This fall, we’ll publish Dawn Again: Tracking the Wisdom of the Wild, by Doniga Markegard. It’s a riveting memoir of exploration and survival. As a young girl, Doniga Markegard was thrown from her horse and knocked unconscious. She remembers an out-of-body experience that revealed to her the great mystery at the heart of life. In Dawn Again, she writes of the journey that experience sparked.
At a wilderness immersion school, medicine people and wildlife trackers train her in indigenous ways. Her search for an authentic life takes her hitchhiking across the West and to Alaska, where she falls deeply in love with tracking wolves and the rigors of surviving in the wilderness.
Doniga seeks a vision and discovers her purpose, only to find herself on a cattle ranch, falling in love and starting a family, and learning a new way to apply the deep, unshakeable lessons of the wild.
We’re really excited about this book and we knew it needed a really special cover. So we turned, as we do, to our incredibly talented designer, Zsofi Koller. She did not disappoint. We took the opportunity to chat with Zsofi about the cover for Dawn Again, and what went into making it.
How do you approach the design of a cover for a new book?
Book cover design is about making an intangible tangible. On one hand, there are endless options. ENDLESS. On the other hand, if you listen to what the book is about—and I mean, listen with ALL your senses—some ideas become clear tracks to follow. And I follow those tracks, and see what happens.
When I’m doing first cover design, the book itself might not be written fully yet, or I might not have access to the full manuscript. So I’ll often get a debrief from the editor or author about the WHAT of the book. Not just the what—also, the spirit and heart of it. And I’ll daydream about it, and I’ll go to the bookstore and roam around thinking about it, and I’ll look at approximately a billion things online to get ideas.
And eventually I start to pile together ideas from my mental toolbox, and often times visual cues from my teammates, and it starts to take shape. And then I run my first concepts by our team, and we take it from there.
You chose not to use a photograph for this cover. Why not?
Well, we did try that idea. Pretty cute, right? (We were still ironing out the subtitle at that point, too, it seems!)
But it wasn’t the right idea for this book. This book isn’t best expressed by a photo. There’s a side of introspection, of spiritual exploration, that is best captured by a slightly more evocative imagery. So the thought of a wolf that embodied a sunrise felt too perfect to not use.
What were some of the particular challenges in designing this cover?
In total honesty, this cover didn’t feel like it had challenges. It came together pretty seamlessly. There were a lot of different iterations of sunrises and wolves though!
How do you know when you’ve landed on the right design?
When it makes someone on the team cry. And I can just feel it, too. When I come back and look at the design 24 hours later and still love it, I know it’s working. When I want to show it to my husband, it’s working. When I want to sweep everything into the garbage bin and keep working, it’s not right yet. And there’s really no short cut to the process. Sometimes it takes less time, or more time, but it’s always a process.
What do you most like about this final design?
I love the colour palette. A lot of our covers tend to be quite bold, which I love as well, but I enjoy the softness of the greens, pinks, oranges, and cream in this cover. It certainly feels true to a glorious dawn. I’m also very fond of the fonts we landed upon. A good font for a book is a little gift that keeps giving. I’m so looking forward to the interior design—the pieces have been laid in play so nicely by the cover, it makes the whole design process flow smoothly.