“Someone may go into a bookstore knowing that they are looking for a Murakami novel. On the other hand, even if someone does not know about Murakami, they may be drawn in due to the distinctiveness of the book’s cover,” says Pinaki De, a literature professor and book cover artist who has been designing covers for twenty-five years. Chipp Kid, a celebrated American graphic designer, has designed the covers of many books of Haruki Murakami. But for De, Satyajit Ray feels closer to home. Ray, renowned for his direction and scriptwriting, was also an adept illustrator who designed several covers including the 1950 Bengali edition of Man Eaters of Kumaon by Jim Corbett and Lila Majumdar’s Jonaki. The works of both Chipp Kid and Satyajit Ray, although several years apart, reflect a similar consciousness — that the book cover is an integral part of the book. Readers may swear by their favourite writers and the content, but publishers and experts know the cover often creates the first impression of a book in a reader. “Without a cover, the book is mutilated,” remarks De. The first encounter Amidst the hundreds of books lined up in bookshelves, or thousands of miniature thumbnails on an e-commerce platform, the cover is what first piques a reader’s interest. The cover becomes the reader’s first encounter with a book, an impression that sets a narrative tone, shapes expectations, and compels the reader to read the first page. Each decision taken by a designer is taken intentionally with this encounter in mind — the graphics, the typography, and the colour palette are meticulously configured to construct an arresting first impression. “The cover is only a peek into the book, the first impression, a vehicle that leads you into the narrative. It cannot reveal too much but needs to create just the right amount of intrigue,” says Maithili Doshi, Art Director at Speaking Tiger Books, India. So, how do you create a compelling book cover? The design process The common credence held by all designers is that there is no one way to design a book cover. Usually, the designing process begins with the cover brief, a document that entails critical information about the book such as the key themes, target audience, important visual elements, and notes from the editor who has engaged extensively with the book. Following this, each designer has their own unique approach to designing the cover. For some designers, the text is the primary compass. They begin by reading the manuscript and let the narrative guide the design. De thinks of the text as “the first and last reference”. However, finding time to read the manuscript for each book isn’t an easy ordeal. Most designers rely predominantly on the cover brief, reading through fragments of the work. “I always prefer to read something from the text. If not the complete manuscript, at least an extract or an introduction to understand the tone and the mood of the book. That is the starting point for the cover,” says Doshi. After familiarising themselves with the content of the book and the expectations from the publishing team, designers begin to ideate. “Book cover design for me is intuitive as well as intentional… The details of visual elements, typography, colours follow the mood and the tone of the book,” Doshi adds. Designers experiment with mediums, colours, typography, graphics, etc. to create a design that resonates with the work. Doshi recalls one of the cover designs that was memorable for her, “I worked on a series of the Indian Modern Classics, for Harper Collins. We did three sets, of 30 books, that I re-designed as a series. I worked with the text and the lettering as visuals. They were in Indian languages and translated to English, so I thought, ‘Why not make the language the hero?’, where the script of each language becomes the visual; because the script is the visual identity of the language. The first year we did this, in 2017, I along with the lettering artist (Nikheel Aphale) got the Kyoorius Design award.” Book cover designing is a collaborative process. Although most designers get creative freedom, the design has to be approved by the author, whose work is being represented, the editor, and the publishing and marketing team who are in charge of the sales. “From the editor, publisher, author to the illustrators, photographer and finally the printers and the production supervisors, a designer needs to work and co-ordinate with all,” says Doshi. While some designers have specific art styles they return to, most designers emphasise the need to have a unique approach to every book cover. Reading each book is an authentic experience, and the book covers are designed meticulously to reflect that distinctive experience. “I’ve learned to approach each story without the constraints of a predefined style that I might prefer or feel comfortable with,” says Mohit Suneja, a book cover designer and illustrator who has designed over 300 book covers by far. “Rather than trying to make a narrative conform to my artistic identity, I choose to listen intently to the story itself.” View this post on Instagram A post shared by Mohit Suneja (@suneja_mohit) The final book cover design is a product of several iterations. Behind each cover is an array of ideas cast aside and reworked drafts. Authenticity and Marketability “The book cover is also packaging,” says Amit Malhotra, a freelance book cover designer whose design for Moustache by S Hareesh won the Cover of the Year (English) award in 2020 from Publishing Next. Book cover designers navigate the middle ground between authenticity and marketability. The designer is required to create a design that authentically reflects the narrative while also capturing the attention of consumers. It is an attempt to create a balance between the creative expression of an artist and consumer desirability. According to Malhotra, social media has greatly impacted the significance of book covers in the market. On social media platforms like Instagram and Pinterest, it is a common practice for readers to post pictures of what they read. In these pictures, books are often placed alongside coffee mugs or house plants with sunlight filtering through the windows, creating a picturesque scene that emphasises the aesthetic value of the cover. “The pressure on designers has increased. Everything must be unique and refreshing. And most importantly, the book must stand out on a bookshelf,” says Malhotra. Like fashion or interiors, book covers are also susceptible to trends. Once it was the ubiquitous use of foliage; more recently, it has been bold, neon text on older paintings. On one hand, trends provide easy templates for book covers. Although not one to follow trends, Malhotra says, “As a designer, trends could make your life easy. It can put various books on the same level visually even if they differ from a literary point of view.” “In my perspective as an artist, it is crucial to cultivate a distinct voice that sets one apart from the crowd, rather than adhering to prevailing trends. While I strive to remain informed about the latest advancements, I do so with a conscious effort to avoid becoming ensnared by trends that may lead to superficial engagement,” remarks Suneja. The journey of the book cover The cover is not merely to create the first impression. It must represent the content. View this post on Instagram A post shared by Pinaki De (@pinakide1976) “You’d assume the cover designer’s work is finished when you pick up the book, but I think the designer needs to do more,” De says. “When you read a book, you start from the cover, read through it, and then close the book. When you glance at the cover again, then that cover should make sense to you. You should be able to interpret the cover once again after reading through the book.”
