Janusz Kapusta, known for his award-winning work, has previously illustrated the literary works of Czeslaw Milosz, winning First Prize in a Warsaw competition in 1981. His talent extends beyond illustrations, having published a book titled "Almost Everybody," featuring satirical and humorous portraits. For "The Captive Mind," Kapusta contributes two in-text pen-and-ink drawings, nine full-page oil paintings, and an original lithograph as the frontispiece. The lithographs, showcasing subtle shading nuances, were printed at the Water Street Press under the supervision of Frank Martinez. The typeface, resembling Veronese, was chosen for its compatibility with Milosz's message, featuring traits from fifteenth-century types. The title page uses a powerful typeface cut in the 1680s by Anton Janson, imported from the Stempel foundry. The Monotype composition, performed in San Francisco, utilized Mackenzie-Harris for printing in North Brookfield, Massachusetts. Darrell Hyder, known for meticulous workmanship, printed on Mohawk wove paper. The bookbinding by William F. Zahrndt in Rochester, N.Y., includes charcoal-gray Tweedweave endleaves providing a contrasting backdrop to the text. The cover, encasing heavy boards, is made of Polish linen in a natural tone, reflecting the overarching principles of starkness, strength, and simplicity guiding the creation of "The Captive Mind."

In "The Captive Mind," Janusz Kapusta's illustrations reflect his previous recognition in a Warsaw competition inspired by Milosz's literary works. Kapusta, a multi-award-winning artist from Poland, has had his drawings and paintings featured in various publications, including The New York Times. He recently published a book, "Almost Everybody," showcasing ninety satirical and humorous portraits. For "The Captive Mind," Kapusta contributes two in-text pen-and-ink drawings, nine full-page oil paintings, and a frontispiece—an original lithograph printed separately from six aluminum plates. The lithographs were produced at the Water Street Press, capturing Kapusta's symbolic subject with meticulous printing supervised by Frank Martinez. The book's typeface, resembling Veronese, draws inspiration from fifteenth-century types and is set in San Francisco by Mackenzie-Harris. Darrell Hyder prints the text on Mohawk wove paper in North Brookfield, Massachusetts, using a Heidelberg press. William F. Zahrndt in Rochester, N.Y., handles the bookbinding, featuring charcoal-gray Tweedweave endleaves and a cover made of Polish linen encasing heavy boards. The cover design aligns with the overall theme of the book: starkness, strength, and simplicity.