Paula Becker‘s Looking for Betty MacDonald, the first comprehensive biography of this endearing Northwest storyteller, reveals the story behind the memoirs and the difference between the real Betty MacDonald and her literary persona. In this guest post, designer Thomas Eykemans discusses the process of creating the cover in collaboration with the author and Seattle artist Tom DesLongchamp. He also shares the creation of the covers of three new editions of Betty’s memoirs, Anybody Can Do Anything, The Plague and I, and Onions in the Stew.
There are a million photographs of Betty MacDonald and any one of them could have made a great book cover. The portrait of a beaming bang-free Betty (below, lower left) was inset on many of the covers of her books when they were first published, and Paula describes how this particular image of her was perhaps the most familiar. Regarding The Egg and I:
After only a few months, Lippincott moved Betty’s appealing head shot from the back cover to the front, ditching Bennett’s art. For her readers, the merry pinup-girl author and the yarn she spun were indivisible. From this point on, Egg branded Betty, and Betty branded Egg.
Despite their prevalence, a photo of Betty seemed too static for a biography about her, and definitely too black and white. Her rich life, warm personality, and merrily snarky attitude required something more energetic and colorful. Tom DesLongchamp is a Seattle-based artist and illustrator whose imaginative style is perfect for the challenge.