Book Cover Design Tips – The single biggest mistake you don’t want to make…
A book cover gives your prospective reader their first insight into the story within. If it’s going to be suitable for them, and they will invest their time and money in your writing. That’s what they mean by ‘Shelf Appeal’. To help you make sure your books fly off said shelves, I’m putting together some book cover design tips… From my almost fifteen years in book cover design, I’ve seen great things, and not so great things. So kicking off… Here’s the mistake I see most often with book cover design.
Cluttered or Complicated Book Cover Design
Confusing your reader with a overly complex cover can make them feel uncomfortable and may even make them assume the story within is equally as incoherent.
Clear focal points, and iconography that represents your novel will trigger the reader’s interest and natural biases, making them feel at home with your writing, which is especially useful if you’re an author who is new-to-them.
Why Focal Points in Book Cover Design are Important
A focal point is the area of any image that attracts the eye first. Some book cover artists excel at using titling to do this, and others like me, compose illustrated scenes to draw the eye and satisfy the viewer so they are enticed to purchase a product. In this case, your book.
In fantasy illustration is used heavily in book covers to convey the book’s genre and mood. It’s critical to trigger the reader’s assumptions, nostalgia and preconceptions about a genre they know they enjoy. This all happens subconsciously, and it’s a wonderful tool in the author’s arsenal!
A focal point can be a single striking close up on an object or character, or even a combination of elements that work to create one resting spot for the eye.
As an artist, I use visual paths to guide a viewers eye around an image. I create a hierarchy of elements that don’t clash and keep the viewers eye on the image as long as possible. By creating these natural paths, our eye doesn’t flit confused across the image, trying to make sense of a thousand bits of conflicting information. Instead it glides in a pleasing meander from the strongest element to the least important.
Establishing a Focal Point
Size and Scale
Larger elements draw more attention. By making the character in the Umbra Moon cover here larger than the other elements, she makes the initial impact before the readers eye explores the rest of the image.
Contrast
Similarly, I’ve used a light moon in the background to really push her dark shape and make her pop. The fire in the front allows for nice little rim lights to pick up the edges of her armour and give her form. Often I create atmosphere layers between important elements to give them contrast and clarity. Smoke, mist and battle debris are great for this!
Positioning
Having a classic central focus works well, but there are other techniques in a cover artist’s repertoire. Placing a key element on a line that divides the image into thirds is a great way of offsetting an image, and allows for other elements to feature, that draw they eye around the art.
Hot tip! The Rule of Thirds
I often use the rule of thirds in my illustrations. I would roughly create a 3×3 grid on my artwork, and compose the key elements on the lines of the grid or even better, at the intersections. It creates a nice balanced piece, that allows for some dynamic relationships between the elements. That dynamic feel can be harder to achieve with a fully centred image, when generally centered images work well with symmetry.
Colour
Colour theory is deep, exciting and complex, but a rule of thumb… Bright, vibrant, or contrasting colours can draw attention to a focal point. For instance, the single red object on the otherwise monochromatic Gahbreeil cover grabs immediate attention.
Isolation
Isolating an element by surrounding it with negative space (empty space) also helps it stand out as a focal point. This works especially well when highlighting a central image, such as a character or symbol like the the moon on the Gahbreeil cover. I like to mute or blur backgrounds when working on more complex character scenes. You’ll here me use the term “makes it pop”. Which just means the object or character really stands off the background in a pleasing way.
Use of Lines
Sometimes the design itself uses implied lines or shapes that guide the viewer’s eye to the focal point. For instance, the cover might feature a character’s gaze or weapon pointing towards the title, subtly directing the viewer’s attention.
In this cover for A.J. Calvin, I used the character’s gaze, combined with structural elements to create natural arrows pointing at the focus (the glowing statuette). His hands and other structural elements and the brickwork create circles which reinforce the point of interest.
Multiple characters making a single focal point
Sometimes my clients will be so excited about the characters and events in their novel, they will almost write their brief like writing a movie:
“The characters are fighting the demons in the river, it’s a close up on their faces as they struggle, then the asteroid hits and they look up, and their faces turn to fear as their world explodes around them. They dive for cover and everything is ablaze, then the demons join together in the demon lord’s image and their attention turns to their new foe. Make sure to show their full armour as it’s pertinent to the story, and also the MC has hazel eyes which is important, and their weapons glow in an array of colours.”
Single focus pieces are great. It could feature multiple characters, but there must be a focus. The elements around the focus (including characters) are the supporting actors in this particular image. Giving the audience too many places of interest to try and assimilate all at once makes an image confusing and unattractive.
This is a series of events, not a moment in time. Sure creating a chaotic scene of desperation is possible, but it needs to be a freeze frame. Unless it’s a montage piece, we can’t both zoom into the eyes of the protagonist and pan out to see the sky ablaze with fiery asteroids, and the transformation of their foe in real time.
Conclusion
Focal points are critical in book cover design because they guide the viewer’s eye and communicate key information instantly. In fantasy book covers, the focal point is often an exciting visual using elements of the illustration to hold the reader’s attention. Well-placed, balanced focal points create a cohesive design that captures the eye and conveys the essence of the book effectively.
Hi I’m Jamie!
I work on fantasy book covers for self published authors. I have had some great clients working on both established IPs and new settings. I’m always interested in hearing about more projects I might be needed on, so feel free to drop me an email to info@thenobleartist.com
If you’re looking for a fantasy artist, feel free to snoop through my illustration portfolio or head straight over to contact me for work. You’ll find my email address and some handy forms which guide you through some of the starting info I’ll need to be able to quote for you. Typically I’m booked up a month ahead of time, but do drop me a line if you have anything time sensitive. Sometimes I’m able to move things around in a pinch. Hope to hear from you! In the meantime, stay informed of my new work and availability and sign up for the mailing list.