Book Cover Design Software: The Best Paid and Free DIY Apps

If we are talking about a full color cover illustration I start with a flat rate for most quotes. This rate is calculated on many things, including, in no particular order: time, comparing market rates, my skill and experience, and rights I am agreeing to sell. I compare this against other things like complexity, exposure of images, any extras the client may be asking for including additional rights. I am also keeping in mind how this will translate to an hourly rate.

I have found that there is a fairly clear link between how much I charge and the quality I produce, which comes down to time. I like to read as much of the manuscript as the client will give me, ideally the whole book. If we add up reading the book, sketching and ideating, communication and negotiation with the client, assembling reference and photoshoots, painting the illustration, revisions, type and cover design, assembling the final files, billing (which Reedsy takes care of) and back end business organizing, then divide that by the total cost we get a rough hourly. This informs how many jobs I need over a given time.

In an ideal world I would work on an image until it’s done. In a world with deadlines and money, the more I charge the fewer jobs I need to work on at once and the more time, love and attention I can devote to the task at hand, which, for me, always yields better results.

When I price a cover design project, I think about the overall workload. Is it going to be a simple design with strong typography, or something more involved with custom illustration or heavy photo work? I also look at the research and creative time it’ll take to land on a concept that feels right for the story and the market.

I factor in the practical side too — like prepping files for different formats and making sure they’re print ready. And of course, the amount of collaboration and revisions an author expects can change how much time I’ll need to put in.

It comes down to the mix of creative effort, technical work, and how much back-and-forth is needed to get the perfect cover.

A fee for a book cover depends on several project-specific factors. The main things I always consider are:

1. Scope of work
2. Front cover only, front + back + spine, or full jacket.
3. Title layout and typography or illustration only.
4. Multiple sizes/versions for different book formats
5. Concepts and revisions
6. How many distinct cover concepts you want.
7. How many revision rounds are included. More concepts and revisions increase the price.
8. Complexity and style
9. Highly detailed art, many characters, complex scenes take more hours than a simple illustration.
10. Rights and licensing
11. One-time personal use, a limited exclusive license, perpetual rights, or a full buyout. Duration, print runs, territory and product types all affect the fee.
12. Deliverables and file prep
13. Print-ready PDFs, alternate crops, font handling, color conversions and work-in-progress images for marketing are billable.
14. Turnaround and rush fees
15. Tight deadlines require reprioritising my schedule and cost more.
16. Client type and opportunity
17. Trade publishers, self-publishers and projects offering strong exposure can be priced differently.
18. Extra costs and risk
19. Font licenses, platform fees, taxes and production risk are considered.
20. Time and opportunity cost
21. How many hours it will take and what other paid work it might replace.

Based on that, a simple pricing formula would look like this:

Estimated hours x Hourly rate + Platform fees/VAT + License fee + Rush/add-ons + Extras = Total fee

I like to be flexible with my clients and I’m happy to do all the behind-the-scenes math while explaining what is included and offering different options to find a fair solution that works for both of us.

When I calculate the price of a book cover, I think beyond the hours it will take me to complete. A cover is the first impression a reader has of a book, and creating one involves much more than simply placing an image and a title together. It’s about translating the spirit of the story into a visual form that resonates with the right audience, and that process varies greatly from project to project.

One of the first considerations is scope. Some authors need only a digital front cover, while others require a full wraparound design for print, with spine and back cover included. There may also be requests for interior design or promotional graphics to accompany the launch. The nature of the design itself also plays a role: a cover built with custom illustration or hand lettering demands a very different level of time and artistry than a cover that relies on photography and an existing typeface. Both approaches can be powerful, but the amount of originality and craftsmanship involved inevitably shapes the fee.

Research and concept development are another invisible yet essential part of the process. A historical novel might send me digging through archives for visual references, while a contemporary title often involves exploring cultural trends and building moodboards. This stage is where the design starts to take shape, long before a single line or color is put on the page.

Revisions are also part of the calculation. I usually include a few rounds in my fee, so the author has room to refine the vision while keeping the project on track. Usage and distribution matter as well — a cover for self-publishing on digital platforms has a different scope and licensing implication than one created for a major publishing house with wide international circulation. And of course, the timeline can affect the price: a project that requires me to reshuffle my schedule to meet a tight deadline is not the same as one with more breathing room.

For this reason, I usually work on a flat project fee, tailored to the complexity of the book. A cover with custom illustration, bespoke typography, and full wraparound design will naturally fall on the higher end of my range, whereas a photo-based cover with lighter adjustments will be priced more modestly.

Ultimately, I view pricing as a way to ensure respect on both sides. The author gains clarity and knows what to expect, and I can dedicate the time and creative focus needed to do justice to the book. A strong cover has the power to become inseparable from how a story is remembered — and its price reflects the care it takes to create that.

When I calculate a rate for a book cover design, I take several factors into account. The subject matter and target age group can influence the amount of research and concept work needed at the outset — some projects require deep visual exploration, while others are more straightforward.

I also consider whether the design will involve illustration. That might mean creating the artwork myself, commissioning and art directing another illustrator, or combining photography and illustration, each of which carries different levels of work.

Practical elements also play a part: how many editions are required (for example, hardback, paperback, eBook), whether it’s a standalone or part of a wider series brand, if a series branding needs designing, and the level of Photoshop work or complex typography involved. Some effects in Photoshop take some time to get the feeling and atmosphere across, some simple typographic concept led covers may look easy, but they are in fact the hardest to finesse.

All of these details help me gauge how much time, creativity, and collaboration a project will need, and I set my fee to reflect that.

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!

I use Adobe Illustrator to create the design of the cover, including the custom illustration. The advantage of working in Illustrator is that it allows me to work on both typography and illustration at the same time. It also allows for different artboards with variations of the cover design next to each other, making it a good tool for comparing different elements and aspects of the design.

To make a print-ready file, I sometimes use Adobe InDesign.

For the cover illustrations I also reach out to various drawing software apps on the iPad such as Procreate and Adobe Fresco that I then import into Illustrator.

Most book cover designers rely on Adobe Photoshop, Illustrator, and InDesign, which handle everything from photo editing, digital painting, and typography to layout and print-ready files.

I also use 3D software like Blender and ZBrush, and occasionally Procreate when I need a slightly different result from digital painting than Photoshop provides.

I use Adobe products like InDesign, Photoshop and/or Illustrator.

Photoshop and Illustrator for the images creation, manipulation and composition. Then I use InDesign for layout and typesetting.

Adobe Indesign for page layout and typography. I often create covers in Indesign as well because the typographic control is incredibly detailed.

Photoshop when working with photography and scanned illustrations.

Illustrator for creating covers or illustrated images that will then be imported into Indesign.

Procreate for free-hand digital illustration.

Some use QuarkXPress instead of Indesign but it's less common these days.

I use a mixture of Adobe Illustrator, Photoshop, and InDesign.

As the names suggest, I use Illustrator for creating illustrations and Photoshop for editing and manipulating photos. I use InDesign mainly for layout of the full cover, adding typography, and exporting print-ready PDFs.

While I wouldn’t recommend prioritising tiny, low-resolution thumbnails in an online store, it’s crucial that book covers are easily and quickly recognisable to potential buyers.

This can be achieved in several ways, but a good strategy is to

Simplify the design and prioritise key elements

Avoid overly complex visuals or intricate details that may become indistinguishable when scaled down. Focus on bold, clear imagery and use minimal design principles if possible. Highlight the most important details, such as the title and a central design element, while minimising unnecessary clutter. Choose a striking focal image or graphic that remains recognisable when reduced to thumbnail size.

Use readable typography and keep contrast high

Use large, legible fonts for the title and author name. Choose clean typefaces that remain clear even at small sizes. Incorporate strong contrast between text and background colours to make the cover stand out and ensure readability.

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.

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.