On the Edge: Exploring Cookbook Spines

Howdy cookbook fans!

Long time no see! How’s it going? I am back from my trip and getting back into the swing of things. Today, that means a ton of BOOK DEALS, as well as the return of Frances Abrantes Baca to explore a facet of cookbook design—today we’re talking BOOK SPINES!

SPN HQ update! It has finally cooled off a bit (according to my phone it is 95 out right now, lol) which means soon I will have to do something about my planters (the something is called sheet mulching) which got super overgrown when it was too hot to function. Other than that, the biggest difference between now and this summer is the produce: it might not feel like fall outside, but you better believe I am cooking with cooler weather produce. Tonight it’s gonna be miso-glazed sweet potatoes, crispy tofu, and kale sauteed with kimchi. YUM.

Lots in store for you this fall—fascinating pieces from contributors, lots of fall cookbook releases, and a Big Announcement that I am just dying to press “send” on—but you’ll have to wait on all of that. Because now, first, the cookbook news.

The Creative Brief with Frances Abrantes Baca

When admiring a cookbook’s design, its cover gets much of the attention. However, a book’s spine is almost as important—sometimes more so—in attracting the eye. A well considered spine not only ensures a book’s durability, but it also uses every inch to beckon a reader to the shelf. In fact, spines are often the only part of a book seen in a store. Real estate on shelves is tight, and a “spine out” presentation—versus a “face out” presentation, where the cover faces outward—is the typical way a book is displayed.

So how do designers make a book’s spine “pop”? We have many tricks up our sleeves: big type, high contrast, bright color, art, and special printing effects. But what I’m really interested in are spines that not only compel us to pick a book up, but are executed with a skill that leaves a lasting impression. Sara Schneider, creative director at Chronicle Books, puts it aptly: “It’s not enough to be impactful in how spines communicate content. They should offer a peek at the content’s aesthetic point of view, and create a visceral reaction.”

Schneider’s design for the Ruffage, Grist, and Pulp trilogy is an excellent example of not only ...