It's more than an ocean that separates us:
Its white background is occupied by a flattened rendering of a lemon—a dulled yellow, dimpled oval with two small nubs, one, slightly smaller , one a little wider, more gently sloped . This common ingredient is a simple object—and shape, simplified.. The second word is printed in all-caps—in black, sans-serif lettering —across the lemon’s midriff; the first, the author’s last name, in a smaller font, with normal capitalization, rests just above.
The elemental quality of the wood, whose surface is mimicked in the printing for a tactile effect, and the one-pot dish are signifiers of simplicity. It’s less clever than the Ottolenghi, but the message is received. “It’s very striking and it’s very warm,” Henry said. “I think that image made a lot of people want to cook the dish.”
Where the two sensibilities converge is on what Stephanie Huntwork, an art director and book designer at Penguin Random House in the U.S., calls “author-in-the kitchen portraits.” In most cases, it’s the fact of the author’s already being a TV star that lands them on their covers, in their own countries. If they aren’t widely recognized by readers in other realms, their faces won’t be considered as effective selling tools in those parts.
It doesn’t stop at clams or tofu. “As I work, I am told things like ‘using a fish or hand image on a cover doesn’t sell,’” says Heesang Lee, a graphic designer who works on projects for Abrams in New York. In addition to these particular taboos, there are some general biases that steer each country’s respective cover design, even if they’re not always easy to articulate—or reflective of the individuals responsible for making cookbooks.
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