In the design of his books and other words Deighton has sought collaborations with contemporary designers (many of whom were also friends and contemporaries at art school) to give his written words a clear visual edge. Notable among these collaborators are Raymond Hawkey - a friend and fellow design studen who most famously introduced the white cover for The Ipcress File - and Arnold Schwartzman, another contemporary, with whom Deighton developed the Airshipwreck book and who went on to produce stunning upgrades to many of Deighton's novels reissued by Harper Collins in the 2010s. The gallery to the left includes examples of where great designers have complemented Deighton's work.
Raymond Hawkey was something of a pioneer in the use of graphic illustrations in the UK newspaper business, working for The Observer, the Daily Express and The Evening Standard. His modern, pictographic approach to story illustrations led Hawkey to suggest to Deighton that he develop his cookstrips into something which could work in a newspaper.
He most famously introduced the white cover for The Ipcress File, did the opening sequence for Oh! What a Lovely War, and produced the iconic front covers for Berlin Game, Mexico Set and London Match.
Below are a few examples of Hawkey's great work complementing Deighton's story..
Hawkey passed away in 2012
Arnold Schwartzman is another Deighton friend and contemporary who has had a significant impact on Deighton's output, visually speaking.
Collaborating first on Airshipwreck, the cover of which - with its collage style - presaged future work with Deighton, the apogee of his work with Deighton has been rather recent. He also designed the laid-in ephemera postcards (see below) which were included with first editions.
He was appointed by Harper Collins to provide all the covers for the reissues of Deighton's fiction works. Tied together with a strong visual theme and look, on the Samson series of novels he introduced a distinct visual element - a face for Samson - plus linked to themes within the novels through visual aids, such as masks and closed windows hinting at the betrayal and loneliness at the heart of the story.
They are as strong visually as Hawkey's covers were in the nineteen sixties.