Posts Tagged: Kelly Howard

Guest: Kelly Howard, Cover Artist for The Bride Wore Blue and Twice a Bride

Kelly

You’ve been raving about the covers for The Bride Wore Blue and Twice a Bride, and rightly so.

Do I have a fun surprise for you!

Kelly Howard
Senior Designer

Today’s guest isn’t an author. But as a Senior Designer at WaterBrook Multnomah Publishing Group, Kelly Howard is a key member of my publishing team.

MONA: Kelly, thanks so much for joining us on Hindsight today. We’d like to hear about your journey as an artist. Who most influenced your pursuit of art?

KELLY: I was born in Buena Park, California as the second child in a family of four children. When I was four years old, my parents became missionaries to Taiwan. I lived there for seven years. While I was in the seventh grade, my mother was diagnosed with cance. We stayed in California while she sought treatment. Unfortunately, she passed away in my fourteenth year.

I spent a lot of my life in transition. We moved a lot and my interests changed as often as my circumstances did. As a child, my creative talents were mostly apparent in music. As soon as I was big enough to hop up on a piano seat, I could just play. My mother, who also played, was key in setting me up with lessons and finding places for me to play. When she passed away, I lost the motivation to keep working at music.

MONA: You definitely have many life experiences that feed into your art.

KELLY: I took my first art class in high school. The teacher saw talent and encouraged me to continue. I focused on fine art and even won a scholarship to an art school in Georgia. However, the tuition was ten times the amount of the scholarship, and seemed far too steep for a career in Fine Art. At the time, Commercial Art seemed too boxed in and intimidating. Ironically, I decided to become a hairstylist instead.

MONA: Yay for perceptive art teachers! Somehow it’s encouraging to hear about the circuitous routes other people have taken on their personal journeys.

KELLY: After about eight years as a hairstylist, I’d had enough of standing on my feet for long hours, working for people who expected miracles (My scissors did not have magical properties), and not using my artistic abilities to their full potential.

In search of something different, I went to Pikes Peak Community College and took the assessment tests that determined what type of Career would be good for me. According to the results, I should either be a graphic designer or a lab technician. I am notoriously clumsy and not very detail oriented. Clearly, Design was the better choice.

MONA: Wow, graphic designer or a lab technician? Those seem like polar opposites.

What education and training experience brought you to your current position at WaterBrook Multnomah?

The Bride Wore Blue (Before)

KELLY: I did a year at Pikes Peak Community College then landed a job with a photographer working as his sales associate and photo retouch specialist.

When I had progressed as far as I could at the photography studio, I took a job with WaterBrook as the administrative assistant to the Production and Art departments in hopes that it might turn into a design position in the future. The job was not creative at first but it was a foot in the door.

MONA: You’ve worked at WaterBrook Multnomah for eight years. How did you adanve from Administrative Assistant to Senior Designer?

KELLY: Mark Ford, my supervisor on the Art side, recognized my interest and talent for design. He encouraged me to try all aspects of the cover design process. He taught me everything I know. After designing my first cover, I was hooked.

Mark was very honest with me and told me that if I ever wanted the official title of Designer, I would need a degree. So I went back to school. This time I went to Colorado Technical University and received an Associates degree in Visual Communications.

I worked for about three years for both departments at WaterBrook as an assistant, went to night school full-time, and took on almost a full load of design projects. I even did my internship at Waterbrook with Mark Ford overseeing the process. When I turned in my portfolio, the Director of the Visual Communications Department was so impressed that she kept it to show as an example. I was lucky. Not many students are able to find on the job training with actual published projects, and with someone willing to mentor.

In 2006, we acquired Multnomah. In that year, I was promoted to designer full time under Mark Ford.

MONA: What is the mental and artistic process for designing the book cover for a novel?

The Bride Wore Blue

KELLY: We work a lot as a team here. We often joke that our covers are designed by a committee. I think that we balance each other’s strengths and weaknesses. We brainstorm a lot before we start our own individual processes. In our team of three, I am the only female. Because, I have an inside track to the female mind, I often work on a lot of the women’s fiction.

I start each project differently. Sometimes listing ideas on paper, sketching, or just searching online for images. But perhaps uniquely, I work from a place of emotion rather than from a specific starting point. When I played piano as a kid, I never knew exactly what I was going to play or how it would sound. My fingers moved on the keyboard based on what I was feeling. I design very much the same way. I am never sure where the notes will go. I just start playing until it comes together in something recognizable as a melody.

MONA: Wow…loved that imageery. You’re an artist, and a poet!

Kelly, what mediums are used most in cover design for today’s marketplace?

KELLY: Photoshop, Illustrator, InDesign, and Quark are the key programs we work with. I also often use a Wacom tablet so that I can draw with a pen rather than a mouse. This helps me create more illustrative looks. And of late, I have been doing my own photography.

MONA: What is your typical focus when thinking about the imagery for a cover?

Twice a Bride (Before)

KELLY: The setting, character, and theme all work together to create a mood, so I don’t always focus on just one aspect. I often have just a feeling in mind, and I start searching and playing around until I see the mood I am looking for. I sometimes find stock photos that inspire me or will work for a portion of the whole image. Other times I focus on the character and the mood I want her to portray. I often prefer to photograph a model myself because when I am looking through the lens, I often find what I am looking for. It can be hard for me to explain to someone else what that is.

MONA: Kelly, you designed the covers for The Bride Wore Blue and Twice a Bride. What can you tell us about the design process for The Bride Wore Blue and/or Twice a Bride?

Twice a Bride
The Sinclair Sisters of Cripple Creek Series

KELLY: For these covers, I found great images already created. One from a photographer in London (The Bride Wore Blue) and the other was a stock photo (Twice a Bride).

Both images were not exactly right, so I did a lot of manipulation in Photoshop. I used my Wacom tablet and painted on top of the photos to blend and paint the entire images to give them an illustrative quality. I often combine several elements into one finished cover. Twice a Bride had at least four images that I collaged, and then painted. See the before pieces attached.

MONA: What advice do you have for aspiring graphic designers and book cover artists?

KELLY: Be passionate and always keep searching. When you seek, the doors will eventually open but you have to keep looking.

MONA: Kelly, we so appreciate the time you’ve taken to give us a glimpse into your world of book cover design. Regardless of how well-written a book might be, a weak cover can keep it on shelves or warehouses. The careful work you do is critical. Thank you!

In closing, do you have a Bible verse that especially inspires you as an artist?

KELLY: “‘For I know the plans I have for you,’ declares the LORD, ‘plans to prosper you and not to harm you, plans to give you hope and a future.'” Jeremiah 29:11

Things have never turned out as I planned, but every road I have been down has led me to a unique place where God has been able to use my talents. Each experience has taught me something new that I have been able to use on the next path.

Click here to read Chapter One Excerpt, The Bride Wore Blue!

Click here to read Chapter One Excerpt, Twice a Bride!

What intrigued you most in Kelly’s journey or in learning about the design process for book covers?

Guest: Mark D. Ford, Artist for Two Brides Too Many Book Cover

two_brides 40

How much does a book cover factor into your reading choice?

It’s the first draw, right? (Forgive the artsy pun.)

Mark D. Ford, Senior Art Director
WaterBrook Multnomah Publishing Group

Today’s guest isn’t an author. But as the Senior Art Director at WaterBrook Multnomah Publishing Group, Mark D. Ford is a key member of my publishing team.

MONA: Mark, thanks so much for joining us on Hindsight today. We’d like to hear about your journey as an artist. Who most influenced your pursuit of art?

MARK: I was most inspired to be an artist by my father, a career Air Force officer. Although he was an administrator, he had a creative side. I loved to watch him sketch familiar cartoons. He even created a family logo and crest with our own motto: “Never Tease a Weasel.” The six of us kids were the weasels. I was the number three child–the rebellious one. Following my father’s lead, I’d draw cartoons endlessly, my favorite being Bugs Bunny. I even created my own comics.

Ironically, when it came time to choose a college path, my father directed me away from Art, toward a more serious degree—Business Administration. It may have been more about where a football scholarship would take me. With six kids in the family, I  needed the financial help to get through college. After graduating, without a clue what I wanted to do, I chose the excitment of the Air Force, and became a navigator in B-52 bombers. Six years later, unhappy with my career path, I left the Air Force to give a career in Art a chance.

About that time, I came across an article in Newsweek magazine, I believe. One of those “Top Ten Careers of the Next Decade” kind of articles. I read a profile of a guy who designed book covers for a living. I knew immediately that was it, and I enrolled in a local college for a degree in Graphic Design.

MONA: What training and/or experience brought you to your current position at WaterBrook Multnomah?

Out take from Two Brides Too Many photoshoot.

MARK: I was raising a young family, so I knocked out a degree quickly and landed my first design job at a scale manufacturing company. The scales you see in the supermarkets that weigh your fruits and veggies. I designed the scale dials, packaging, catalogs, and advertising.

MONA: Whew! What a relief to hear you were the designer for veggie scales, and not the kind doctors make us step on.

So . . . what happened next?

MARK: As soon as I could, I left there and found my first publishing job with a magazine that served the Christian marketplace. For five years, as I grew in my skillset, I watched thousands of products being pitched and presented in our magazines every month. Again, I was drawn to books. When a new publisher, WaterBrook Press moved to town, I jumped for a shot at a Designer position.

MONA: How long have you been with WaterBrook Multnomah?

Another Out Take
A box helped even out the models’ heights

MARK: I took the job offer as Senior Designer. Nine months later I became the Senior Art Director, running the Art Department. That was twelve years and several hundred books ago. Since then, we acquired another publisher, Multnomah Books, and together produce 70-100 frontlist books a year.

MONA: What is your artistic process for designing the book cover for a novel?

MARK: I enjoy the great variety of books for which we get to design covers. I would approach a nonfiction, self-help book much differently than an historical fiction title. And within fiction, a romance novel presents different challenges than a suspense thriller or YA (young adult) fantasy title.

Having said that, I still will often go to a sketch book and scrawl out a few quick ideas. Often, so sketchy only I could interpret it. Other times, I’ll do a tighter sketch to figure out placement and balance of items. But the computer is a great tool, and just as often I’ll jump in and start pulling elements together, usually in Photoshop. In either case, it’s preceded by doing some research on the book’s content, storyline, characters, etc., and coming away with some solid directions to pursue.

At WaterBrook Multnomah, we have a concepting meeting early on to meet with folks from Editorial, Marketing, and Sales. That launches our creative process. In the meeting, we discuss how to direct the book’s cover design, considering things like target audience, demographics, competition, and of course, author input!

MONA: Great answer, Mark, especially that last bit.

What mediums are used most in cover design for today’s marketplace?

An early composite for Two Brides Too Many

MARK: Cover design is taking place these days primarily using layout programs like Adobe InDesign, importing imagery from Photoshop and Illustrator–you can get all three by purchasing Adobe Creative Suite. Photoshop is a great tool, and original and stock photography are brought into Photoshop for touch up and manipulation. Often, multiple images are combined to bring about an overall effect that often times has to be ultra-dramatic to compete on the bookshelves. I think I counted about a dozen images that went into a recent fiction cover image I created for Liz Curtis Higgs.

MONA: What is your typical focus when thinking about the imagery for a cover? Setting? Characters? Theme?

A second composite for Two Brides Too Many

MARK: We’ve got to be accurate with the story elements on the cover. I’ll watch my wife reading one of our novels while flipping back to the cover repeatedly, and she’ll let me know if it doesn’t match the story. I often like to leave more to the imagination, having more vague imagery on the cover. But, the trend lately in Christian fiction has been to be more literal, showing a full face character, capturing a setting, and even timeframe on the cover. So, we pay a lot of attention to that as we’re developing the scene.

MONA: Mark, you designed the cover for Two Brides Too Many and worked with Kelly Howard on the cover for Too Rich for a  Bride. You’ve been involved with a lot of book covers since then, but do you recall any specifics from the design process for Two Brides Too Many?

 MARK: Working on Two Brides Too Many was a lot of fun for me. It was great to feature the local history of Cripple Creek, Colorado, just over the hill from us.

I knew I wanted to capture the feel of an Old West mining town with the Sangre de Cristo mountain range behind it. The tricky part was capturing the two sisters in a dynamic way. With this title, it seemed obvious to have the sisters both wearing wedding dresses on the cover.

Book 1
The Sinclair Sisters of Cripple Creek Series

I had found a couple of stock photo images of brides that I “photoshopped” together on the cover. I submitted this composite and got approval to go ahead with a photoshoot. We often have to do a “preview comp” so people can see what the finished product will look like before going through the expense of a photoshoot. We found a company, Oregon Shakespeare Festival, that rents 18th and 19th century costumes, and had two antique wedding dresses shipped to us for the photoshoot. Then we needed models. Through a talent agency in Denver, we found two girls who fit our character descriptions. “Kat” ended up being quite tall compared to “Nell,” which we remedied by having Nell stand on a box for the back-to-back shot.

I was a little nervous about the rental dress fitting Kat, so I brought my wife’s wedding dress as a backup. Julie, my wife, had her great-grandmother’s dress (circa 1865) completely remodeled for our wedding in 1985. We brought it along to the shoot, just in case. Turned out to be a good idea because the rental didn’t fit at all. Julie is 5’ 0” and Kat is 5’ 10.” Somehow we Julie’s dress work! As you can see from the finished product, we captured the Sinclair sisters’ personalities and attitudes. Our models did a great job.

Side note: My intention was to leave a little more to the imagination by cropping both girls just below the nose, but because their expressions were so captivating, we decided to show their full faces.

MONA: Mark, the cover choices you and the team made were spot on. Our Sinclair Sisters fans are captivated by the cover’s historical warmth and the girls’ intriguing expressions, as am I.

I’m remembering a story about one of the models and the flowers staged for the shoot.

A fun Out Take from the end of the photoshoot

MARK: We try to have fun on the set and after we shot a second option, basically a close up shot of the dress with the model holding flowers, we tried some different ideas. In one shot, we had Nell tossing the bouquet toward the camera while we tried to capture the roses mid-flight. You can only do this for a few takes before the roses begin to disintegrate. So we had a little game of pitch, shoot, and catch. Took some great shots—which we didn’t use, but we did end up using one of those dress shots for the cover of Too Rich for a Bride.

MONA: Sounds like fun.

Book genres seem subject to cycles. For instance: Not all that long ago historical fiction was a hard-sell. Not it’s “hot.” Are there also cycles in cover design?

Book 2
The Sinclair Sisters of Cripple Creek Series

MARK: In the twelve years I’ve been here at WaterBrook Multnomah, I have seen styles come and go. With the advent of Photoshop, it became much easier to composite images in a realistic and even hyper-realistic way. So, illustrated covers suddenly looked dated on fiction titles. I think we’ll start seeing that swing the other way soon. In Christian fiction, we’re seeing characters full face and large on the cover. I think that trend will shift in favor of more anonymous, vague characters presented on the cover.

Colors are an interesting challenge. Everybody wants a warm, inviting cover, but we can’t have a list of all orange and yellow covers. So we find ways of making blue and green feel warm.

 MONA: What advice do you have for aspiring Book Cover artists?

MARK: Take all kinds of design jobs. They all build your portfolio and experience. And they all have their unique design and creative challenges to solve. I think that’s why we design…we love the creative process.

MONA: Great counsel. Mark, we so appreciate the time you’ve taken to give us a glimpse into your world of book cover design. Regardless of how well-written a book might be, a weak cover can keep it on shelves or warehouses. The careful work you do is critical. Thank you!

In closing, Mark, do you have a Bible verse that especially inspires you as an artist?

MARK: I’m an outdoors person. I like to hike, bike, run, 4-wheel. I have two cars, both are convertibles. I’m inspired by God’s creation, and I experience it everyday living in Colorado.

The heavens declare the glory of God; the skies proclaim the work of his hands.

Psalm 19: 1

Click here to read Chapter One Excerpt,

Two Brides Too Many!

CONGRATULATIONS TO DIANA G, WHO WON A COPY OF TWO BRIDES TOO MANY IN THE MIDNIGHT DRAWING!

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