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INTRODUCING BUTLER TO NEW READERS. Elizabeth Connor describes the work of “repackaging the Patternist Series for the Mother of Afrofuturism” in “How to Give Octavia Butler the Covers She Deserves” at
Literary Hub.
…After some back and forth and plenty of discussion with the editor acting as mediator we determined that by elegant, they likely meant more stylized human forms in more sophisticated poses, as well as a textural or brushy quality to the art (as there had been on the Parable books), that lent an air of being hand-drawn rather than machine-made. As for dynamic, we soon understood that the symmetry of the earliest comps was what the agent and estate were reacting against. By simply breaking the vertical axis and giving each cover a certain degree of asymmetry even as the figures revolved around a central “moon” shape that remained static they felt much more alive. The designer came back with revisions and, in relatively quick succession,
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INTRODUCING BUTLER TO NEW READERS. Elizabeth Connor describes the work of “repackaging the Patternist Series for the Mother of Afrofuturism” in “How to Give Octavia Butler the Covers She Deserves” at
Literary Hub.
…After some back and forth and plenty of discussion with the editor acting as mediator we determined that by elegant, they likely meant more stylized human forms in more sophisticated poses, as well as a textural or brushy quality to the art (as there had been on the Parable books), that lent an air of being hand-drawn rather than machine-made. As for dynamic, we soon understood that the symmetry of the earliest comps was what the agent and estate were reacting against. By simply breaking the vertical axis and giving each cover a certain degree of asymmetry even as the figures revolved around a central “moon” shape that remained static they felt much more alive. The designer came back with revisions and, in relatively quick succession,�