It was crucial that the reader’s first impression of the book was one of understated sophistication. To communicate this perception, we created a protective slipcase that is pared down to the most minimal of design elements: two silver foil stamped graphic dots centered in an abyss of black; like eyes illuminating in the dark. The spine complements the transcendent quality: tracked out and expansive.

Cover Design

The cover is wrapped in a rich black paper that matches the slipcase. Its slight texture absorbs light to contrast a black foil deboss of the logotype. Visual hierarchy is found by means of the letters “o” in moon, which are diecut into the cover. The diecuts look directly through the end sheet and onto the first page of the book—a metallic print of the film’s poster image. It’s as if the reader is peering into the book through Florence’s own eyes.


The book opens with a heartfelt dedication to Sonny Miller, one of surfing’s most revered filmmakers. View From A Blue Moon was the last project Sonny worked on before passing. Artist CR Stecyk III follows with a long-form essay on Florence’s Hawaiian upbringing, which acts as a cornerstone for the book’s edit. Stecyk’s distinctive writing style incorporates everything from ancient Hawaiian chants celebrating the origin of man to quotes from historical and contemporary figures that frame abstract concepts.


All 315 pages of the book are based on a complex grid consisting of six primary and six secondary columns that account for a lay-flat binding. The grid enabled untold exploration and flexibility of composition. We selected an 8.5” x 12.5” trim size to minimize cropping of 4×6 images on vertical singles and full-bleed spreads.


The navigation is a direct extension of the film production to print. To identify each chapter, we used its corresponding starting timecode from the film. After developing the navigation system, we collaborated with Stecyk to create the chapter titles. Each title is comprised of four words to play off the four elements of a timecode: hours, minutes, seconds, and frames.


Comprised of seven primary chapters plus a behind-the-scenes “CR:EA:TI:ON” section, the structure of the book mirrors the film. At the beginning of each chapter, transparent PVC insert pages act as tactile representations of an edit timeline. Key images that embody the chapter can be seen through the pages, a reference to an editor’s project panel. These inserts provide a distinct break congruent to the chapter segues in the film.


During the planning phase of documenting the book, we established that incorporating elements from the film into the photography and maintaining a black-on-black aesthetic were essential. For the primary shots, we photographed the books as geometric groupings in our studio; a physical embodiment of the strength and stability conveyed in the film. For the supplemental macro shots, we photographed the books underwater; representative of the undying connection between man and water communicated in the film. Each image required a delicate balance of lighting, timing, and humility to come together. 


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