This morning I thought I would share with you all a bit more information about the American cover design for "The Signature of All Things." My publisher, Viking, had asked me last year if I had any ideas for the jacket of the book. One of the images I sent over was this extraordinary watercolor, painted in 1503 by Albrecht Dürer, called "The Great Piece of Turf". It's a small but precious work of perfection, accuracy, and deceptive simplicity. I've always loved it. Best of all, my heroine Alma Whittaker (a connoisseur of botanical drawings herself) would have known of this watercolor, and I believe she would have loved it, as well. Anyway, the art department at Viking ended up basing their design on Dürer's masterpiece, which is why, I think, it has such a timeless and elegant quality. And that's the backstory, folks! Don't forget to pre-order the book here, by the way: http://www.elizabethgilbert.com/books/. Love, LIZ


THE STORY OF THE BOOK COVER
This morning I thought I would share with you all a bit more information about the American cover design for "The Signature of All Things." My publisher, Viking, had asked me last year if I had any ideas for the jacket of the book. One of the images I sent over was this extraordinary watercolor, painted in 1503 by Albrecht Dürer, called "The Great Piece of Turf". It's a small but precious work of perfection, accuracy, and deceptive simplicity. I've always loved it. Best of all, my heroine Alma Whittaker (a connoisseur of botanical drawings herself) would have known of this watercolor, and I believe she would have loved it, as well. Anyway, the art department at Viking ended up basing their design on Dürer's masterpiece, which is why, I think, it has such a timeless and elegant quality. And that's the backstory, folks! Don't forget to pre-order the book here, by the way: http://www.elizabethgilbert.com/books/. Love, LIZ

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