Penguin Book Covers - Marber Research

Creative Review

The Penguin Crime grid was created in 1961 by Romek Marber and was later used for the Fiction and Pelican Series showing its suitability for a range of applications . Marber wanted it to be functional and transferable which meant allowing enough space for the idea to be conveyed. Informed by the Swiss Style he aimed to find the simplest way for all the information to be portrayed.

When creating his images he focused on developing an idea rather than working towards an out outcome, allowing the process to create something new and therefore, leading to a better outcome.

During his time at the Royal College of Art he studied Graphic Design where you could study Illustration or Design. However he comments how he does not class himself as an illustrator which is interesting because this must have influenced him.

The practice of drawing allowed him to plan and formulate ideas and photography also was an important part in his process. His experimentation with different mediums allowed him to adjust and play with his images.

His work for the Economist had a minimal colour scheme of red and black with white space to create high contrast. The publication was printed using traditional letterpress which influenced the overall aesthetic and possible design outcomes. The covers reflected the culture and climate of the 60s which was concerning for many.

The designs were created all by hand with traditional techniques with the focus being on speed of production. This meant that he was not precious about his work and instead this allowed for more experimental work to be produced.  Through the use of simple materials in conjunction with one another and making use of what was around him allowed him to create his works. Photography played a key part in the creation of his work.

Penguin’s previous cover designs had a different layout from book to book which was creating a confused identity for the company. It was decided that the titles in the Penguin Crime books were to be brought together into a cohesive series using a new cover layout which would create clarity across the series. The design was structured for all standard elements to be placed similarly across books, with the image taking up three quarters of the design space which provided enough adaptable space for the image. This made the design functional for commissioned work from a range of disciplines and allowed enough space for an idea to be conveyed.  By having similar features across cover designs he was able to signify books by the same author.