Book Jacket: Part Deux

Last night my granfather e-mailed me with revisions to the book-jacket I posted yesterday. As the case in most situations, the revisions dimished my preferences with this project as a designer. At first I felt like exploding, but after much thought (And re-reading the chapter in "How to Be A Graphic Designer Without Losing Your Soul" on a freelancer's constant battle with client revisions) I cooled down and gave in. I figured, I might as well try and find a solution that makes sense to both ends. My grandfather, a professor/author born in Spain, thought a more simplistic approach with the illustration would be best. After dragging my feet a bit, the design below came to fruition.

This design keeps the standard framing technique I came up with for the last design, as I thought it was the best solution to contain the centralized illustration. I changed the illustration to a less intricate, more standard tree and added a subtle sunburst in the background (as per the client request). I wanted to still keep a sense of intricacy, and I decided on creating a sense of growth/movment/kinetic energy in the roots. I changed the type treatment quite a lot in this one as well.. This book is going to be sold in latin american countires, and I needed a font that was strong and exuded an old latin sensibility. the solid geometric shape seperating the title and the author name was also added after seeing it used as a solution on many old latin american advertisements. I really wanted to have this represent a sense of old and new latin design feeling.