Book Cover Gallery

I think it determines in most cases whether or not the book gets sold. Either consciously or subconsciously. Part of my job as a designer is understanding marketing and trends. I look at book covers, LOTS of book covers. And take notes. Personally I don't think I'd buy a book with an unprofessional cover. If the author didn't take the cover seriously, then what's to say the story is any better? Is this project something they just typed up and published on a whim? Or is it something they really believe in and want to make the best product possible?

I use a mix of Adobe products (of course!).

Adobe Illustrator for any illustrative/drawn elements such as illustrations, graphics, special text treatments or icons etc.

Adobe Photoshop for the general background of the whole cover/jacket (so, usually front, back and spine … and flaps if needed) as one high resolution document (allowing for bleed and spine width changes!). More often than not photographic elements too. This is where I will import and blend the graphics from Illustrator with photography/stock images to become a bespoke/original image. Sometimes title work will be done in Photoshop if it needs to combine/blend with the image more (not just plonked on the image for instance). Larger amounts of text shouldn’t be done in Photoshop as it’s a ’raster-based’ or ‘pixel-based’ app – it will never be as sharp as InDesign or Illustrator (both vector based – or infinitely scalable).

I can also control ink densities in Adobe Photoshop to make sure that my rich blacks are not too rich! In other words; not too much ink in the dark areas in the finished print (printers don’t like that!)

Then the artwork (mechanicals) are always completed in Adobe InDesign – the Photoshop file(s) is/are imported into my artwork file which is a much more accurate setup with grids and guides to make everything just perfect. InDesign cannot be beaten for its layout and type handling capabilities – when used properly! So normally the titles, book blurb and subtitles etc are done inDesign. Also ISBN codes, prices and any other required text is added InDesign. The app itself is much quicker to use and navigate with imported graphics and images then trying to do the same work in an app like Illustrator. This is what InDesign was developed for.

Also, any special finishes such as spot varnish, Pantone colours, embossing, de-bossing or foil blocking etc can be set up in Indesign using layers – much easier to control in Indesign than any other app.

Adobe Bridge can be used to produce colour profiles that could be synchronised over all the Adobe apps. So it’s easier to control your colour workflow across all the software apps.

Finally, print ready PDFs can be exported directly from InDesign including any layered special finishes. In my experience, PDFx4a files are the most stable and reliable PDFs to export.

I know all this text is a bit waffly, but it gives you an idea of how I go about my work.

Hit me up if you need a pro! (Haha!)

I provide a minimum of three distinct initial concepts, each showcasing a unique design approach. This variety allows the author to explore different creative directions. Occasionally, if inspiration strikes, I may offer additional concepts, but three original designs are always guaranteed to start the process. Once the author selects their preferred concept, we refine it through up to three rounds of revisions, though many projects require only one or two rounds to achieve the final design. If multiple initial concepts resonate, we combine elements—such as typography, color palettes, or layouts—from several designs to create a cohesive and tailored final cover.

Ensuring a book cover works as a thumbnail is an essential part of the design process. I test covers at small sizes early on to make sure the type remains clear and legible and that the main visual elements still read when reduced. Not everything on the cover should shout for attention. Part of the skill of a cover designer is creating the right hierarchy.

Sometimes the reader’s eye should go to the visual first, sometimes to the title, depending on the book and its market. By prioritising what matters most and simplifying where necessary, the cover still has impact even when it is tiny on a screen.

On one project, the artwork looked fantastic at full size, but at thumbnail, the title completely disappeared into the detail. I adjusted the composition, clarified the typography, and suddenly the cover worked online and in print. It was a simple tweak, but it made all the difference. Testing, adjusting, and thinking about hierarchy are what turn a good cover into an effective one.

I present initial ideas as large thumbnails, this means usually I keep an eye on the sizing throughout the project.

My collaboration process begins with a detailed creative brief that draws on my experience as both an author and illustrator. I understand the deep personal investment authors have in their work, having published five books myself, so I approach each project with empathy and professional insight. The process starts with thorough discussions about the book's themes, target audience, and the author's vision.

I provide multiple initial concepts, usually 2-3 distinct directions, each accompanied by detailed explanations of the design choices and their marketing implications. My two free revision policy ensures authors feel confident in the process, knowing they have room to refine the chosen concept. During revisions, I encourage specific feedback and maintain clear communication about how each change serves the book's goals.

Throughout the collaboration, I share progress updates and explain my design decisions from both an artistic and marketing perspective. This transparent approach, combined with my understanding of storytelling, helps build trust and results in covers that authors are proud to represent their work.