Book design for The Count of Monte Cristo
Alexander Dumas’ The Count of Monte Cristo was originally published as a newspaper serial before it was compiled into the complete novel it is today. The story is organized into five volumes within the novel, so I’ve decided to focus on the first volume for Project 2.
Volume 1 introduces us to the protagonist, Edmund Dantes. We learn about his flourishing sailing career and meet his soon-to-be fiance, Mercedes. We are also intoduced to the antagonists who frame Dantes of political treason in order to further their own careers and goals: Mercedes’s cousin, Fernand Mondego, who loves her unrequitedly; Danglars, a fellow sailor who envies Dantes’ success; and Gerard de Villefort, the local prosecutor who uses Dantes’ case to set himself up politically.
After Dantes lands in prison for his supposed crime, he befriends fellow inmate Abbe Faria, who mentors and teaches him many things, from languages to science to art. After Faria bestows his hidden fortune on Dantes and dies, Dantes makes his escape with plans to enact his tactical revenge on those who wronged him and reunite with Mercedes, his dearest love.
Design Research
After rereading the first volume, I compiled a few mood boards to evaluate the aesthetics that stood out to me in the novel. I was inspired by the natural landscape of the sea, but I was also intrigued by the promise of wealth and opulence that the Abbe shared with Edmund during their imprisonment.
Typography research:
Covers First Approach
For this project, I was directed to start with the cover design. I used my mood boards to develop three cover drafts to start with.
I was immediately drawn to the color palette I created for the jewel-themed mood board. However, the typefaces I started with felt old-fashioned and did not evoke the modernity that I needed for the project.
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Since the jewel theme felt the strongest so far, I ran with it for the next iteration of cover drafts.
I also pushed myself to try out a very different typeface that I would've avoided before.
I also experimented with a few type-only covers, as I hadn't tried something like that before in my design work.
I fell in love with the type-only designs immediately, especially the cream and gold edition. I liked how the jewel tones stood out on the cream-colored background. The whole look felt vibrant and refreshed, just what I was hoping for.
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After developing the back cover copy, the design felt solid, front to back.
The Insides
Once the cover was finalized, I started working on the layout for the front matter and body copy.
I used the light version of the typeface from the cover, Major Mono Display, for the Table of Contents and chapter numbers.
I selected a comfortable sans-serif typeface, URW Form, for volume titles and chapter titles.
Lastly, I selected a serif typeface, Operetta 8, for the body copy that felt modern and called back to classical literature.
