The brief came with its edges already drawn: the publisher's format, its palette, its collection. Working inside a fixed frame is its own kind of design problem, the decisions get fewer, so the ones left have to carry more.
The cover is a 3D illustration built in Cinema 4D and rendered with Redshift, with the shadows captured on a separate pass so the elements could be composited over the publisher's official cover colour and still feel like they were sitting on the page rather than floating above it.
Credits
