cover: daredevil reborn #2 – jock

November 18, 2010



Interestingly, Jock noted that he had not been sure about this cover design and had left a possibility to change it. Why would this be?

It isn’t an easy cover, for sure. Abstract in composition, with a vivid yellow sky and a highly unforgiving anatomical position for our hero and no cityscape to draw the eye, this must have taken a bit of courage to put out. What makes the cover unusual also works in it’s favour. Personally, I prefer more abstract covers and this is verging on that, with it’s rusty zigzag composition (which is perfectly balanced). Commercially this ought to be a standout, too: on the shelf the face of the man without fear will always be visible. The cover is much lighter than much of what else is about and less fiddly, without being part of the mass of white covers, which I’m sure are on their way. The desert landscape (it’s Mexico?) is evoked in the background and the colours pick up on all kinds of things: heat and dryness and so on, but are also highly complimentary to the urban environment, where this will be bought and read (another commercial advantage). The image isn’t too long on black lines (people and things do not always have black outlines and they can be distracting), thankfully making this more of a colour-and-light-study.

This brings me to the main reason why I like this cover: its painterly quality. The image is just on the cooked side of raw. Right in the middle of the image sits a big slab of pure, raw colour, (just about cadmium orange), providing a foil for the dry brush work right next to it. This kind of blunt mark is quite a brave move and could be seen as quite incongruous, but somehow, not only works, but really helps with the story. With the use of colour and extreme contrast (yellow providing more contrast to black, then white) even when it is transformed to the size of a postage stamp, you can still see what is going on here. Despite this bluntness, echoing, the action of the character, the use of colour here is very subtle, with shifts in tone being perfectly handled (and existing, importantly). You could think that this was verging on the monochrome: it really isn’t. The more you look, the more you see.

If this was a risk, it worked. I hope there is more where this came from.



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