Jigsaw Jones Cover: Part 5, Jennifer the Art Director

At last, here’s the fifth installment of a series of posts following the creation of a single book cover. As I follow this trail, coming across talented, creative people along the way, I keep thinking of that scene in The Wizard of Oz, — “Pay no attention to that man behind the curtain.”

Because that’s exactly what we’re doing, demystifying the process. And maybe taking away some of the magic. But in place of magic, hopefully we’re shining a light on some of the fine folks who make the covers — while the author sits around and does nothing. In Part One, back in October, I interviewed Scholastic editor Matt Ringler, and we talked about the origins of the “cover concept.” For Parts Two and Three, we learned about cover illustrator R.W. Alley’s creative process, concluding with a lively chat with R.W. himself. In Part Four, we got to see the rough sketches. Exciting!

Now the process shifts back in-house, with the sketches on the desk of Scholastic art director Jennifer Rinaldi. We’ve gone from concept to rough sketch. So now let’s meet Jennifer and decide whether we like her or not find out a little bit about who she is and what she does.

Hi, Jennifer. How long have you been an art director? Is that a job you dreamed about as a little girl in pigtails?

I have been book designer and an art director for almost fifteen years, but I have always been crazy about books and reading. As I grew up I realized that a big part of what I loved about reading was not only absorbing a great story, but seeing the way the type and pictures were arranged on a page. It took me a while to figure out that this is what I always wanted to do, I had no idea such a cool job actually existed!

R.W. Alley has handed in several different sketches for the new Jigsaw Jones cover.

Do they go to you first? What now?

Yes, Bob sends me the sketches a couple weeks after getting the cover concepts. He usually sends a couple versions of the cover. I place them in a mechanical, which is a layout that shows all the type and the logos in place with the art. I usually choose the color palette at this point. With other books, I wait until I have final art before deciding the colors for the type, but the Jigsaw covers are so colorful I know I can’t go wrong! Also, we have done so many of them, I need to make sure we don’t repeat the colors, so I try to plan ahead.

Do you get to pick your favorite? Or is this a committee thing?

I will usually give my opinion, but I don’t get the final decision. The Book Club manager decides which sketch she likes best.

If you have selected a favorite, why? What goes into the decision?

As you have seen, Bob’s sketches are always really great, so it’s not an easy task to pick the best. Usually it’s just a matter of selecting which elements they want to highlight the most — and Jigsaw needs to be the focus, of course!

There’s an added complication with this book. This is a so-called “Spy and Solve,” a book that includes some kind of snazzy electronic gadget to (cough, cough) enhance the reading experience. That’s yet another element to stick on an already crowded cover.

I can’t wait to see this thing in person once it is actually produced! I will definitely get my hands on a sample “spy ear,” because I always wanted to be Harriet the Spy as a kid.

As a kid, I wanted to be the one driving the sports car in Go Dogs Go!

That’s a good one, too! Remember Are You My Mother? I just found my old much-loved copy of it in my parent’s basement, and had so much fun re-reading it.

Sure, I remember that book as a child and even moreso as a father who read that book aloud many times. It’s just about perfect. Interesting how one of our most cherished children’s titles is centered on probably our deepest, most horrifying fear — separation from the mother. The people at Disney know this well, because you see it over and over again, though not often with the same comic touch. But back to you!

As far as the cover goes, I still don’t know how we’re handling this; I imagine we will add a starburst to the front cover, with some clever copy written by editor Matt Ringler. Usually the people who design the Book Club newsletters (the pages and order forms that kids get in school) will add something into their copy, plus a picture of the gadget, to let readers know what cool item they will be getting with the book.

When the next step is ready, with all the design elements in place, could you please send me a sample? I’ve promised to keep my Nation of Readers abreast every step of the way. A riot can be an ugly thing.

No problem! I think this is a really fun interview series — if only I had read something like this as a kid, I could have spent many more happy years making books


NOTE: True to her word, Jennifer sent along this “sketch mechanical.” I appreciate everyone’s willingness to reveal unfinished work. It takes a certain kind of confidence to pull back that curtain.

Jennifer added in her note:

“l warn you this is really ugly! I haven’t selected the colors yet, these are just place-holders. An interesting note about this cover: we flopped the sketch, because it fit better in the layout. I haven’t actually heard from Bob if he likes this or not!

The notes from Matt requested that Jigsaw be slightly smaller and the skeleton a little larger. It should really pop in the beam of the flashlight. As you well know, our covers are reproduced really tiny in the Book Club news, so we really want the skeleton to stand out when it’s small.”


NOTE: Here’s some links to the all the posts in this seven-part series: One, Two, Three, FourFive, and Six, and Seven. Read them all and experience the awe and wonder of the creative, collaborative process!

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