In a previous post I noted that many of the covers from the 1980s were simple and bold, as if perfectly designed to work as ebook covers in thumbnail. In contrast, many of the bestselling covers from the 2010s were complicated. So what factors allow a complicated cover to also work in thumbnail?
Patricia Cornwell’s Port Mortuary has a detailed colour photograph and small text. The photograph has various colours and details in the texture while the text is thin. There is great potential for this cover to fail in thumbnail but it succeeds. The font is a geometric modernist font without serifs or modulated stroke so it remains clear and legible even at a small size. The black shadow in the photograph is cleverly positioned behind the white text making it stand out. The tiny figure in the background is also silhouetted against the sky, helping to keep the image clear. The knife in the foreground is large enough to be visible even in a small size. The detail is only detail of texture. The detail is interesting and evocative in a large size, when the viewer can make out the sea, clouds and the blood splash on the knife, but none of these features are necessary to understand the composition of the cover. In a small size, the knife and the silhouette are still clear and visible, the blood stain has vanished. The quote at the top is legible in a large size, but in a small size it gets lost in the cloud and is not a distraction.
This is the secret to scaling complicated covers: the details that are visible in the larger version and invisible in the smaller version should not be necessary for understanding the picture. The Forest of Hands and Teeth achieves the same effect as Port Mortuary. The creepy details of the trees, the texture of her shirt and the whisps of her fly away hair are all lost in the thumbnail – but the overall mood of the picture is still clear and comprehensible in her lowered head, floating hair and the subdued colour scheme.
Terry Pratchett’s Guards Guards is a perfect example of a cover which does not work in thumbnail. Josh Kirby’s artwork is a perfect fit for Terry Pratchett’s novel. The novel works on many levels, as a straightforward adventure, as a witty comedy, as a satire of fantasy conventions and as a police procedural. Josh Kirby’s artwork reflects that: the cover is grotesque and amusing, frenetic and detailed. In thumbnail the characters in the lower left become a jumbled mess, while the baby dragon and the sea gulls are lost entirely. It’s hard to make out the basic narrative of the story, a drgaon attacks a group of men, which is obvious in the larger size.
Fantasy covers have traditionally been complicated and colourful. The trend towards simpler covers in the fantasy genre is something I will discuss in a later post.