

You’re an expert marketer. Your blog, eblasts/newsletters and fact that you’re a seasoned designer seem to indicate you have a slight insider perspective of the indie publishing world. What advice would you give to authors taking the path?

I’m sipping hot chocolate while I answer these questions, and I just about choked. No, no — I’m not an expert marketer. There are some things that I consider myself expert at, yes, that I’ve logged far more than ten thousand hours on – but marketing is not one of them. I spent years as a creative director, and I still have a very satisfying career as a designer for a startup, but I’m by no means an expert at marketing.

I have been fortunate, I will say, that my work on book covers has opened a lot of doors for me, and introduced me to people who have been great mentors. Through that design work I’ve gotten to meet authors like Hugh Howey and A.G. Riddle, or to develop friendships with people at various publishers, and that’s all been extremely helpful. I’ve learned a lot from all of them.

But I’m no expert. I do have some advice, though, just based on my own experiences. I mentioned this in another interview recently, but it bears repeating.

Be nice.

Be generous.

Take care of the readers who take care of you.

Do things for other authors that they’re not often able to do themselves.

Say yes until you can’t say yes anymore, and then say yes to the things that matter most to you.

That’s my advice. It may sound rather trite, but it’s working well for me now, I think.

Do you see yourself slipping into other genres? A self help book for indie’s?! Or a guide to parenting?

Other genres, definitely. Nonfiction? Extremely unlikely.

Eleanor, actually, marks a bit of a shift. Most of the books and short stories I’ve published, so far, have been undeniable occupants of some flavor of the science fiction genre. But Eleanor is… more difficult to describe. You might use terms like “magical realism” or “contemporary fantasy,” and you wouldn’t be wrong. Some of my early readers, including some fellow authors, have picked up on this, and have compared the book to others written by Neil Gaiman or Madeleine L’Engle. And while I’m no Gaiman, no L’Engle, it’s encouraging to know that I’ve written this book well enough for others to identify what it’s all about.

I do know that not all of my current readers will be able to take this journey with me. Not all science fiction readers will want to read a novel like this one, and that’s okay. I think this novel will probably find a new audience all its own, and introduce my work to a whole new set of readers who will enjoy it — but who won’t have a whole lot of interest in my prior science fiction novels.

What’s your ideal thinking conditions in contrast to your execution conditions? Are you flooded with ideas while vacationing? And inspired to put pen to paper when your at your desk? Is the world littered with your napkin notes?

My iPhone is stuffed with voice memos that I’ve recorded while driving, mostly. There are a few dozen story ideas there, some almost fully-realized, some just a description of a scene I imagined. I get a lot of ideas while I’m behind the wheel. Other people think best in the shower. I think best when I’m steering a three-quarter-ton death machine down a concrete artery, surrounded by other distracted humans. Go figure.

As for writing — these days I can do it just about anywhere. I write most often in coffee shops now, in small snatches of time that I steal from the rest of my day. I write before I go to work, or on my lunch break, or in my Jeep if I’m early for something else. I write at night when my daughter goes to bed, or in the morning before she wakes up. If I have fifteen minutes, I’ll write a thousand words or more. I don’t have time to stall, it seems.

It wasn’t always this way. I once needed the perfect lighting, the perfect music, the perfect quiet. If someone was mowing the lawn two blocks over, it would ruin everything. I think that becoming a father just made it necessary to adjust. That isn’t to say that I don’t sometimes get overwhelmed by the distractions — I do, we all do — just that I’m not able to really do anything about them anymore. So I do the best with what I’ve got.

Did you have visions of being an author as a youth or was it an accidental affair?

I’ve always wanted to tell stories. I’ve been writing novels since I graduated high school. I’ve been in touch recently with a creative writing teacher who — as she put it — “realized that you needed wings, not lessons,” and who really shaped my early desire to write. My recent collection, Deep Breath Hold Tight, is dedicated to her.

I never imagined, though, that my path would be such a solo affair. I had an image of what being an author would be, and very little of that image was about the actual work of writing. Most of it was about rooftop parties and drinks and lectures and book tours and constant celebration of my accomplishments. It took years to realize that being an author is literally nothing like that at all. Being an author is not a romantic thing, unless you’re easily romanced by little, real-life struggles, like the challenge of finding time to write in a day that’s already packed with a day job, being a good father and husband, feeding and walking the dogs, putting away toys, designing book covers, et cetera. I mean, last night I forgot to eat dinner, and I went to bed early, just completely tapped out by the fifty things on my to-do list and the seven more that arrived in my inbox while I was doing two other things.

The one thing I have going for me, I think, is that I don’t expect to ever support myself with my books. I have a really fulfilling career that I enjoy, that I’m good at, and that takes the pressure off of my stories. I get to write what I want to write, not what I think I have to write in order to sell thousands more books.

Are you on fire? Are we going to see a novel every few months to a year from Jason Gurley? Or will you mull over things from here on out?

Let’s put it this way: In December, 2012, I took a break from writing Eleanor to try to write a new novel. (I wanted to remind myself that I could actually finish something, I think.) In the next six months, I wrote four novels before getting back to Eleanor. Six months! Clearly Eleanor is the bottleneck here. So while I can’t promise anything, I hope you’ll see at least a book every year. I don’t know how not to write.

Designers have been known to write. Both fiction and non fiction. How much does being a designer influence your observations as a writer?

Have they really? I need to meet some other people who are doing this. I traveled to Seattle last December for a Kindle Worlds event at Amazon, and Philip Patrick, the head of Kindle Worlds, made a comment to me about how much he liked my cover work, and my stories, and how rare it was to find an author who was also an equally adept designer.

Being a designer, though, can often be an enormous curse, at least when it comes to the kinds of observations you’re talking about. I observe way too much, I think. If I never critique another badly-kerned sign or another real-world example of poor user experience, like a badly-designed parking lot or an uncomfortable transaction, I think I’ll be a happier person. My wife certainly will be. The world needs fewer design rants, not more of mine.

But that isn’t what you asked. I think that by nature designers are curious, as are writers. I think, in my case, they’re two halves of the same coin. It’s like I’m Cyclops from the X-Men, except I also shoot laser beams out of my butt. You can quote me on this, by the way. Here, I’ll even make it more sound-bite-y for you: Being a hybrid writer-designer is like being an X-Man, but with double the powers. It’s like I’m Cyclops, but I also shoot laser beams out of my butt.

Of course, now my mind is wandering down the road of X-Men mashups. Can you imagine?

Doesn’t matter too much, though. Superman could kick their butts even if they fired lasers out of them.

Wow, did I derail this question or what?

I can’t wait to read Eleanor and see what you’re up to next!

Thanks! I can tell you the next book — it’s The Travelers, the final book in my Movement series — but after that it’s really anybody’s guess. I’m not making up my mind about anything just yet. I’m enjoying the idea that there’s a wide-open road out there, waiting for me to see where it goes.

A master passes: Massimo Vignelli 1931 – 2014

A sad day. The legendary designer, Massimo Vignelli, passed today at 83. There are few designers who have has such a broad impact on design and designers.

Michael Bierut remembers Massimo in this wonderful piece:

Some of my personal favorite Massimo inspirations: The immortal, ever-true canon:

And some great talks that are worth listening to over and over through the years to remind us what we’re doing as designers:

New website!

As promised, we have launched our new website this May. The goal with the site was to create a more service oriented experience and allow our customers a more thorough glimpse of our service offerings and selected work.

The site is fully responsive. Which means that you can comfortably access content on the site from your mobile phone, tab, pad, laptop or desktop computer. This was a prime focus for us as our old site was nearly unreadable on a phone or other handheld devices.

The work section allows you to comfortably sort between genres like fiction, non fiction, indie, and more. All work is attributed with the author, publisher and art director for the project. The work is viewable at a glance at a comfortable size. You will not have to deal with clicking on little thumbnails to reveal the full cover. You can easily share covers with others, buy the books by clicking on the shopping cart icon and view additional concepts and book interiors. We also have a section with a few book trailers we’ve worked on.

The service section is very easy and pleasant to navigate and read about the various things our studio is capable of handling.

We now showcase our typical rate packages so that customers can easily choose the fee structure that best suits their needs. We’ve found pricing to be a repetitive conversation we have with our prospective customers. Now it’s clear from the get go what can be expected and what each fee structure offers in terms of service options. We also have a FAQ section where you can get some basic information about our overall process and common terms that we will use throughout the process of designing your book.

Overall the site is dynamic and pleasant to navigate. We simplified our company logo, chose a more inviting, yet contemporary color palette, and selected Archer as the company font for its elegance and readability.

We’re proud of the site and hope it serves our customers better for years to come. Because we service a wide range of both indie publishers and trade houses, we wanted the overall experience to suit both audiences. You can now easily follow us on the various social networks that we post to and contact us to just say hello, or request a quote using our comprehensive quote form.

We hope you enjoy the site and its various features and ease of use. Please tell us if there is something that you feel would function more smoothly and we’ll be happy to improve upon the functions.


L.M. Montgomery Series

Some months back we completed a great job with, yet again, the talented Jacqui Oakley (who did the interior illustrations for the Sherlock and Jane Austen box sets we did for Amazon), and the team over at Sourcebooks. The project in question was a repackage of L.M. Mongomorey’s classic Anne of Green Gables series as well as her other classic novels. It was great fun working with Jacqui on developing a look that could work for all of the books. The 6 main Anne books are visually tied with a head shot of Anne as she ages, along with various elements from the books scattered about her hair and around her portrait. The other books loosely followed this approach and some broke free to explore a treatment more representative of those titles. But Jacqui’s art ties them all together nicely as does our spine and back cover treatments.

You can see more of the process that Jacqui went through on her website.

New Year! New Logo! New Site!

2014 is a year of change for us. We’ve updated the look of our logo, which was originally designed by our good friend and business partner at the time of our founding, Scott Erwert. We’re also in the thick of the grueling and intensely exciting process of redesigning our website. Our focus with the new site is our array of services, showcasing more interior layout design work, book trailers, and a host of offerings for both indie pubs and mainstream houses. The new site will launch in early May, 2014. So look out for it!

Her is the logo modification. We’ve simplified the original mark and modernized the color scheme and font (Archer). The site will follow suit with these new colors. We’ll start posting some screen shots of the new site as it gets closer to launch day. So look out!

  • “ Better than professional! Every time I asked to tweak this or that detail, they did it with both alacrity and creativity. Very friendly and helpful throughout the process. ”

    — Ira Berkowitz
  • “ Thank you for such quick turn-arounds, wonderful organization, your professionalism, and most of all your great ideas and solutions.”

    — Tracy Cunningham
  • “You guys are great. It will be my pleasure to recommend you to fellow authors. I’m particularly impressed with your prompt turn-arounds, and your ability to effectively capture my concepts.”

    — Richard Bard
  • “ I honestly couldn’t imagine a better cover. I get people telling how much they love the cover on a regular basis. ”

    — S.C. Barrus
  • “Thank you so much for your great work and incredible speediness!”

    — Laura Williams, Algonquin Press
  • “ The cover and layout are so professionally done and compelling. The whole design speaks to a high level of quality and style and I think that has a huge impact on book sales. ”

    — Cynthia Morris

By The Numbers

  • 12
    Years in Business
  • 168
    Trade publishers served
  • 992
    Indie publishers served
  • 16