50+ Eye-Catching Book Cover Ideas to Get You Inspired

The best way to capture a client’s vision is to start by asking lots of questions. I like to find out not just about the story, but also about any concerns or fears they might have, what they do and don’t like, and how they want the book to feel on the shelf. Sometimes a video chat helps enormously to get a sense of their taste and personality.

If a client has a specific idea, I always do my best to use that and make it look professional. If I think the project could benefit from a different approach, I will suggest alternatives, but always as part of a collaborative discussion.

Stage one of my process is research and idea generation. I play around, try out unusual or even odd concepts, and see what comes from that experimentation. With every idea I present, I include variations in colour, composition, or typography so the client can see the possibilities.

Many authors actually do not know exactly what they want, and that is great too. In those cases, I cast my visual net wider, presenting lots of ideas and styles to see what resonates with the book. Once we have settled on a direction, the refining and to-and-fro can take several stages to resolve. Getting every detail right on the spine and back cover is equally important. From there, we work together to shape a cover that is both creatively exciting and commercially strong.

Communication is key. Asking questions and asking for examples of favorite covers is a start.

After that I like to send a few different concepts. I like to make it clear that the first round is still like a shot in the dark and work in progress. Specially when the client is not sure what they want. The best way to understand what a client expectation is, for design and style, is to send a few different options first and start working from there.

As a standard, my process includes three main stages, each with clear steps and opportunities for feedback and revisions to ensure the final design meets the client’s expectations.

For concepts, I offer three black-and-white thumbnail sketches in the first round. These serve as the foundation for the design, allowing him to select one concept to move forward with. If necessary, he can request revisions during this stage, with up to three revision rounds included. Additional rounds are available for a fee, though most clients are satisfied with the initial sketches.

Once a concept is chosen, we move to the Detailed Sketch Round, where I refine the selected design, adding more clarity and, if relevant, suggesting a color scheme. The client is entitled to two revision rounds at this stage, with extra revisions available for an additional fee. Revisions during this phase should be smaller and align with what was approved in the previous round to avoid production delays.

Finally, during the Final Cover Round, I produce the polished, final version of the design. One last minor revision round is included to ensure all details are perfect.

This structured process allows for clear communication, minimizes unexpected delays, and ensures both the client and I are happy with the final product.

I’m happy to provide unlimited revisions for my clients until we create a design they absolutely love—that’s just how I like to work!

Typically up to three revisions included. However, I want you to REALLY love the end product. Additional revisions are case by case :)

The short answer is two per round.

I have several rounds during a project, and before I start each round, I ask for and read through all the authors' notes about what they are looking for. If I've forgotten something that they specifically asked for in the beginning, I won't count that as part of a revision. If the author has changed their mind about something or updated the manuscript in a way that requires changes to the artwork, that will count as a revision. After two revisions, I will do more, but it will be at an additional cost.

I send my clients a PDF of my work process before we start a project. It outlines all the steps/rounds in the project and the revisions allowed in each. It also goes over the additional fee that will be added to the project budget if the revision amount is exceeded. It's important to always be on the same page from the very beginning about this. If an illustrator doesn't mention revisions, it's something I would bring up before starting a project. It's frustrating as an illustrator to have endless revisions without additional pay for extra time spent on the project. It's also frustrating for an author to suddenly be asked to pay more when they weren't aware that was the expectation.

I supply a minimum of 3 different concepts but I often give a few more if the books subject has inspired me or I've come up with more valid designs than the standard 3.

I carry out 3 rounds of revisions to the client's chosen preferred front cover option. Another 3 rounds for the combined back cover and spine. And if I'm commissioned to design the interior, 3 rounds to revise that too.

I think my method is a little different from most as I offer different rates depending on how much/how often the client wants to potentially make changes/revisions. Sometimes a client is happy for me to describe how I envision each illustration, do very rough sketches (stick-man level!) and then leave me to outlining, painting etc until they get the final image. Other clients want to see the final outlines (second stage); while others may want to be able to make changes even once I've painted (this is usually only clients where the characters in the book are people they know, I've found).

So each rate has a different number of rounds of revisions included. The higher the rate the more rounds of revisions. Most authors go for the mid-rate, which includes revisions at sketch stage, and at final pencil outline stage.

I usually invite the client to give feedback at every stage of the process, thumbnail, sketch and final, ensuring that there's no miscommunication throughout. If there is a situation where the feedback stage becomes drawn out, I limit myself to a maximum of two rounds of revisions before additional fees get added. However, I try to remain flexible when responding to client feedback, with my goal always being to end up with a result the client is happy with. Extra fees are normally only added if the revisions cause serious delays or are outside the scope of what the client is paying for.

I love working closely with authors, making them an integral part of the process at every step. Typically, we begin with the sketch phase, during which I offer two free revisions. After that, we move on to approving the color palette together, and again, the author has the opportunity for two free revisions per page or spread.

This approach allows authors the freedom to provide input without additional costs, ensuring the process remains fluid and collaborative. It’s a system that works wonderfully and often leads to amazing results!

Technically there should be a maximum of three rounds of revisions after I send rough sketches. If there is ever a time where the author asks for a fourth round and it's reasonable and the person is friendly and kind then I'll do a fourth! I've never felt I had to charge more because of too many revisions. It's usually only one or two.

A professional cover plays a huge role in the success of self-published books because it’s the first thing people notice. It gives your book credibility and helps it stand out, making it look just as polished as those from traditional publishers. A great cover not only grabs attention but also sets the tone for your story and appeals directly to your target audience. In a crowded market, it can be the difference between someone scrolling past or deciding to give your book a chance.

It's an enormous impact. I would say it's the single biggest factor in whether your book sells. When I see a cover that looks amateurish, I subconsciously assume that the writing is probably going to be at an amateur level as well. It's as simple as that. I always judge a book by its cover. The book may be the greatest work of the new century but if it is packaged in a way that communicates carelessness or lack of attention, then that has huge repercussions for the reputation of the work and the respect that it needs in order to sell.

Just go into any book store. Look at the new released that are elegantly designed. You immediately assume that its worth reading because the author, the publishers, everyone deemed it worthwhile to invest time in producing. That assumption is critical in getting your work out to a new audience. Humans are visual creatures. Otherwise, art, advertising, TV, the internet, social media, none of that would need to exist.

First impressions count. An eye pleasing cover ensures that the book gets picked up in the first place!

Unless you find a premade cover that perfectly fits your story, it’s worth investing in a custom design.

Premade covers are usually created to appeal to a broad genre and a pool of tropes, which helps them sell but often relies on visual cues that have been used over and over. The risk is that your book won’t stand out, or worse, it could look too similar to others already on the market.

A custom cover, on the other hand, is crafted to reflect the unique story, characters, and themes of your book. It communicates the right mood to potential readers and delivers an original, polished, and memorable design.

The first and best source of inspiration is the work itself. I love to read the works in their entirety, if possible, and steep myself in the words, characters, and worlds of the book. Often a scene, or simple well written line can set off a whirlwind of ideas.

I love when authors send other imagery that excites them, as that often excites me too and gets us into the world of visual communication. Some authors have gone as far as to create entire mood boards and playlists, which I love! (You know who you are!)

Artists also inevitably bring with them everything else excites them. For me this is other paintings, other stories, music, poignant moments from real life, and more. In my experience the best images come from fusing the author’s world and enthusiasm with my own, and together we pull off something we are both genuinely stoked about.

The starting point is always the story. Then comes the world around me: the September breeze, the open window, the neighbor hanging laundry, the child running along the beach, and the shapes of his movements, my cats, the people I observe, the shifting colors of nature. Afterwards, I turn to references, exploring different cultures, clothing, and traditions to enrich my imagination and transform it into images.

When I start a new cover, I always research the genre first. Even if I am familiar with it, things change and evolve, so it is important to understand what is out there, what readers expect visually, and where there might be space to do something fresh. I also look closely at the subject matter itself, which often takes me beyond books into films, comics, toys, merchandise and anything else that captures the right mood or cultural references.

I need to sit with a project at the beginning. Inspiration does not arrive instantly, it often comes once I have started the research, and sometimes in completely unexpected places. I might be walking in the park when something clicks, or scrolling Instagram and stumble across a striking animation that sparks an idea.

Normally I am looking for a key that unlocks the design, a spark or concept that brings everything together and makes the direction clear.

Typography is another big source of inspiration. The right typeface can set the tone before a single image is added, so I spend time exploring fonts that express the feeling of the book. I usually pull everything together into mood boards, which help me and the client see how colour, imagery and type might combine into a strong direction.

Inspiration can come from anywhere, but I always try to anchor it back to the book’s story and its audience, so the cover feels both creative and perfectly placed for its market.

Genre tropes are crucial in book cover design because they instantly communicate the book's category to potential readers, helping it stand out in a competitive market. By aligning with familiar visual cues while adding a unique twist, a well-designed cover can both meet audience expectations and spark curiosity.