Before the hype, I saw the cover—and I was sold.
Grace Han crafted one of the most intriguing and enigmatic jackets in recent memory for The God of the Woods (that drip!). And it just so happens that the much-hyped book is also now a bonafide hit, with rave reviews from outlets galore and a spot on The New York Times bestseller list.
Han proves that great mainstream books can also have great covers that break staid genre norms—and this cover perhaps passes the ultimate design test: It leads you right back to the book to unravel the riddle on its surface.
She tells us more about the cover below, and the rest of our favorite jackets of the month follow.
Official publisher description:
When a teenager vanishes from her Adirondack summer camp, two worlds collide. Early morning, August 1975: A camp counselor discovers an empty bunk. Its occupant, Barbara Van Laar, has gone missing. Barbara isn’t just any 13-year-old: She’s the daughter of the family that owns the summer camp and employs most of the region’s residents. And this isn’t the first time a Van Laar child has disappeared. Barbara’s older brother similarly vanished 14 years ago, never to be found.
As a panicked search begins, a thrilling drama unfolds. Chasing down the layered secrets of the Van Laar family and the blue-collar community working in its shadow, Moore’s multi-threaded story invites readers into a rich and gripping dynasty of secrets and second chances. It is Liz Moore’s most ambitious and wide-reaching novel yet.
What was the brief for this book?
The cover had to be atmospheric and mysterious, yet human. It was important for the cover to draw readers into the world that Liz Moore created.
How did you select the type treatment? (And did you manipulate the face at all?)
I love typefaces by VJ-Type. They’re an independent foundry based in Paris. The font, Sud, designed by Jérémy Schneider, is bold and unexpected, which perfectly echoes the energy of the book. I didn’t feel the need to alter it in any way.
Who did the handwritten elements?
I lettered those elements. Even if it’s a small detail, I love including hand-done work in my projects.
Where did you source the painting in the background?
I was doing image research on Bridgeman and came across this painting, where I homed in on the left corner detail: a pastoral depiction of the woods with ominous-looking clouds. I felt that the art had the right human touch and atmosphere.
And finally—the drip. It’s so striking.
The drip! The drip is something readers will have to find out for themselves! As a design element, I thought it added tension and signaled that something was amiss.
There was a lot of anticipation for this book—does that ever add extra pressure when designing?
I like to design while thinking about the audience—more specifically, someone who’d most need the book I’m working on. I think this mindset lifts some of the external pressures and helps me focus on the task at hand. It’s also not lost on me that I work with a great team. Even when there is some added pressure, it feels like a shared responsibility. I don’t feel like I’m in it alone.
