THIS WEEK
FutureBook Conference Special Q&A: Steve Leard
Leard’s cover looks
1 Why did you set up the ‘Cover Meeting’ podcast?
Designing book covers is the best job in the world. It allows you to be creative in such a variety of ways that feels truly unique
I’ve always wished there were more podcasts about book cover design—there hasn’t been a cover design-focused podcast for a while and I know cover designers are so immersed in what we do. I hoped it would be fascinating to hear about the joy of the job, but to contrast that with the podcast being a platform to discuss issues within the industry that need more attention. I also wanted non-design folk working in publishing to get an insight into cover design and the thought- processes of designers and art directors. Another reason was
to challenge myself and do something out of my comfort zone, with the aim of speaking with some of the best design- ers out there and to learn something along the way that can then be filtered back into my work to improve and develop on what I do.
2 What have the conversations been like?
Steve Leard
Designer, freelance Steve Leard will be bringing his book cover design podcast ‘Cover Meeting’ to FutureBook, hosting a conversation about design in a time of AI, with fellow designers Micaela Alcaino, David Pearson and Rafi Romaya
TheBookseller.com
Has anything surprised you? The conversations have felt so natural—serious and critical in moments, but in other times silly and humorous. Ultimately though, it’s been relatable for the audience. I have had countless emails and messages from people saying how certain episodes resonated with them. Many people listening are either freelanc- ing or working from home and it can sometimes feel like you are the only one struggling with a particular problem—so the podcast has made many of us realise how our day-to- day challenges with working in a creative job can often overlap and hopefully that makes it easier to move forward.
3 Your discussion at FutureBook will include
freelance and in-house designers: what are the challenges and the differences around these roles? They both have their pros and cons—I personally have more experience freelancing than working in-house. Freelance can give you a lot of flex- ibility with moulding work around your personal life—it has enabled me to spend more time with my young family than I would otherwise. On the flip-side, you don’t have the security of a regular pay cheque and
sick pay. Common challenges that freelancers face is the “freelance fear”—that threat of work drying up at any moment, feeling isolated if you work on your own and struggling to switch off from work, either at the end of the day or when taking time off. Being freelance doesn’t work for everyone, but it works for me. I do miss working in-house
on occasion. There is something special about being part of a bigger team. I also found it inspiring to be surrounded by people who were so passionate about books and words. It’s been really interesting speaking with art directors on the podcast who have to balance the priorities and expectations from different departments within publishing—as a freelancer, it makes you realise how important art directors are within the publishing machine. It also feels like since the
pandemic, people have more flex- ibility to work from home sometimes, which enables them to restore a sense of work/life balance, but also keeps that sense of being part of a team.
4 AI is a particular challenge right now—what do you
think the industry’s approach should be to these developing tools? It is a topic that is constantly evolv- ing—quicker than many of us are often prepared for. I am actively making myself more aware of the possible ramifications. I can see potential benefits to designers and publishers of using AI tools to make certain tasks easier or more produc- tive. However, I hope publishers keep on valuing design and designers as more AI products become available that could threaten the jobs of many. AI in its current form relies on learn- ing from human activity—so while that is true, AI can only replicate what has gone before. I would challenge the industry to always evolve what a book cover looks like and do this by picking designs that are forward-thinking, fresh and surprising.
5 What’s the best thing about your job?
For me, designing book covers is the best job in the world. It allows you to be creative in such a variety of ways that feels truly unique. Many designers are introverted— myself included—so it allows me to be bold, witty and confident in a way that I often struggle to do in day-to-day life.
07
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36
