Дисертації з теми "Book covers – design"

In graphic design, colours can be used to communicate a message and attract attention. In book design, colours convey the content, just like they communicate the product’s information in packaging design. The purpose of this study is to analyse how colours have been used on book covers to convey the content, within the topic of health. A quantitative content analysis was made on the book covers of the top 11 bestsellers in Sweden. The colour theory analysis is based on Shigenobu Kobayashi’s work in Colour image scale. The result found that neutral hue was the one that was most commonly used. Additionally, the analysis revealed some correlation between the book content and the colour combination on the book covers. For example, a book related to finding happiness had a colour combination that matches a casual and natural lifestyle. Although the analysis offered some insight within the subject of colour and book design, further studies are needed in order to understand the extent of how colours are being used towards communicating the content.

Studiens syfte var att utforska hur bokomslag för självhjälpsböcker inom kategorin depression bör formges för att passa den specificerade målgruppens perspektiv och ämnets karaktär. Syftet besvarades med hjälp av fyra frågeställningar. Inledningsvis undersöktes teori och målgruppens preferenser i en förstudie. Därefter följde ett designarbete där författarna formgav fyra bokomslag utifrån förstudien: Bokomslag 1 (Bubblor) som fokuserar på ett abstrakt, personligt, modernt och dynamiskt uttryckssätt, Bokomslag 2 (Vattenfärg) vars gröna vattenfärgsmotiv går från mörkt till ljust för att symbolisera livets olika nyanser och skeden, Bokomslag 3 (Paper Art 1) vars motiv symboliserar att ta sig igenom det mörka för att komma fram till ljuset, samt Bokomslag 4 (Paper Art 2) som med sitt motiv väcker associationer till hav och fokuserar på att skapa en harmonisk och hoppfull känsla. Avslutningsvis utvärderades omslagen av målgruppen, där Bokomslag 2 och 4 fick bäst respons och ansågs mest lyckade. Den avslutande frågeställningen var övergripande och syftade till att hitta aspekter som kan vara viktiga att ta i beaktande vid formgivning av bokomslag inom kategorin. I studien kunde ett antal mönster utrönas i vad målgruppen värdesätter. Följande riktlinjer skapades därefter, som rekommendationer vid formgivningen: det är svårt men viktigt att skapa en balans mellan positivt och dystert i omslagets stämning; abstrakta motiv med en lämplig symbolisk koppling till ämnet är att föredra; det är positivt om bokomslaget sticker ut från mängden; målgruppen uppskattar omslag som känns estetiskt tilltalande, moderna och färgrika; linjära teckensnitt är att föredra då de upplevs moderna och tydliga; omslaget bör inte avslöja bokens innehåll och ämne för tydligt.

Mestrado em Estudos Editoriais
Although teenagers are taught to never judge a book by its cover, studies have shown that many teens do in fact make their reading decisions based on a book’s cover art (Jones, 2007; Yampbell, 2009). In this context, I considered it important to conduct a visual analysis of young adult book covers to determine trends in terms of imagery, colours and typography. To do so, I analyzed a selection of 50 books drawn from the list put out in 2014 by the Young Adult Library Services Association (YALSA) naming the Best Fiction for Young Adults, and I reached some interesting conclusions. In terms of imagery, the human body is the most predominant motif, in particular the fragmented body with the focus on the upper part of body, such as the face and the eyes. Including body pictures in a book cover is an effective marketing strategy since teenagers tend to create a personal relationship with protagonists. However, this practice can also objectify the human body and strengthen the idea that it can be manipulated (as it is, both by the designer and the reader). In terms of colours, it was hard to establish a trend since colour seems to be used at random in the book covers analyzed. However, it was possible to determine that black is by far the most used colour. Black can make a cover appear sleek and sophisticated and also makes the book appealing to both male and female readers because black is liked by both sexes. Lastly, in terms of typography, I determined that sans serif typefaces are the most used. Although decorative typefaces are the ones generally used in book covers, the cleanness, simplicity and apparent neutrality of a sans serif type proves to be the best choice for these covers as it creates a balance with the emotionalizing nature of its images and colours.
Desde crianças que ouvimos dizer que não devemos julgar um livro pela capa, mas a verdade é que muitos adolescentes fazem as suas escolhas de leitura com base nas capas dos livros (Jones, 2007; Yampbell, 2009). Neste contexto, considerei importante levar a cabo uma análise visual de capas de livros para adolescentes com o objetivo de encontrar tendências em termos de imagens, cores e tipografia. Para tal, analisei uma seleção de 50 livros da lista “Best Fiction For Young Adults” lançada em 2014 pela Young Adult Library Services Association (YALSA). Em termos de imagens, conclui que o corpo humano é o símbolo mais prevalente, em particular o corpo fragmentado focado na parte superior do corpo, isto é, a cara e os olhos. A inclusão de imagens corporais na capa de um livro é uma estratégia de marketing bastante efetiva, uma vez que os adolescentes tendem a criar uma relação pessoal com os protagonistas. Contudo, esta prática pode também transformar o corpo humano num objeto e fortalecer a ideia de que este pode ser manipulado, tanto pelo designer como pelo leitor. Em termos de cores, foi difícil estabelecer uma tendência, já que nas capas analisadas, a cor parece ser utilizada de forma aleatória. No entanto, foi possível concluir que o preto é sem dúvida a cor mais utilizada. O preto torna a capa mais elegante e sofisticada e torna o livro apelativo tanto para homens como para mulheres, uma vez que o preto é uma cor apreciada por ambos os sexos. Por último, em termos de tipografia, conclui que as fontes sem serifa são as mais utilizadas. Embora as fontes decorativas sejam geralmente as mais usadas em capas de livros, a simplicidade e aparente neutralidade de um tipo de letra sem serifa torna-se na melhor escolha para estas capas, uma vez que cria um balanço com a natureza mais emocional das suas imagens e cores.

This thesis is a preliminary investigation into graphic design in 1920s and 1930s Shanghai. I will look at creations of designs on the covers of books and periodicals most closely linked to new literary groups, for that was where a distinctive new idiom of design emerged. I will concentrate on a few figures, including Lu Xun, Tao Yuanqing, Chen Zhifo, and Qian Juntao. Biographical information for each is given, followed by preliminary analysis on some cover designs. Topics covered include artistic characters, the principles of tu'an (a particular understanding of design), and influences from Japan and the West.

Orientadores: Edson do Prado Pfutzenreuter, Ann Paula Silva Gouveia
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: As capas de livros analisadas nesta pesquisa foram criadas por Marius Lauritzen Bern para a editora Civilização Brasileira na década de 60 no Brasil. Marius Bern foi um designer brasileiro autodidata que iniciou sua carreira através das artes plásticas durante um período em que não havia a formalização do ensino de design no Brasil. Sua parceria com a editora Civilização Brasileira foi estabelecida através do editor Ênio Silveira no ano de 1965, após a saída do designer Eugênio Hirsch. No período de 1965 a 1970, Marius Bern permaneceu como principal designer da editora Civilização Brasileira. A Editora Civilização Brasileira pertencia ao editor Ênio Silveira, intelectual reconhecido no campo cultural brasileiro e importante na resistência contra a ditadura no Brasil. Ênio Silveira foi o grande incentivador das mudanças no design dos livros da editora. Em 1960 houve uma ruptura das convenções gráficas na cultura editorial e, portanto no mercado de livros no Brasil. Circunstâncias específicas relativas ao exercício da atividade no período em questão, como o modo de criação e o processo de produção disponível então, foram abordados de modo a auxiliarem no entendimento do discurso gráfico das capas. Através da análise foi possível identificar algumas soluções visuais recorrentes na produção de capas de Marius Bern, o que permite algumas conclusões sobre sua produção
Abstract: This research focuses on analyzing Marius Lauritzen Bern's book cover production for Civilização Brasileira, during the 1960s. Marius was a self-taught designer who began his career in visual arts, in a time when the teaching of Design had still not been formalized in Brazil. Marius Bern began his partnership with the publishing Civilização Brasileira in 1965, through its visionary publisher Ênio Silveira. He joined them right after designer Eugênio Hirsch had left the company, and from 1965 to 1970 he stood as its chief designer. Ênio - owner of Civilização Brasileira - was considered an important Brazilian intellectual in the national cultural field and also an important figure in the fight against the military dictatorship. He was also the staunchest supporter of the changes adopted by the company in its book designs. The 1960s mark a twist in the graphic conventions adopted by the publishing culture and, therefore, in the Brazilian book market. Specific circumstances related to the practice of the profession, such as the ways in which book covers were created and the production processes that were available at the time, were addressed to ensure a better understanding of the graphic speech of the covers. Through the analysis it was possible to identify some recurrent visual solutions in Marius' book designs, which allow us to draw some conclusions regarding his work
Mestrado
Artes Visuais
Mestra em Artes

Böcker är, trots ett generellt minskat intresse, fortfarande en viktig del av vårtkulturella samhälle. Att böckers utseende anpassas efter sin målgrupp är ingetovanligt men frågan är om även könet på författaren spelar in gällandeutformningen av omslaget.Syftet med studien var därför att genom en visuell innehållsanalys av böckerspocketomslag kartlägga de skillnader som återfinns på manliga respektivekvinnliga författares omslag.Denna undersökning har baserats på en visuell innehållsanalys där 200pocketomslag analyserades, 100 från svenska författare och 100 från engelskaförfattare. Dessa var därefter jämlikt fördelade mellan könen. I analysenreflekteras det över pocketböckernas motiv, dominerande färg, typsnittsfamiljersamt typsnittsfärger.Resultatet från undersökningen tyder på att kvinnliga författare har ettfemininare utseende på sina böcker överlag, och att svenska kvinnligaförfattares omslag uppvisade flest tecken på en femininare utformning. Det gårdock inte att utesluta att böckernas genre kan ha ett inflytande gällandeböckernas utformning, då det var svårt att precisera genren på många böckeröverlag.
Books are, despite a decline in interest, still an important part of our culturalsociety. It is not unusual for a book’s cover to adapt to its target audience butthe question stands whether the gender of the author functions as a part of thedesign equation as well.The purpose of this study was to through a visual analysis of paperback bookcovers map out differences found between male and female writers’ bookcovers.This study is based on a visual content analysis were 200 paperback coverswere analysed, 100 from Swedish authors and 100 from English authors. Thesewere then evenly divided between the genders. The analysis reflects over themotifs on the covers as well as the dominant colour, font families and fontcolours.The results from the analysis indicate that female authors generally got a morefeminine appearance on their covers, and that covers by Swedish female authorsshowed most signs of a feminine design. Alas, it is impossible to rule out genreas an important influence regarding the books’ cover design. However, as it washard to pinpoint the genre of many of the books analysed it was difficult tomake a distinct connection between genres and books’ cover design.

Orientador: Anna Paula Silva Gouveia
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Eugênio Hirsch (Viena, 1923 - Rio de Janeiro, 2001) é mais conhecido por seu trabalho na editora Civilização Brasileira na primeira metade da década de 1960. Sua atuação na editora do Rio de Janeiro foi marcada pela versatilidade de recursos visuais e pela ampla liberdade concedida pelo editor Ênio Silveira. No mesmo período produziu capas para a editora Globo, de Porto Alegre, em quantidade muito inferior, mas com a mesma liberdade e qualidade. Após passagem pelos EUA, Hirsch foi contratado pela editora madrilenha Codex como diretor de arte da Coleção Museus do Mundo, e retornou ao Brasil no final dos anos 1960, passando a trabalhar para a Livraria José Olympio Editora. Esta dissertação tem como tema central a relação entre o lettering e as imagens no trabalho de Hirsch. Essa relação é estudada a partir da análise das capas de livros produzidas por Hirsch entre 1959 e 1976. Dentro dessa amostragem abrangente são identificadas as características mais marcantes e recorrentes do desenho de letras nas capas do designer austríaco. Também é apresentada uma pequena amostra da produção de alguns capistas que atuaram no Brasil nas décadas de 1930, 1940 e 1950, fornecendo uma visão mais acurada da importância do trabalho de Eugênio Hirsch.
Abstract: Eugênio Hirsch (Vienna, 1923 - Rio de Janeiro, 2001) is best known by his work for the publishing house Civilização Brasileira in the first half of the 1960s, wich was marked by a large range of visual resources used with great freedom granted to him by editor Ênio Silveira. In the same period he made book covers for Globo, a publishing house based on the city of Porto Alegre. Although less expressive in number, these covers kept the same quality and freedom. After a short period in the USA, Hirsch was hired by Madri based publishing house Codex as art director, being responsible for El Mundo de los Museus collection. When returning to Brazil in the end of the 1960s, he begun to work for Livraria José Olympio Editora, in Rio de Janeiro. This research is centered in the relation between letters and images in Hirsch's book covers. This relation is studied by analizing the book covers made by Hirsch between 1959 and 1976. In this wide sampling, the most relevant and recurring caractheristics related to lettering and type in Hirsch's work are identified. Also presented is a sample of the graphic work done by some cover artists that had worked in Brazil during the 1930s, 1940s and 1950s, allowing a more accurate perception of the importance of Eugênio Hirsch's work.
Doutorado
Artes
Doutor em Artes

Today’s society is becoming more digitalised. Moving traditional printing to screen is becoming the new normal. Since the selection of ebooks is becoming larger and larger the publishers and authors must start thinking about their design to have better prerequisites than their competitors. The focus of this study will be an analysation of the best and worst covers of Amazon Kindle ebook cover design. Today, many self-published authors do not want to spend money on an ebook when they can design it by themselves for free and therefore they lose the impact that a good ebook cover have on the selling. The purpose of this study is to deduct which kind of design principles are more desirable, and how these design principles are presented. The study will contribute with knowledge to designers, both professional and unprofessional, what aspects of a book cover is important to consider to effectively compete for the consumers attention in the market. The research objective is to create a guideline for the creation of an ebook cover, which will create a more desirable product and add to the work flow efficiency. The most valuable currency people have today is time and money, and a design guideline will help those areas and make the process as quick and effortless as possible. Consequently, the purpose of this study will show concrete design principles for popular ebook covers which will help the designer to make wise decisions. To be able to fulfil the purpose, it has been phrased into one main question. What design elements are important to take into consideration when designing an ebook cover? To answer the research question eleven different appropriate applicable design principles have been chosen for analysation. Alignment, archetypes, colour, hierarchy, Horror Vacui, legibility, Ockham’s Razor, Picture Superiority Effect, proximity, Rule of Thirds and similarity. The thesis is based on the worldview constructivism. The term worldview meaning “a basic set of beliefs to guide action”. The constructivist worldview implies a belief where people seek understanding in a world where they live and work. They develop subjective meanings of their experiences which can be directed to certain objects. The thesis uses exploratory sequential mixed method, where the researcher begins with a qualitative research phase and explores the views of the participant. Mixed method is chosen based on the assumption that collecting diverse types of data provides a more complete understanding of the research problem than either quantitative or qualitative data alone. In conclusion, an analysation of covers from Amazon kindle have been made together with a guideline to avoid the worst of them. The guideline uses words and visuals to explain and point out important principles to consider when designing an ebook cover. It has a simplistic clear approach and the purpose of designing the guideline this way was to provide understanding to designers and non-designers alike. Since the sampling of ebooks have been broad, expanding over several genres, the guideline can be applied to ebook covers in general. This study contributes to the existing studies by providing insight into how design principles are applied to ebook covers and which principles are most important to take into consideration when designing an ebook cover.

Bokomslaget är ofta läsarens första möte med en bok och det är därför viktigt att bokomslaget tilltalar och sänder ut rätt signaler till konsumenten. Målgruppen unga vuxna, individer mellan 16 och 27 år, är enligt bokbranschen en grupp som är svår att nå. Svårigheten kan ligga i att det finns en viss okunskap i vad unga vuxna tilltalas av på bokomslag. Det är även en bred målgrupp med många olika sorters individer. Målet med denna studie är att ge en bild av vad målgruppen unga vuxna tilltalas av i ett bokomslag. Vi ville ta reda på hur viktigt bokomslaget är för val av bok, samt hur målgruppen ser på omslagets specifika designfaktorer färg, typografi, illustration, fotografi och efterbehandling. För att ge oss en bild av dagens kunskapsläge har litteraturstudier och intervjuer med formgivare av bokomslag genomförts. Genom en omfattande enkätundersökning och utförda fokusgrupper fick vi fram målgruppens syn och tankar kring bokomslag. Fokusgrupper utfördes för att ge oss en djupare förståelse rörande hur målgruppen ser på bokomslag samt ge oss ett djupare resonemang kring de olika bokomslagen. Resultatet visar att unga vuxna lägger stor vikt vid identitet och ett bokomslag bör således sända tydliga signaler som kan bekräfta läsarens identitet. Typografin ska vara lättläst. Målgruppen ser helst fotografiska bilder på bokomslaget och omslaget ska förmedla en känsla av bokens innehåll. Färger i en dovare färgskala tilltalar unga vuxna, rött och svart tycks vara de populäraste färgerna överlag. Efterbehandlingen (t.ex. lackering och foliering) på ett bokomslag bör vara sparsam och användning av färgen rosa lika så.
The reader’s first encounter with a book is through its cover. Therefore it is important that the cover is appealing and sends out the right message. According to book publishers, young adults (individuals aged 16–27 years) are hard to reach because of a lack of knowledge about what attracts them and because of the group’s diversity. The objective of this study is to show what young adults are attracted by in book cover designs, using an extensive questionnaire survey and two focus groups investigating their perceptions. The results show that young adults argue that a book cover must relate to the potential reader and corresponds to the reader’s identity. The typography should be easy to read. Photographic images are preferred and should depict the contents of the book. Unsaturated colors appeal to the target group – red and black seem to be the most popular colors, while pink is not preferred. Special effects (like varnish and foil) should be used with caution.

Syftet med den här uppsatsen är att introducera boktrailern som fenomen och marknadsföringsmetod. Likheter mellan boktrailern, bokomslaget och filmtrailern undersöks för att ge en bild av hur en "typisk" boktrailer ser ut och vilka funktioner den kan tänkas ha. Uppsatsen utforskar även boktrailerns möjligheter att nå ut till olika målgrupper i olika åldrar, samt pekar på svårigheter med att definiera en målgrupp. Ungdomslitteratur och fantasygenren kopplas samman med boktrailern och exempel ges på hur författare och förlag kan skapa relationer till läsare via Internet. Generella riktlinjer ges för vad som bör tänkas på för att tilltala flest potentiella läsare när en boktrailer används eller utformas. Boktrailerns förmåga att nå ut till unga, motvilliga läsare, som slutat läsa till fördel för bildbaserade berättarformer såsom filmer och datorspel, utforskas. Slutsatsen framhåller fördelarna med att marknadsföra böcker med ljud och bild.

The purpose of this paper is to introduce the book trailer as a phenomenon and method of marketing. Similarities between the book trailer, the book cover and the movie trailer are examined to show how a "typical" book trailer looks and what functions it possibly has. The paper also explores the book trailer’s prospects of reaching different audiences in different age groups. It also points to difficulties in defining an audience. Young adult literature and the fantasy genre are linked to the book trailer and examples are given on how authors and publishers can establish relationships with readers through the Internet. General guidelines are given for what should be considered to appeal to as many potential readers as possible when a book trailer is being used or designed. The book trailer's ability to reach young, reluctant readers, who have given up on reading to the benefit of image based storytelling like movies and computer games, are explored. The conclusion highlights the advantages of promoting books with audio and video.

This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.

碩士
國立臺灣師範大學
設計學系
103
Not only the content of a book but also visual experience of cover design is a key to attract attention from readers. Except attracting attention, book cover protects books, conveys messages, creates unique styles, brings sale and the value of collection, and reflects each generation's culture and fashion trend. This research uses book cover's layout design as the topic. I analyzed related literatures to discuss book cover's typefaces, images, colors and layouts and information of Golden Butterfly Award. Also, I integrated award winning book cover design work above Golden Butterfly Bronze Award from 2004 to 2014 for case study. And I concluded the data of how elements of layout design and formation principal are used. With elements of layout design, Ming typeface, Hei typeface, Serifs typeface, illustration, typefaces, black, white, high value and low chroma, and low value and low chroma colors are used commonly. With formation principal, horizontal, contrast, balance, and size principals are more often used for layout arrangement. After studying reference and case data, I will conduct a research on book cover's layout design.This study takes Elite bookshop 2014 top 10 sales books as the topic and redesigns those book covers. Finally, I will use conclusion and suggestion to conclude this creation research and hope this research could be used as a reference for other related studies. Not only is the statistics shows how elements of layout design and formation are used for book covers in the conclusion, but also is discovered in the case study that award winning works which have creative, original, experimental character could get identification easier. The statistics is important but could not be applied directly on the book cover design. External book cover design will present to the readers about the content inside the book. As a result, book content plays an important role while book covers are designed. In addition, other book design professions, except layout, can become the medium of visual aesthetic.

碩士
大同大學
工業設計學系(所)
105
In recent years, the number of new books published has been declining, but the number of new books publishers remains the same. The publishers concern about how to attract readers’ attention and increase the sales of books. One of the factors in drawing the reader’s attention is book cover design. Book cover consists of several elements and title is the most important element of them. For capture reader’s attention, the title could be emphasized by typefaces. Since hand-written calligraphy has variety of forms and infinite variation, the main title uses it could lend covers to garner attention. In this study, the book covers with Chinese titles in handwritten calligraphy were used as the experimental samples and which were distributed into four groups according to the book cover layout. In order to know the readers’ thoughts and preference on Calligraphy forms and cover layouts, this study was using a survey which included questions and statements The results show the factors affecting attractiveness are the size of the calligraphy font, the arrangement of reading direction, the legibility of font, the font color, and the position of pictures. While using hand-written calligraphy forms on main title, regular script and running-regular script are applicable. In addition to clean and readable, large font size improves the appearance of text. Moreover, while creating a book cover layout, less cover elements and horizontally center arrangement are appealing. Hence the structure and strokes of Hand-written Calligraphy are complicate and vibrational, graphics with complex lines or distributed over the cover will confuse and distract the focal point.

碩士
世新大學
圖文傳播暨數位出版學研究所(含碩專班)
98
The reason why a picture book is so fascinating is because that it is made with colorful, lively and easily understood words, which brings a world of inspiring and unlimited imagination to children. Picture books play an extremely important role during children’s early grow-up time. Beside the exceptional creative ability of the author to tell an appealing story, to attract the attention of children, the most important thing is making great efforts on the arrangement and design of book page layouts, especially “book cover”, for it is the first contact the children make with a picture book. If the children could fall in love with the picture book at first sight, willing to read it again and again, this picture book must be a very successful, impressive publication. Therefore, the purpose of this research is to investigate the basic elements which compose a picture book. By adopting content analysis, and experimental design and analysis, I try to find the best way to design a picture book, that is, how can we arrange the basic elements of a picture book— page layouts, style of fonts and size of books—to make children fall in love with it. After considering all the variables, I discuss how children value a picture book overall—by cover designing, legibility, and/or fascination the book has to offer, and I hope that the authors would find following conclusions useful when composing picture books for children: (1) Warm colors on the book cover are more effective than cool colors and pure black and white, while pure black and white is more acceptable than cool colors. (2) Printed fonts are better than artistic hand-writing, irrespective of the color of drawings on the book covers. (3) Horizontal text direction is more effective than vertical one, irrespective of the color of book covers: warm , cool, or pure black and white. (4) Ordered by reading preference, three most favored drawings are all composed of warm colors; three least favored ones are all of cool colors. (5) The result of this research shows that book covers with the combination of “warm color, horizontal text direction and printed fonts” (as independent variables) are children’s favorite.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
99
Human communicated with each other by language at first. After characters were created, books became the main transmission medium. Besides, with the invention of printing and the introduction of western book binding style, both let the book binding skills progress constantly, and show different aesthetic styles in every age. Current studies about cover-design mainly focus on magazine. However, there are few on Taiwan early literature book-cover design. Thus, the study will aim at Taiwan literature book-cover design during 1945-1987. Firstly, through the literature review, the research understands the early Taiwan cover-design and the relevant research to the study. Then, the research gathers the book-cover sample extensively by purposive sampling and field study. After sorting out the samples and using style-analysis to induct the character of forms and pictures of book-cover, the study finds out the evolution of Taiwan early literature book-cover design. Furthermore, the research deeply analyzes the connection between book-cover, literature and art-design trends in the basic of the sociology of art. The research finds that the equipment of printing confined the shows of book-cover deeply. Before the application of photographic color separation, picture were confined to one color or color process, and mainly performed with color-image, dark-color, handwrite words, calligraphy and partly in type. With the progress of printing, it shows gradient colors and blending. Besides, after the middle of 70’s, photographic style cover design was greatly prevail. Overall, the picture was closely related to the text; “direct-translation” was the mainly design method; and “metaphor” or “symbol” were also used. Sometimes, the writer’s image was put on the cover to appeal the customers. The skills of hand-painted book-cover combine Chinese traditional painting and western art techniques to make a unique style. Although there are different expressions in photographic style cover design, the diversification is still not enough. Though every press had its own unity of layout at this time, which styled the image of the press, they made the monotonic layout as well. In the period of hand-painted book-cover, the book-cover must be hand-made; therefore, the book-cover designers need more professional skills, and most of them were painters. After the multifarious of expression, writers, designers, and photographers, take part in the book-cover design. As to the different editions of books, they show how the edge influences the book-cover design obviously, and there are quite differences between press, even the same press. The pictures change to conform to different edges.

碩士
國立臺中教育大學
數位內容科技學系碩士班
102
In the digital era, the market of e-books and the related equipments has already matured. The cover is an important facade for an e-book. Based on observation, in addition to that the well-known science fiction authors can attract consumers, an ideal cover of an e-book may be able to improve its image; also, it is probably a key factor which influences readers to choose the e-books. Currently, the graphic designers seem to place more emphasis on subjective and emotional aspects of design, however, seldom use objective and scientific ways to evaluate before designing the covers. Therefore, in order to understand the cognitive preferences of readers and to investigate the factors which associated with the design, designing covers to fit readers’ preference should be one of the interesting problems which remain to be solved. Using the science fiction e-books as an example, this research adopts multidimensional scaling analysis to explore readers' preference toward the e-book covers and its features, becoming a standard of designing the covers, and using Mandala Thinking to generate creative concept before designing. After collecting the literature, the data shows that the covers of e-books and traditional books display differently in various platforms. Through experimenting, analyzing, summarizing, designing, and verifying during five research stages, the results of empirical research is,（1）The features for preference of e-book covers are “dark scenes”, “strong contrast of light” and “multi-level elements”;（2）The subjects' preference for covers are the forms of “unknown elements”, “fictional scenes”, “cool colors style”, “ perspective composition”;（3）Meditating the images and the titles of e-books, Mandala thinking can be a source of inspiration for innovation;（4）Multidimensional Scaling can assist designers to objectively, rationally contemplate the thinking steps of every stage before execution; to achieve better outcomes of cover design step by step. The goal of this paper is to provide the authors of digital publishing, cover designers or related industries in the research and design.

碩士
國立臺灣藝術大學
視覺傳達設計學系碩士班
100
Besides verbal communication, another important vehicle for knowledge passed down from generations is book. The quality of book can be judged by the design of the cover; as the saying goes “Book cover is the appearance of the book, and the cover design is the overall binding and layout design art”, book cover not only reflects the content and the quality of a book but also affects the purchase intention and interest of the customer. The present study aims to explore the current cover design style by analyzing the publication situation in Taiwan. Considering the late start of Taiwan design industry, the samples of 230 copies of visual design books published from 1981 to 2010, which present the benchmarking process of the industry, are chosen. By applying the method of content analysis, the research collecting and analyzing the subject matter, manner, style and editing from the samples, then, a questionnaire survey was conducted to understand the what kind of impression and image the participants receiving from the covers and the influencing preference factors engaging. The result indicates that the three factors influencing the participants’ impression and feeling are attractiveness, regularity, and aesthetic. General image easily perceived are of clean, balance, bright, simplicity, and personalized. After analyzing the participants’ attributes, few significant discrepancies were found, for example, participants with design background and participants of age range 21 to 30 detect more difference than partisans without design background and of other two age range. Keywords：Visual Communication Design Book, Cover Design, Form, Style,Image

碩士
台南應用科技大學
應用設計研究所
100
When graphics become a kind of social form, in the resultant impact, its scope of application and methods of making drawings will become more extensive, following the advances in technological development. A single innovation of drawing, however, is rarely seen. Graphics have a unique and powerful visual ‘language’ style; its composition is abundant and complex, and it has often been used on the cover designs for books dealing with fantasy literature. Its modes of expression have transformed the world of the painter and it offers the scope of greater expression in regard to what the artist wants to say. This study aims to understand the drawing cover design of fantasy literature books. Firstly, related literatures and samplings were collected and analyzed by using content analysis for composition and layout of the sample cover design after sample list. It takes an individual-sampling strategy of fantasy graphics and colours which infered that the main layout method is on the cover design of fantasy literature books. The study explored that whether the contained meaing of the graphics on the cover design of fantasy literature books corresponds to the outline frame of books and has the fuctions to express the plot by using textual analysis and comparing research sampling of graphic. The results showed that the cover design of fantasy literature books is usually used the style of unique calligraphy and darkness color. The results showed that transmit of graphics showed that if the main role of the story or its relevant groups or opposing characters can transmit a simple and clear message, then they would comprise the significant design of the cover. In principle, part of the contents or main role and animal relationship will be taken as the main editing, even if the cover design is based on multiple factors or is in an abstract form which cannot convey the message to the readers. It is hoped that the conclusions can provide reference, as a new idea, for the cover designers of the publishing companies for the fantasy literature books.

碩士
銘傳大學
商業設計學系設計創作與研究碩士班
104
Human beings have recorded messages with text and symbol since ancient times and books are those text and symbol’s carriers. Also, books are one of the important transmission media for human beings’ communication. We learn and broaden our horizons from them in our lives constantly. In addition to the book design, the book-cover design is the first impression for the readers. Through book-cover design, readers and consumers are tempted to have interest in reading, making known the book itself. 　　Tea is one of the numerous local special products in Taiwan. In order to increase consumer’s indemnification and establish international reputation of the tea business, the Council of Agriculture has implemented eight certification marks of place of origin of tea products to facilitate foreign trade since November, 2012. However, in the promotion of Taiwan tea, most of the book-cover design are mainly photographic pictures. This study aims to make Taiwan tea known to the public and to promote tourism industry through creating different tea’s book-cover design with application of text and illustration. 　　Using Taiwan tea as a topic, this study aimed at designing book-cover and content through literature analysis, case analysis and field work. The related literature and tea’s book-cover cases were collected. Their cover-picture composition, technique and way of design, representation form, text and color were analyzed and generalized. These contributed to the source of the creation reference. Three books namely, "Tea & Tea Ware", "Tea in Life", "Tea of Taiwan" with book-covers and contents, using documentation and style expression as a technique of design, and adjunction and composite performance as a way of design. Unlike the current book-cover design which used photographic pictures mostly, all the creations in this study were presented by illustrations, as a breakthrough in tea book design in the current market, and to show the goodness of Taiwan tea to the readers by creating different aspects of tea book.

Petra Bolková will be examining in her thesis the evolution of photography used on book covers in the 1960s; the period marked with certain political and cultural liberation. This study will attempt describing systematically in what ways certain artists and writers collaborated and what the difficulties of these collaborations were. It will also be examined how the author of a book and the artist delegated to design the book cover; the initial advertisement for a book, were influencing each other. What is more, the extent to which the graphic art reflects the content of the written word will be studied. Book covers became a covert space for experimenting with or even establishing new trends in the 1960s. Books covers became a new, independent fine art discipline which, essentially, was censored or criticized only occasionally. The goal of this thesis will also be gradually finding the numerous common grounds between photography, book typography and the final design, as photography and photomontage were used on book covers more frequently then classic original illustrations. Last but not least, this thesis will be looking at what emphasis was put on the visual side and how it was conditioned culturally or politically ect.

碩士
國立高雄師範大學
視覺設計學系
99
This research had designed some book covers with the comprehensive understandings of the design format of the book covers and analyses all the designs of book covers from the Golden Butterfly Award in Taiwan. All the designs of the domestic and the overseas literatures had been created after fully reading the contents and connotations, showing the implications from those books. Moreover, this research analyzed the original book covers and the covers the researcher created, developed new looks of all those literatures. As to the exhibition design, this research demonstrated the book displays the book covers by irregular arrangement of the books and book packages, to show the audiences a whole new experience and perception. In the process of designing the book covers, this research also found that in Taiwan the interpretations of the contents for the book cover design has been weak so far. The research suggests that the performance and strength of visual design should be considered during the design process, and look forward to provide the book cover design with more levels and a deeper meaning. Based on the above, the research can offer the publishing industry and the designers as a reference for future book designs.

The theoretical part of the thesis in his first chapter of the book deals with a phenomenon that accompanies since its inception and how it affects us the literary world. The next phase will analyze literary types and origin of fiction itself, which strongly supported the reading culture and to encourage the creation of rights bestsellers. The next section will focus on the book and its difficult journey from writer to designer, printers and finally to the reader. The next phase deals with books in physical and electronic form, the reader walks of life and then directly bestseller term, as the current phenomenon of literary culture. Then represents one of the writers Dan Brown and his books of content and visual aspects. The last part will deal with the linking book design and art education in the practical part of the thesis description of the treatment, resulting arises file publishing a collection of selected books by Dan Brown.

碩士
國立屏東大學
幼兒教育學系碩士班
104
The main purpose of this research is to understand what are the parents and childrens’ purpose in chocing covers of picture books.This project was based on reading resaerch articles and collecting data by interviewing parents and children, then give further advice to researchers, parents, picture books designers and publishers who want to do more research on this topic. The research project was based on Qualitative Research Methods which divided into three parts: 1.Type of picture books which includes design, binding, material and the art style of the pictures. 2. The cover design elements in picture books which include the fonts in a picture book, the way how to use art meterial and color effenciently. 3. The cover layout in picture books need to be more creative and lively, therefore; the topic of the picture books will be more clear . Accroding to the restult after interviewing parents and their children with the age between 4-7.The parents, teachers, publishers, futher researchers and the authors of picture books were given some realted suggestions.

Descreve-se, no presente relatório, o processo de investigação e contextualização, mas também, o percurso realizado ao longo dos cinco meses de estágio no Labcom.IFP, unidade de Investigação Científica da Faculdade de Artes e Letras da Universidade da Beira Interior. O relatório está dividido em quatro capítulos distintos, mas que se complementam para uma melhor compreensão do processo de trabalho. No primeiro, realiza-se um levanta-mento de conceitos cuja compreensão ajuda na fundamentação, explicação e contextualização do trabalho realizado. No segundo é feito o enquadramento do estágio, justificando a escolha do local onde foi realizado e apresentar o cronograma que o estruturou. No terceiro, de carácter mais descritivo, procura expor-se todo o processo de criação associado à realização dos materiais que apoiaram o evento “Teoria dos Cineastas”, projecto destacado no âmbito de todos os trabalhos realizados ao longo do estágio devido não só ao seu grau de complexidade, como à autonomia proporcionada ao estagiário na sua resolu-ção. Ainda assim, considerou-se importante mostrar os demais projectos nos quais o estagiário colaborou, sendo esse o objetivo e conteúdo do quarto e último capítulo.
The present report describes the research and contextualizing process, as well as the jour-ney represented by the five month’s internship at LabCom.IFP, the scientific research unit of University of Beira Interior’s Faculty of Arts and Humanities. The report is divided in four distinct but complementary chapters, to allow a better un-derstanding of the working process. The first chapter focused on gathering a set of con-cepts that will be crucial to fundament, explain and contextualize the accomplished works. The second chapter presents the internship, justifying the election of LabCom.IFP to do it and presenting the timetable that structured and organized it. The third chapter, of a more descriptive nature, aims to exhibit all the creation process associated with the mak-ing of the materials that supported the event “Teoria dos Cineastas”, project we decided to highlight among all the developed works due not only to its complexity, but also to the autonomy given to the intern in its entire resolution. Nevertheless, it was considered im-portant to display all the projects in which the intern has collaborated, which justified a fourth and last chapter.

Tese no âmbito do Doutoramento em Arte Contemporânea, apresentada ao Colégio das Artes da Universidade de Coimbra.
As capas dos livros são uma presença ubíqua na nossa vida, seja na esfera privada, social, profissional escolar, lúdica ou de outra natureza. Onde há um livro em papel há sempre uma capa a abraçá-lo. Desta forma, a par com os livros, as capas têm vindo a ser superfícies de registo e exibição da sociedade em que vivemos, reflectindo as suas ideias — feitas ou revolucionárias —, os seus gostos, tendências, convenções e inovações, espelhadas em textos, imagens e efeitos visuais e sensoriais. Podemos vê-las também como um objecto que reflecte a emergência do próprio Design Gráfico enquanto disciplina desejavelmente principal. Assim, é à luz do Design Gráfico que esta investigação procura ver, através de um olhar demorado, as capas dos livros, numa abordagem poliédrica ao tema. O trabalho que aqui se apresenta é composto por três partes — duas teóricas e uma prática — pelas quais são distribuídos cinco capítulos sempre iniciados com a formulação de uma pergunta e no fim dos quais são obtidas conclusões. A primeira parte é um exercício de dúvida e reflexão, dizendo mais respeito à Filosofia do Design. Nela são consideradas as capas dos livros enquanto tema e os diferentes papeis que elas, e os seus designers, podem desempenhar no processo de circulação e consumo do livro. Na segunda parte, mais respeitante à História do Design, é descrito o surgimento e evolução das capas dos livros, enquadrando-as no espaço e, sobretudo, ao longo do tempo, numa história paralela à dos livros e dos homens. Simultaneamente, e de modo algo independente, é desfiada uma linha do tempo visual construída apenas com imagens de capas de livros — ou seus equivalentes como, por exemplo, folhas de rosto — que proporcionam uma espécie de viagem no tempo visual ao longo dos diferentes e consecutivos momentos, e movimentos, da História do Design espelhados nas capas. Ainda nesta parte é feito um enquadramento da realidade nacional, dando-se particular atenção aos casos portugueses considerados mais relevantes nas décadas de 40 a 70 do séc. xx. Na terceira parte, que é a parte prática, é apresentado e fundamentado um questionário para capas e feita a sua aplicação às capas de seis casos concretos de autores gráficos portugueses para que, através delas, possamos saber mais sobre a prática do design de capas em Portugal nas décadas de 1940 a 1970, mais especificamente, distinguir que tipo de abordagem ao desenho de capas foi o escolhido pelos seus autores. A fechar a dissertação são apresentadas as conclusões específicas obtidas ao longo dos cinco capítulos num texto que as articula e relaciona de modo conclusivo e final.
Whether in the private, social, professional, school or entertainment spheres, book covers are a ubiquitous presence in our lives. Wherever there is a paper book there is always also a cover embracing it. Therefore, as is the case with books, book covers have become a registry and exhibition surface of the society in which we live in, reflecting its established or revolutionary ideas, its tastes, trends, conventions and innovations, mirrored in texts, images, visual and sensory effects. We can also look at book covers as objects which reflect the emergence of Graphic Design as a major craft in itself. Thus, it is in the light of Graphic Design that this research seeks to attentively look at the book covers, in a polyhedral approach to the theme. The work presented here is composed of three parts — two theoretical and one practical — spread throughout five chapters which always begin with the formulation of a question and end with conclusions. The first part is an exercise of queries and meditations, pertaining more to the field of the Philosophy of Design. Book covers as a theme and the different roles that they, and their designers, can assume in the process of circulation and consumption of the book are considered here. The second part, more connected to Design History, describes the emergence and evolution of book covers, situating them in relation to space and especially over time, with a parallel to the history of books and mankind. Simultaneously, and somewhat independently, a visual timeline is build solely with images of book covers — or their equivalents, such as cover pages — providing a visual time travel across the different consecutive moments and movements of the Design History as mirrored on the covers. This part also includes a framework of the Portuguese national reality, giving special attention to the Portuguese cases considered as more relevant in the years of the 1940’s to the 1970’s. In the third part, which is the practical part, a questionnaire for analysing book covers is presented and applied to the covers designed by six specific cases of Portuguese graphic authors, so that through them we may learn more about the practice of book cover design in Portugal in the 1940s to 1970s, and more specifically, to distinguish what kind of approach to book cover design was chosen by these authors. Closing the dissertation is a presentation of all conclusions obtained over the five chapters, in a text that articulates these findings and relates them in a conclusive and final form.