Marber created a grid in which instead of just text based, uses image on 2/3 on the page
The design is based upon analysis of what needed to be retained and replaced
the three horizontal bands survived after slight adjustments
Two observations guided Marbers grid: first, the Penguin identity is synonymous with the goodwill to Penguin which has been created over many years
second, Penguin crime books are an integral part of this identity.
so, Marber retained the green as the series colour, with horizontal branding.
The image occupies over two- thirds of the space, with the title section split into three
Marber was planning on using white at the top of the cover to refer to the white on Young's design, before introducing all green covers at a later date.
With the structure, Marber could concentre on the images.
He was a graphic image-maker of great versatility, able to sum up the stories with motifs and ciphers. Many of the crime books were decades old, but his interpretations gave them a contemporary update.
For the base images he uses photography, energetically stylised drawing, collage with painted elements and flat geometrical pattern.
Other covers explore various kinds of photographic distortion.
The designs were usually created in batches of ten, with Marber not being precious about them, 'when you do a lot of covers it stops being a matter of life or death. You are not so tight about them that you want to make every cover a masterpiece'.
The design is based upon analysis of what needed to be retained and replaced
the three horizontal bands survived after slight adjustments
Two observations guided Marbers grid: first, the Penguin identity is synonymous with the goodwill to Penguin which has been created over many years
second, Penguin crime books are an integral part of this identity.
so, Marber retained the green as the series colour, with horizontal branding.
The image occupies over two- thirds of the space, with the title section split into three
Marber was planning on using white at the top of the cover to refer to the white on Young's design, before introducing all green covers at a later date.
With the structure, Marber could concentre on the images.
He was a graphic image-maker of great versatility, able to sum up the stories with motifs and ciphers. Many of the crime books were decades old, but his interpretations gave them a contemporary update.
For the base images he uses photography, energetically stylised drawing, collage with painted elements and flat geometrical pattern.
Other covers explore various kinds of photographic distortion.
The designs were usually created in batches of ten, with Marber not being precious about them, 'when you do a lot of covers it stops being a matter of life or death. You are not so tight about them that you want to make every cover a masterpiece'.
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