The Real-Life Story of Crazy Ralph began as a heartfelt collection of bedtime stories by Paul Harmon for his grandchildren—a cherished family dog and his life of adventure, and ultimately his journey to the Rainbow Bridge. Years later, Paul decided to publish the story, commissioning illustrations to support the text.
When Paul reached out to me, he had already discovered he needed more than a little design polish—he needed a partner to help shape the book into something visually cohesive and complete.
Design Brief
Paul Harmon approached me with a completed manuscript and illustrations from a freelance artist he found online. His initial brief was loosely defined but focused on:
- Reviewing the manuscript, illustrations, and rough layout.
- Providing formatting and layout help.
- Possibly resizing and repositioning illustrations.
- Fixing what his illustrator couldn’t deliver.
- And, crucially, making the book into “something stellar.”
Implicit in his request was a desire to transform these bedtime stories into a professionally produced children’s book that he could use to preserve the stories, and perhaps share them more broadly. He wasn’t fully aware of what that required, but he knew enough to realize he needed help beyond what a freelance illustrator could provide.
Illustrator Dmitry Gitelman’s illustrations were charming and beautifully rendered. But his attempt at the cover and interior design didn’t live up to the art. It was a start, but the layout was cluttered, the typography uneven, and the cover, though well-intentioned, wasn’t ready for publication. I started by revisiting the mood and energy—the essence—of the book.
Cover Refinement
My first task was the cover. The title typography needed a total overhaul, so I rebuilt it from scratch—creating a visual hierarchy that matched the tone and audience while giving the cover the clarity it was missing.
I salvaged the original illustration by cleaning up the layout front and back, modifying the cover art to better show Ralph the dog impossibly high in the tree, and adding a small bird for visual balance. The result is a cover that finally reflects the warmth and meaning of the story inside.
Building the Interior
For the book’s interior, I started fresh. The illustrations were fun, but visually dense, so color printing was necessary for the interior. However, a full-bleed layout, as initially proposed, didn’t suit the emotional pace or the audience. So, I cropped and framed each image, anchoring them to create a consistent visual rhythm. I selected soft, readable typefaces that further reinforced the story’s gentle tone.
Structurally, I built the layout so each full-page chapter image appeared on the left, facing the chapter opening on the right. When layout constraints made this impossible, I guided Paul through minor content adjustments to preserve the pacing. One of the most deliberate choices was to break that rhythm at the end, leaving the final left-hand page blank as the chapter opens, where Ralph crosses the Rainbow Bridge, inviting reflection and an emotional pause.
Merch for Marketing
The author also has plans for promoting the book, including merchandise. We worked together on a little extension project to create some designs that would work well on mugs, t-shirts, etc.
Although the initial thought was just to use the book cover, we quickly decided that the rectangular size of the cover art, and the complexity of the background, wouldn’t work in this format.
So, I reworked the existing art, isolating Ralph from two of the illustrator’s existing drawings, creating several possible presentations that are “on brand” and consistent, but entirely unique from what appears in the book itself.
I really like the final designs he settled on. The “badge” lock-up and the slogan “badge” will really resonate with the reader, but also appeal to folks who haven’t yet read the book.
From Design to Publication and Beyond
Throughout the process, I also helped Paul navigate the complexities of self-publishing. From setting up his ISBN and securing an LCCN to selecting the right print-on-demand options for his goals and budget, I provided the practical guidance he needed to confidently bring the book to life. We discussed paper quality, print limitations, and layout planning to ensure the result worked not just aesthetically, but logistically.
This is how good design works: I work to understand what a book wants to become, and help shape the visual and structural form that supports its ideas. Whether rescuing a project midstream or building something from scratch, I help turn complex or deeply personal content into a cohesive, engaging experience for readers—while making sure the publishing path works for the person behind the story.
