While decisions around designing a book cover typically come towards the end of the publishing design process, the cover will often provide the first impression of your work. As readers scan shelves and online catalogues, it’s essential for your book to stand out amid the others fighting for attention. You also want the cover to communicate the right message about your book without becoming just one version of the same template used by all the others in your category.

While there are many factors to consider when allocating design resources and hiring the right design partner, the most important thing you can do for your book is to focus on maintaining and expressing a clear vision.

Below we speak to book cover designer Sebastián Garbrecht of Persona Studio, the designer behind Flatpage’s two recent books, Gunocracy and The Art of Academic Editing. Sebastián talks about his process and gives tips on how to collaborate with designers to achieve the most compelling cover for your work.

FLATPAGE: In your career you’ve worked on a wide variety of projects, from catalogues to brand identities to digital design. What’s your process like when approaching a book cover design? 

SEBASTIÁN: Collaborating on Gunocracy and The Art of Academic Writing was very rewarding, as it allowed me to explore how design can engage directly with content and to learn from the people involved in both projects.

My process usually starts with understanding the book on several levels: the content, the tone, and the audience. From there I gather visual references and test different typographies and graphic languages until I find an idea that could work as a cover.

In general, my approach to design projects is similar. The difference with a cover is that it has to translate complex content into a compact and fairly autonomous object. In the end, whether it’s a book or another type of design, I’m interested in creating something specific, with spirit and personality, that upholds a clear connection to what it communicates.

FLATPAGE: What are the key elements of a truly memorable book cover?

SEBASTIÁN: The cover can attract, intrigue, or even challenge a reader, and often it determines whether someone wants to explore the book further. In that sense, the cover works as a bridge between the content and the audience.

I don’t think there’s a formula for a memorable cover. You can try to get close, but in the end, time decides. Covers that tend to work are clear, visually strong, and have an internal logic—not because they impose something, but because they manage to convey, directly or intuitively, the spirit of the book. They spark curiosity about what’s inside.

FLATPAGE: Tell us about what it was like to design the cover of Gunocracy, your most recent project with Flatpage. What input do you like to get from the publisher or author before starting?

SEBASTIÁN: For Gunocracy, the cover illustration was already done by Melanie Haskell Strain, so my role was different. I focused on adjusting the typography and creating a visual landscape that could speak to both the illustration and the rest of the book.

Before starting, I like to get clear information about the author’s or editor’s expectations. Any detail can spark an idea, and visual references and context help clarify the direction of the project.

FLATPAGE: For authors hoping to hire a cover designer, what sort of things should they look for when it comes to determining the best fit for them? 

SEBASTIÁN: I think a designer needs to understand the tone and content of the book and have the sensitivity to translate them into their own visual language. Looking at past work helps gauge consistency, creativity, and adaptability. Ideally you want someone who knows how to listen and collaborate, balancing their ideas with the author’s needs.

FLATPAGE: If an author doesn’t connect with the book cover design they’ve been offered, what are some tips on giving productive feedback to a designer?

SEBASTIÁN: Feedback works best when it’s specific. Vague comments usually create confusion. Sometimes it helps to share visual references or examples that convey what the author has in mind. 

FLATPAGE: There are so many books on the market fighting for attention these days. Do you have thoughts on how an author can make sure their cover stands apart from the rest? How can you tell when something is just responding to a passing trend, rather than presenting a truly timeless design?

SEBASTIÁN: That’s a very difficult question! I think personality helps a cover stand out. It’s hard to say what’s truly timeless today, as we can’t escape our own time. I guess being very specific about what you’re doing is a good place to start.

Thank you, Sebastián!

Please note that responses have been edited for concision and clarity.

FAQ

What makes a good book cover design?

A strong book cover design is clear, visually distinctive, and communicates the spirit of the book while appealing to its intended audience.

How should authors collaborate with a book cover designer?

Clear communication, specific feedback, and shared visual references help designers translate an author’s vision into an effective cover.

Do book covers need to follow trends to succeed?

Not necessarily. Covers with strong personality and internal logic often age better than those closely tied to short-term design trends.

What should authors look for when hiring a cover designer?

Review past work for consistency, adaptability, and sensitivity to content. Look for someone who values collaboration.

Does Flatpage offer book design services?

No. Authors who publish through the Flatpage imprint partner with an external book designer, such as Persona Studio. As a publisher that values collaboration, we work closely with authors and designers to achieve the strongest possible cover for each book.

Thao Thai +

Thao is an acquisitions editor at Flatpage, where she specializes in arts and culture titles.

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