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Book Cover Illustration

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Good Egg, Beni Xiao

About the Design

The cover for this book of poetry (published by Rahila's Ghost, 2017) was drawn by Amy Frueh to reflect Beni's minimal, new-wave style and subtley capture the sensuality of the book. Amy drew inspiration from a poem in the book that asks the question: what if flies are rubbing their "hands" together, not to taste, as science tells us, but to plot? Amy thought the reversal of this question could also be interesting: what if humans rubbed their hands together, not to plot, but to taste?

Published 2017, Rahila's Ghost Press

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One of the original ideas for Beni Xiao's cover, and one of Amy's favourites. This cover was rejected due to a foot phobia, which is probably the best reason anyone has ever rejected one of Amy's covers.

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The Good Sister, by Cheslea Bolan

About the Design

The cover for this book was drawn by Amy Frueh to look like a mexican papel picado (paper cutout). She drew all elements of this cover using Adobe Illustrator and each image is an icon representing a person or an event from the novel.

Published 2016, HarperCollins Canada

Winner of the HarperCollins/UBC Prize for Best New Fiction

About the Design/Illustration

This cover was illustrated and designed for her good friend, the talented poet Adele Barclay using Adobe Illustrator and Photoshop. The illustration evokes the sense of fluidity, entanglement, entrapment, and the poet's own long, black hair.

Published 2016, Nightwood Editions

About the Design

The cover was designed using a stock photo from Getty Images, which was then duplicated to look like a double exposure. Soft rainbow hues were then added to lighten the mood of this otherwise dark cover, making it more appropriate for its target audience (young adults). A grit texture was added to the image to contrast against the clean sans serif type—juxtaposing old and new to give the cover a timeless feel.

Published 2017, HarperCollins Canada

 

About the Design

This cover option (not chosen) was hand-painted using watercolor and gouache by Amy Frueh, to fulfill the author's artistic preferences indicated by her cover comps. It is both modern (the woman's face is illuminated by a computer screen) and timeless (using traditional medium).