Drawing on the research, a selection of primary designs were created. I have a personal nostalgic connection to the book, as my Dad is a scientist and the book was always present throughout my childhood, and for this reason, these primary designs convey a retro aesthetic so as to be reminiscent of the groundbreaking period when the book was first published. Colour schemes were kept simple, primarily using black and white to represent the idea of space and depth. Reds and yellows were also used to add definition to the designs, as these are colours commonly used across science-fiction design.
Because of the iconic and highly recognisable nature of the book's title, these primary cover designs are all typography based. Also due to the nature of the subject matter, an decorative cover that attempts to illustrate key concepts of the book could reduce accessibility for new readers and individuals who are not yet comfortable with scientific concepts - minimalistic designs create an 'even playing field' for potential readers.
Three concepts using a box motif to symbolise the key idea that this book breaks down the science into 11 simple chapters that anyone can understand.
Two designs that continue the use of a noise pattern to simply replicate that imagery of stars in deep space
Three designs the represent one of Stephen Hawking's biggest achievements - helping to give a solid mathematical backing to the concept of black holes
Two concepts that play with the idea of space in design
A concept that utilises the aesthetic of an academic textbook
A heavily typographic concept that incorporates multiple typefaces, some modern and some retro, creating an integration of the past and the present
A more modern concept that incorporates the use of gradients to symbolise the expanding universe and the concept of time waves. Also an introduction to the colour red to ensure maximum impact in a book shop.
A retro concept that uses a metallic effect typeface that was often used in design throughout the 1980-90's, and again simulates the aesthetic of an academic textbook.
Feedback
Peer feedback for these primary designs concluded that although many felt drawn the retro aesthetics, as specified in the brief Penguin were particularly looking for a design that would appeal to a whole new generation of readers, and a design that could appear dated to a younger generation would not be as appealing. However there was positive feedback for the heavy use of typography. It as concluded that two of the concepts had potential to be expanded further (shown below).
The box motif received much positive feedback as it was felt that it portrayed the idea of simplicity and accessibility well. It was also found that the simple colour scheme and type treatment would appeal to readers both young and old.
Although retro, this design also received positive feedback and many found that it played off the recent re-emergence of retro-futuristic design