Doing everything on your own is hard. And sometimes, it can get overwhelming.

But whether you’re writing a book, you’re positioning your platform, or you need someone to fill in the gaps—you probably need help, and you don’t know where to look.

SIGNATURE is a one-man production studio that’s focused on helping authors and entrepreneurs—just like you—make their projects happen.

That means—

Sales pages, copywriting, content.

Perfectly position your copy so it hits your target audience, and they respond—to your book, your work, and anything else you have up your sleeve. Clients include authors like Laura Coe, author of Emotional Obesity, Cal Callahan at The Great Unlearn, Darius Foroux, and press pieces for Dale J. Stephens, featured at VentureBeat and The New York Times Blog.

Book coaching, strategy.

From idea to outline to final draft, I’ve coached, written, and consulted with authors to create and nail their book, in just about every step—including The Game of Adversity, (with over 42+ five star reviews), The Connection Effect, and Unlearned (which includes ghostwritten pieces from Lance Armstrong, Aubrey Marcus, JP Sears, and more). Whether you need a manuscript edit, coaching, or just need help crafting your book from the ground up—I can help.

Cover design.

Beautiful, original, and positioned for your target audience. Includes a cover design for New York Times bestselling author, Ryan Holiday, as well as cover design for Scribe, and the book, “How to Take Notes at the Speed of Light”. Examples below.

Your work is your signature.

It’s your ID, your fingerprint. Whether a book, an online course, a movie, or building a platform from the ground-up—the right help can make the right difference.

Let’s talk. Send me an email: imohnish@gmail.com

fig. 1 — This was for Ryan Holiday and Stephen Hanselman’s book, The Daily Stoic, a #1 Wall Street bestseller. I worked with Brasscheck to bring this to life — we wanted to give the wisdom of the Stoics a religious feel, while creating something stunning. Seriously: so much love went into this project. You can buy the redesigned book here. It looks even better in the photographs.

fig. 2 - Tonally, stylistically, the book is light as a cloud. But intellectually, I think the notetaking system I talk about here is nuanced and thoughtful. I wanted this cover to signal both. From pre-production, to manuscript, to the final cover, this book was produced, written, and designed by Signature. I used Johannes Vermeer’s A Lady Writing a Letter. You can check out the actual book here.

The bookshelf from a parallel universe*

fig. 3 — To me, this is Gladwell: random, disconnected stories that — somehow — create one elegant whole. So visually, I wanted to bring that to life. Every disconnected piece of art is a reference to a different story in the book, all adding up to one cohesive collage. Includes: David with the head of Goliath, by Caravaggio; Impression, Sunrise, by Claude Monet; and (though its imperceptible) Bill Hudson’s photo of Walter Gadsden getting attacked by dogs, featured in The New York Times.

fig. 4 — Cal has one, big, juicy idea: stop being so shallow. Start being more deep. So the ocean metaphor naturally had to happen. Plus, Cal’s book is rooted in focus, craftsmanship, and digital minimalism. I wanted the aesthetic to reflect that. The time stamps on the left are a subtle nod to the center of Cal’s productivity: time-blocking your day by the hour (something I swear by).

fig. 5 — This book basically tells you to: a) get a notecard box (visual: abstract rectangle in the background) b) start writing ideas on a ton of notecards (visual: a ton of notecards) and c) start connecting those notecards until your head pops off (visual: abstract lines connecting each word). The notecard silhouette felt like a fresh idea, and I loved putting it together. But — truth be told — it was only after the fact did I realize it’s conceptually adjacent to what the whole book is about: your notes connected are more powerful than your notes that aren’t. Single notecard image from Wikimedia Commons.

fig. 6 — Arthur Ashe and Clark Graebner are — not exaggerating here — complete opposites that found themselves on the same tennis court in 1968. These guys are different: from their racial histories to their playing styles to their psychologies, it’s like playing tennis against your literary foil. That’s why I love the hands as a visual metaphor for all of it. Plus, I wanted the typography and illustration to reflect the time period while still giving it a fresh, bold look.

fig. 7 - To me, play doesn’t mean basketball or baseball, painting or running, volleyball or karate. It’s a feeling, a sensation, a way of doing something — and that “way” is what this book is all about. So I wanted the cover to show that. That’s why I kept the art abstract: play isn’t limited to a photograph of a tennis ball. It’s deeper than that. To add: Keith Haring was a key visual inspiration here.

Get in touch

My name’s Mohnish. If you’re interested in a book cover, other production work, or just want to say hi, shoot me an email at: imohnish@gmail.com.