Behind the Cover – Chris Riddell
(Coraline and The Graveyard Book, by Neil Gaiman)

by Diana Sousa



Chris Riddell is known for illustrating Neil Gaiman’s Coraline and The Graveyard Book, as well as his own books Ottoline and Goth Girl, and political cartoons for the Observer. He has won awards such as the Nestlé Gold Award and the rare honour of two Kate Greenaway Medals. Chris lives in Brighton.

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How did you become an illustrator? Was it an area you always wanted to explore, or did it end up happening?

I became an illustrator because my twin passions were reading and drawing. The books I read provided the inspiration for my drawings. I decided when I was quite young that I wanted to illustrate books. My heroes were Sir John Tenniel and William Heath Robinson (shown below, respectively).


How did you get involved with these covers and illustrations? Did Bloomsbury / Neil Gaiman contact you directly, or did they already know your work?

Sarah Odedina at Bloomsbury contacted me and sent a message to Neil, who e-mailed me the first draft of The Graveyard Book. I loved it and readily agreed to illustrate it.

How was the process of developing the covers? Was there a clear goal in mind?

The process with the covers of The Graveyard Book and Coraline were similar. The designer gave me a loose cover brief and I drew a rough and suggested hand lettering. Neil and the designer approved my rough with no alterations and I went to finished artwork.

How was the author involved? Was there some back and forth conversation with Neil Gaiman, any ideas or suggestions?

Neil is remarkable in that he doesn’t give directions for how I should interpret the characters. As long as I respect the text, he gives me freedom to envisage the characters as I see fit. The only comment was Neil asking me to change Silas’ hair from white to black.

From your experience, does the publisher have the final say regarding the design of the book, or does the designer/illustrator have free reign?

Bloomsbury have been very good at allowing me free rein to draw the covers and illustrations in my own way.

Was there anything particularly different or interesting about these illustrations, interesting facts you’d like to share?

Neil creates a visual space for his illustrators to occupy, giving us texture, description and leading details to fire our imaginations. He is a perfect writer to work with in this respect.

Finally, what are some of the favourite book covers that you’ve seen (recently or not), from other designers and illustrators?

I love Shaun Tan’s work, David Roberts, and Alexis Deacon. My favourite cover is “The Adventures of Uncle Lubin” by William Heath Robinson (shown above).


Thank you Chris, for your time!

If you want to see more of Chris’ work, including his other books and illustrations, you can check out his website! I hope you liked this interview.


Behind the Cover – Patrick Insole
(The Ocean at the End of the Lane, by Neil Gaiman)

by Diana Sousa

BehindTheCoverThis week we’re joined by Patrick Insole, designer and art director for Headline Publishing Group. He was responsible for making the UK cover of The Ocean at the End of the Lane by Neil Gaiman, published by Headline.

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How did you become a designer? Was it an area you always wanted to explore, or did it simply happen?

I originally trained as an illustrator and, for a long time after graduating, that continued to be my ambition – I certainly never set out to become a book designer. My first job out of college, drawing and designing 3 dimensional maps, was really just a way to provide a regular income while I got my intended illustration career up and running.

My first job in book publishing, as a junior designer at Walker Books, was little different – despite loving books and reading, at the time I didn’t really consider it as a long term career option. Once there, though, I quickly fell in love with designing books – it marries the skills of an illustrator with those of a designer in a way that felt natural, and working alongside such talented and passionately creative people, not just other designers but everyone involved in the publishing process, I learnt such a lot, as I continue to today.

How was the process of developing the cover for such a genre defying book? Was there a clear goal in mind?

It’s actually really refreshing to work on something that is so difficult to categorise – so many of the covers we work on have, to some degree, to conform to the conventions of the book’s genre. The cover for Ocean At The End Of The Lane was very much a blank canvas, and a very open brief. That can be quite scary for a designer, and certainly at the outset there was some anxiety that I wouldn’t be able to come up with any ideas, but reading the manuscript, the book is so rich in imagery I needn’t have worried. As with many of Neil’s books, though rooted in reality, magic permeates through the story and I knew I wanted to make a cover that somehow combined this sense of the strange with the everyday, the difficulty being how to portray these contradictory qualities without giving too much away, or being too descriptive.

How was the author involved? Was there some back and forth conversation with Neil Gaiman, any ideas or suggestions?

Neil has a very open-minded approach to his covers – allowing us pretty much free reign to explore ideas and to see what we come up with. Once we’d got some ideas that we liked we sent them through to Neil and between us we pretty quickly settled on a version of the final cover. From there it was just a case of refining the details.

Do you have pictures of earlier designs?

We actually got to the final cover quite quickly – there were a few other ideas that we tried (see below) but quite early on in the process I stumbled across the image of the diving boy taken by the very talented photographer Hengki Koentjoro, which I felt worked perfectly – dark and mysterious with a suggestion of travelling from one world to another.

Ocean_roughs_Page_1   Ocean_roughs_Page_2

Ocean_roughs_Page_3   Ocean_roughs_Page_4

From your experience, does the publisher have the final say regarding the design of the book, or does the designer have free reign?

It should be, and usually is, a very collaborative process. I work as part of a team of in house designers working for the publisher, so every cover we work on there’s a constant dialogue, sharing ideas between ourselves, the author, editor as well as the sales and marketing teams, so whilst ultimately the publisher and author have the final say, usually what we end up with is something that we’ve agreed on collectively.

Was there anything particularly different or interesting about this book cover, interesting facts you’d like to share?

It was actually an unusually straightforward process in the end – the expectation, when working on covers for such high profile authors, is always that it’s going to take longer and be a more difficult process, but sometimes as in this case, an idea can stick surprisingly quickly. For me, though, this was a very special project to work on. Neil has always been one of my favourite authors, so having the opportunity to design a cover for his latest novel was, though daunting at first, a real privilege and an ambition fulfilled.

Finally, what are some of your favourite book covers, whether they’re recent or not?

That’s a tough one! So many great covers, that I like for so many different reasons.

I love covers by Alvin Lustig and Paul Rand’s classic American designs for books like Kafka’s Amerika and Nicholas Monseratt’s Leave Cancelled (respectively) – such clean and simple designs that feel as fresh now as when they were first published in the 1940s. In the same tradition, though much more recent, Jon Gray’s cover for Jonathan Safran Foer’s Extremely Loud and Incredibly Close is also one of my favourites.


Thank you Patrick for your time!

If you want to know more about Patrick’s work, you can follow him on Twitter! I hope you liked this interview, and here are some other examples of his book cover design.