Book Cover: Love of Seven Dolls: A Unique Look at How We Relate | Skillshare Projects



Book Cover: Love of Seven Dolls: A Unique Look at How We Relate

Book Cover: Love of Seven Dolls: A Unique Look at How We Relate.

From Kirkus Review: "The original story on which Lili was based now published in book form for the first time. It adds another wistful, slim volume to the special shelf of this writer, who has perfected the techniques of playing the emotional stops. Paris and the rural byways of France form the setting for the story of ""Mouche"", a 22-year old orphan, adrift and jobless in a Paris spring. Movie goers will have seen the screen version of her rescue by a troupe of puppets, of her strange adventure in the land of half truth, grim and unpalatable, and half make believe. The show, with a naive girl and effectively operated puppets who seem truly to have their independent beings, becomes a rural sensation. But the puppeteer keeps out of public view -- and in his private life seems cruel, malicious, hard and cynical. It is only when Mouche -- at the end of the season- promises to marry a trapeze artist in the show, that he finds a way to make her see that he is the composite of all the puppet characters she has come to love."

Below are some of the book covers of "Love of Seven Dolls."

I am drawn to the fifth one with the puppet booth and the girl (Mouche).


This book read as a story about dreaming, and the ability to reach a place of comfort. It is done so in times of pain and hardship.

Mouche makes the puppets come alive, and the puppets make Mouche a happier person. As for the puppeteer, he comes alive through them all. He has a lot of anger which stems from not being able to communicate his feelings unless he is talking through his puppets.

The book relates a beautiful love story where love is misplaced in the story in so many forms. The puppets/ puppeteer and Mouche end the story with a precious sentiment of their relationship, taking note of their love for one another.

I have come to the conclusion that the puppets and/or Mouche are a necessity on the cover. I love the romance that they give to the book, and that should be hinted to on the cover. 

These are several images I find that I need to ponder for the cover:


After careful consideration, I have come up with 3 sketches.

Sketch One:

Sketch Two:

Sketch Three:

From these images, I created this cover:

Basically, the idea came to me through the first scene of the book. Mouche (i.e., above woman) and the Sienne River are parallels in this scene, suicide vs. living. I chose the patina green because it revisits a rustic/ old world that is tarnished with pain. But the cover is more modern, hence parallels, such as the old brings back old pain and the new brings forth love. The clown puppet is a reminder of the main focus of the book, love and puppets.

A second idea came from the experiamental process with the first.

I saw the need for a papyrus/ ricepaper finish and the rest just fell into my hands.

See Below:

These are other authors on the subject of puppetry. See below.


One is clever. States all the information and grabs the reader. 

Two shows you straight out the subject, puppets, and does it with a whimsical childlike image.

Three is a basic, but traditional design that states the book information without aluding to the story line.

Some puppet stories that made it to the best seller list are:

Bestseller one: There we see that it is a dark examination of the "Puppet" in this book because the figure is black. The figure becomes the "T" in puppet and it attracts you.

Bestseller two: There is a clear understanding between the title and the cover. 

Bestseller three: Here you plainly see the cover as informing you of the title and author, and a hint of what is about to take place.

These three above are three of a series of books by Paul Gallico. They are made to look similar. The series must have a unifying characteristic, being different stories with different substance. These three book covers have a similar design with different color backgrounds, thus not really taking the material in

each book into consideration. Thus one can't decipher this from the style, although, you can plainly see the title and author. Thus, we have an identifying motif. 

These two books are by Paul Gallico. How do these covers reinvent the wheel?

Book One: straightforward, designed well, yellow and blue, reviewed and noted on cover. It states the edition quite largely.  It is quite appealing.

Book Two: Title on the top portion of the cover, black or dark area from 2/3rds up. There is a filagreed line on the top rim of the book. It pulls the whole cover together. The cream lettering on the black area and the black pattern on the cream compare and contrast, causing wonder and intrigue.

For the cover series, I created sketches one -three that apply to each of the three books, 1-3.

1) Love of Seven Dolls

2) The Lonely

3) The Abandoned

Sketch One:

Sketch Two:

Sketch Three:

From these, I decided my color palette, and this is what evolved:

Cover Series


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