Like most of the rest of the book, creating the cover for More Than Two was something of an adventure. We’re quite pleased with it, and so are most of our readers—the response to it has been overwhelmingly good. We thought you might enjoy knowing a bit more about the process that took us to the final cover, as it says a lot about the evolution of our own thinking about polyamory and the book itself.
About a year and a half ago, in one of the first posts published on this blog, Franklin wrote about why we decided to change the More Than Two logo from the image he’d used on the site and his own LiveJournal blog for years: three people working together on a heart-shaped blueprint. He was responding to an idea we developed later in the book: relationships are grown, not built. So he revised the logo slightly (and very quickly), so that the three people were working on a garden, not a blueprint:
© Franklin Veaux 2013
Of course, as many people commented there, there were a lot of things wrong with the second image (for one, you don’t use ladders to work on gardens in the air). And certainly, it was no book cover. We were also troubled by the “polyamory is a closed triad” stereotype that the image seemed to promote—we’ll come back to that later.
During last year’s crowdfunding campaign, we bought a stock image to use in our social media and marketing materials, building on the idea of “growing” love:
In December, we shared Franklin’s post about the two images with our cover designer, along with some additional feedback: we wanted to move away from the idea that poly is a couple opening their relationship, or three people in a triad. We wanted to make the book accessible to people of a wide variety of poly persuasions, and to give people new to poly the idea that there were lots of configurations available.
The designer we were working with at the time, Vanessa Rossi, wasn’t also an illustrator, so we started out trying to see if we could find some stock images, or illustrations we might be able to buy, that fit the bill. Vanessa filled a Dropbox folder with images, and we picked a few that were headed in the right direction, but not quite right:
Images © Rene Campbell 2013; Shutterstock/Cienpies Design; 123RF/Olga Ieromina
Of all of these, the people-tree was the best, but the couple-plus-child wasn’t the right base. In fact, we were worried that any image involving more than one person as the trunk would invoke the couple-centric idea that becoming involved with someone who is already in a relationship is “entering” that relationship, or else imply a default primary-secondary model of relationships. We decided the trunk needed to be a single person, with deep roots (the self-work we stress in the book) sustaining many loves.
So Vanessa did a second round of research:
© Stockfresh/cienpies; Shutterstock/Lindwa; Depositphotos/cienpies
Closer—so much closer—but still not there. We could get one person as the trunk, but no people in the tree, or people in the tree, but no person as the trunk, but not both. At that point, Vanessa advised us to hire an illustrator. We were fortunate enough to be able to engage the very talented Paul Mendoza, who reviewed the research done so far, as well as the blog post, and came up with some quick sketches.
© Paul Mendoza 2014
We liked the colours in the top right thumbnail, but wanted something less stylized and more like a watercolour painting, more akin to the lower right. I had imagined the trunk and roots fairly rich in detail, something like Mercer Mayer’s depiction of Father Forest from East of the Sun and West of the Moon, one of my favourite childhood books (seriously, it’s beautiful—buy it).
© Mercer Mayer 1987
We also went back and forth about the hand-holding figures in the top right image. One of the things Franklin had liked about his original images was the sense of everyone working together to build something. At the same time, we were afraid that having all the beloveds holding hands would, again, promote a stereotype: of closed-group polyamory, “polyfamily,” group intimacy or polyfidelity.
We had both grown quite wary of the “polyfamily” concept as a normative model as opposed to one option among many. Not everyone wants that model, not everyone who wants it is able to create it, and not everyone can be close, or even get along. All of that’s normal, and people in poly networks need to learn strategies for building relationships that work within the particular dynamics of the people involved. We didn’t want a cover that implied that the circle of happy people holding hands was what poly is “supposed” to look like, and people who don’t achieve that are somehow doing it wrong. So, no hand-holding. But Franklin has on a few occasions since then expressed some wistfulness that the cooperative sense of the early images was lost. In retrospect, it might have been nice to have had some people in the tree holding hands. But the cover as it is offers a snapshot of where we were in our thinking at the time, as we worked to integrate our new insights about polyfamily and consent into our own ideals about polyamory.
So Paul tinkered a bit, and came up with a more detailed “painting” (in quotes because he created it digitally):
© Paul Mendoza 2014
At this point, we (well, I) decided to post the work in progress to the More Than Two Facebook page. That turned out to be a mistake. I’d intended it to be a “whee! Look what we’re doing! Isn’t it exciting!” post. Our readers understood it as a “Hey, look what we’re doing, we’d like your feedback and input!” post, and we immediately got an onslaught of comments and suggestions, many contradicting each other or our own creative vision. Many commenters would have had us essentially go back to the drawing board—likely thinking that this was just a rough concept sketch, and not the culmination of what was, at that point, several months of research and revisions.
After some discussion with Paul of the feedback we’d gotten, he offered the following sage advice:
The moment we allow Facebook posts to become the art director, we enter an new type of hell. One thing we learned a long time ago is to never post pre-production work as it was being done, just as an after its done insight into the process. Otherwise we suddenly got far too much advice. It can be helpful to an extent, but you can never make everyone happy.
So, concerned that we were miscalibrating expectations by posting the work in progress, we took down the post. We had gotten some useful feedback in the process, though: the drawing was too diffuse and floaty, too grey and “haunted”-looking. And most of this mirrored what we’d already been thinking: we knew we needed more detail, brighter colours, and a sharper “face” in the tree.
And so, after further adjustments, we ended up with the final image:
© Paul Mendoza 2014
Then came the typography, done by designer Mari Chijiiwa (after Vanessa left freelancing for a full-time animation career), who also created the book’s interior. That was yet another journey, and one I won’t go into here. However, you may notice that the image on the illustration above is flipped from what’s on our final cover: this was done because of typographical considerations. That was harder than it seems, because the background had been painted to match the tree, and it’s resulted in no end of trouble as we try to hunt down and remove any last remaining instances of the earlier draft cover, with the reversed tree, still lingering out there on the Web.
And at last, we had the beautiful, eye-catching design you see on the cover today:
Image © Paul Mendoza / Typography © Thorntree Press 2014
We’re incredibly grateful to have had the chance to work with the many talented people who helped bring our vision of the book to life. Our thanks go out to Paul, Mari and Vanessa for their part in making More Than Two a success.
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