Judging a Book by its Cover, and Loving It: The Art of Indian Book Design

The enduring proverb "Don't judge a book by its cover" has long warned readers against making surface-level assessments. Yet, throughout literary and design history, many have argued the opposite — that a cover can, and often does, carry the soul of a book. Poet Charles Simic described the book cover as "a distillation, a visual poem about the book," while celebrated designer Chip Kidd called it "a seduction device," suggesting its undeniable influence in drawing readers in. In an era where visuals often precede words, the importance of cover design has only grown stronger.

Exploring this dynamic landscape, three acclaimed figures in Indian publishing — Sucharita Sengupta Suri, Mugdha Sadhwani, and Bhavi Mehta — share insights into how cover design in India blends storytelling, tradition, and modern sensibilities to create that first, unforgettable impression.

From Protection to Projection: The Evolution of Book Cover Design

The journey of book cover design has transformed remarkably over the centuries. Initially, book covers served a purely protective function. Before the 19th century, books were often hand-bound in materials like leather, adorned with gold, silver, or jewels, reflecting the book's value and the owner's status. The invention of Johannes Gutenberg's printing press in the mid-15th century revolutionised book production, making books more accessible and necessitating standardised cover designs. By the 1820s, mechanical bookbinding introduced cloth and paper covers, which were not only cost-effective but also printable, paving the way for artistic expression on book exteriors. Techniques like chromolithography in the 19th century allowed for vibrant, multi-colored illustrations, turning book covers into canvases for storytelling and marketing.

In contemporary times, the essence of book cover design lies in its ability to encapsulate the narrative's spirit. Designers employ tools like Adobe Illustrator, Photoshop, InDesign, and Procreate to craft compelling visuals. However, the conceptualisation process remains deeply rooted in understanding the manuscript's core. As Sucharita Sengupta Suri notes, "I like to read the synopsis first to get a broad understanding of the story. Then I prefer taking a detailed brief from the publisher or author. After that, I read the manuscript—this way, I can keep the brief in mind as I read and view the narrative through that lens." 

View this post on Instagram

A post shared by ⤞sucharita sengupta suri⤝ (@sucharitas)

Mugdha Sadhwani emphasises the meditative nature of this process, stating, "A designer’s conceptualisation is very meditative, one can gather cues from anywhere—a ride in a metro, watching TV, flipping through magazines in a coffee shop." 

Bhavi Mehta highlights the detective work involved, explaining, "While you read, you are trying to find visual clues in the text—a character, or an object, or a scene or a setting... Not all ideas are gold; the trick is to sift through the general ones and find that one special idea that can work for the book."

The Silent Language of Typography and Visual Codes

Beyond imagery, typography forms the emotional backbone of book cover design. The choice of font — whether classical, contemporary, bold, or understated — profoundly shapes how a book is perceived even before it is opened. As Mugdha explains, "Type design itself is an art and a very intrinsic part of cover design and needs to be picked up sensitively only after thorough research." Bhavi underscores its importance further, noting, "Typography is the heart of a good jacket. It's as important as the image itself, if not more." Designers often study type history meticulously, ensuring that the font echoes the book's era, mood, and genre, whether through the timeless elegance of a serif font for a classic or the clean modernism of a sans serif for contemporary fiction.

This visual language quietly but powerfully shapes a reader's subconscious expectations. As Sucharita reflects, "A book cover has a quiet but powerful influence — it sets the tone, suggests the mood, and even hints at the genre or emotional arc of the story." A single colour, symbol, or typographic choice can frame how the story is interpreted, guiding emotional responses even before the first word is read. Sadhwani captures this nuance, stating that covers can evoke deeply personal associations: "If there is an abstract lily on a book cover, it may be interpreted differently by different individuals—for some it could evoke a memory, for others it could be pure love for flowers." In this way, the cover does more than merely market the book; it initiates a psychological conversation with the reader.

View this post on Instagram

A post shared by Mugdha (@mugdha.sadhwani)

However, visual storytelling is never neutral. Book covers can unintentionally replicate societal biases around class, gender, and caste. While there is growing sensitivity within the Indian publishing industry, as Sucharita Sengupta points out, "stereotypes persist", especially in the depiction of rural or marginalised characters. Mugdha echoes this, emphasising that "thoughtful, sensitive designs in conjunction with the content of the book offer a respectful representation of inclusivity and diverse voices." Mehta adds that while gender and genre biases are increasingly recognised, such as the tendency to target female readers with specific colour palettes, conversations around caste and class representation are still evolving. In this layered landscape, book cover designers are not just aesthetic practitioners but active participants in reshaping how stories, people, and cultures are visualised.

Book Covers as Spaces of Representation and Revival

In contemporary publishing, book covers have evolved into more than just marketing tools — they have become spaces of cultural representation, allowing for the revival, reinterpretation, and visibility of diverse aesthetic traditions. A thoughtfully designed cover does not merely hint at a story’s content; it can challenge stereotypes, elevate marginalised voices, and visually situate a book within broader historical or cultural narratives. As publishing becomes more conscious of issues like inclusivity and identity politics, covers now play an active role in shaping how readers engage with stories from across India's social and linguistic spectrum.

This growing awareness has also sparked a renewed interest in indigenous and folk art traditions. Designers often look toward India’s rich artistic heritage to create covers that feel rooted yet contemporary. Mugdha recalls drawing inspiration from Madhubani and Gond art styles for titles like 'The Greatest Folktales of Bihar' and 'Another Day in Landour,' noting how textile brands similarly weave folk traditions into modern designs. Bhavi, too, shares experiences of collaborating directly with Gond and Madhubani artists to create adult colouring books, and even commissioning a Bollywood poster artist for the nonfiction title 'Neta Abhineta.' Rather than replicating folk art mechanically, designers like Sucharita emphasise adapting its essence — "absorbing the rhythm of a border, the symmetry of a pattern" — to create covers that are both culturally resonant and accessible to contemporary audiences.

The Future of Book Cover Design: Between Digital Screens and Creative Constraints

As the publishing industry adapts to an increasingly digital world, the role of the book cover has only grown more significant. Far from diminishing its value, platforms like Instagram, BookTok, and digital marketplaces have amplified the cover's importance, transforming it into a critical first point of engagement. In Sucharita Sengupta Suri’s view, "the 'cover sells the book' philosophy has become even more relevant in the digital space," where a striking design can make the difference between a passing glance and a new reader. While Mugdha Sadhwani acknowledges that marketing strategies today often drive visibility, the visual allure of a compelling cover remains central to cutting through the noise of endless scrolling and fast consumption.

At the same time, practical realities such as tight budgets continue to influence creative freedom. Bhavi Mehta points out that "budgets in Indian publishing are very tight", often limiting access to custom illustrations or high-end printing techniques, and requiring designers to rely on stock imagery or inventive minimalism. Mugdha adds that working within constraints can sometimes spark unexpected creativity — "Necessity is the mother of invention, and smaller budgets may have us generate some real creative covers which may not have otherwise seen light of day." In this balancing act between artistic vision, financial realities, and digital imperatives, the future of Indian book cover design seems poised for thoughtful evolution, where innovation will not just be aesthetic but deeply mindful of representation, accessibility, and the enduring power of the visual story.