Black Widow and Hawkeye as if they were in Little White Lies covers.
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修悦体 →
I want ‘現在地’ (meaning “You are here” or — more literally ‘present location’) on my wall~
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As Alice Twemlow notes in her essay about the covers, Lolita is an “embarrassment of riches”: complex, stylistically brilliant, structurally perfect, with an insidiously charming, delusional, psychopathic narrator and a dreadfully cruel and terribly bleak plot (“a threnody for the destruction of a child’s life,” as Ellen Pifer puts it) that also manages somehow to be deeply amusing. For obvious reasons, of course, it remains as controversial a novel as it was a half century ago, if not more so. And, probably helped along by Kubrick’s breezy film, and many very terrible covers, the term “Lolita” has come to popularly mean something quite the opposite of the novel’s namesake, so a designer has that to contend with as well. On the one hand, then, designers face the very real challenge of communicating some of that complexity in a cover, which can easily become overwhelming. (When John Gall weighed in on the competition, he was quick to say that he “wouldn’t give this as an assignment in a million years” to his cover design class.) On the other hand, I think there are also important ethical considerations that require careful negotiation since, whatever people may think, we are talking about a novel which has child rape at its core. Peter Mendelsund, in his wonderful blog Jacket Mechanical, discusses quite eloquently the ins and outs of designing a Lolita cover and addresses many of the pitfalls to be avoided as well.
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The Slippery Slope (by corleyms)
The Series of Unfortunate Events book covers redesigned to look like Penguin Classics.
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(Source: tobyziegler, via commanderspock)
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(Source: iloveyourglasses, via commanderspock)
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Theme: Linear by Peter Vidani
