‘A book cover today must work in the tactile form and also as a thumbnail on screen’: Bena Sareen

Bena Sareen won the 11th Oxford Bookstore Book Cover Prize for designing the cover for Amitava Kumar’s novel, My Beloved Life, published by Aleph Book Company. This is her second win, after a previous award in the inaugural edition for her cover design of Talking of Justice by Leila Seth, also published by Aleph Book Company.

Sareen is among, if not the senior-most, book designer in the Indian publishing industry. She has been designing books for 26 years and was the first art director at Penguin India. She set up the design department at Penguin India in 1999, and later at Aleph Book Company, New in 2011. In addition to book cover designing, she was the Publisher for the art books imprint, Penguin Studio, and also the Backlist Publisher at Penguin India.

In a conversation with Scroll, Sareen spoke about her visual language, the iconic book covers of The Greatest Stories series, the invasion of AI in book designing, and more.

Excerpts from the conversation:

How would you define your visual language? Is it constantly changing or is it always at the core of every book you design?
I would like to believe that over the years my design language has evolved to be eclectic. At the core lies a natural instinct combined with a lifetime of influences and learning. I find inspiration everywhere – from art, film, nature, architecture, packaging, signboards, to the saris my mother wore. From the banal to the rarefied, I draw my creative energy from anything and everything.

I believe, my design language displays a diversity given the variety of genres I have worked on; and yet you may detect a signature style in my work, as would be true of any designer across the arts.

What was it like as the first art director at Penguin India? It was perhaps the first time that book covers were being thought of as an integral part of the book itself.
I was just starting out, with little experience, no peer group, and none of the digital resources we take for granted today – no internet or digital platforms to source from. But I had the support and confidence of the then publisher, David Davidar, who provided invaluable insights. And the remarkable bunch of colleagues – many of whom are now heading various publishing houses – whose enthusiasm and judgment added to my learning. The collective energy at Penguin India then was a force unto itself.

With few resources and very little precedent to draw from, it made my work daunting; but at the same time it gave me a largely blank canvas to begin shaping a visual language.

You have shaped a generation of young designers. In fact, so many book designers I have spoken to have unabashedly admitted to admiring your work. So many writers too feel privileged when you design their books. As one of the senior-most book designers, what do you believe is so enduring about your work?
Thank you, I feel both humbled and delighted to hear this. I’m not entirely sure, to be honest. What I do know is that I enjoy my work immensely – literally every single book design over these 26 years has been a joy (barring a handful, of course!).

I seek the most authentic way to represent the author’s work. Then, there’s the intangible, amorphous accumulation of socio-cultural influences that become embedded in one’s artistic foundation over time. These influences shape an instinct and our ways of seeing.

While I am aware of global trends, I don’t necessarily subscribe to them often. I tend to simplify complex ideas, and lean on minimalism to flesh them out. Our canvas is small, the competition intense – the Indian publishing industry puts out hundreds of books every month – attention spans fleeting; hence simplicity with flare, I believe, should stand out and endure in the reader’s mind.

The Greatest Stories series you designed for Aleph Book Company is the most recognisable cover at any Indian bookstore. Tell us about how you arrive at that one image that captures an entire culture/region/language.
It’s a really simple idea. I picked on the most recognisable and representative element from the region – something that you would have encountered on wall calendars or tourism promotions of another era. Nothing terribly clever; just clean lines with vibrant colours, and a straightforward visual language. The solo element placed against a flat bright background works in its sheer simplicity. The title occupies centre space and spells out exactly what the book holds. Various artists have done the cover art; Apoorva Lalit has done the majority, and Dyuti Mittal has done a couple. It’s been a joy to work on this series.

What are some of the more interesting changes you have observed in how book designing has evolved over the years? Any trend or design philosophy that has especially impressed you?
I am thrilled to see how the design landscape in Indian publishing has evolved. Our books display a wide variety of styles showcasing the work of many brilliant illustrators and designers. There is an appetite for experimentation that publishers and readers have accepted, which allows the design community to put out some outstanding work.

I have been thinking about how platforms like Instagram have transformed books into aesthetic objects – they are truly being seen as art. And for a book to make it to your feed, it also has to be visually appealing. Do you think these concerns feed into your work? How important would you say social media visibility is?
Social media, and Instagram in particular, have become an integral marketing tool, where the visual occupies centre space. And thanks to the endless scroll, if your cover is not a great one, you’ve lost a pause – a potential reader. That said, if it is a big-name author, they are the draw in any case.

A book cover must address the multiple platforms today and work both in the physical form, in all its tactile glory and at a thumbnail size on screen. It’s challenging, and sometimes you have to abandon some details, keeping both mediums in mind.

We must address the elephant in the room. Many publishing houses are using AI to create book covers, presumably to cut costs. AI, of course, gives no thought to its “creation”, unlike human artists. What do you think that doing away with book designers does to a book’s legacy? We remember so many books for their covers and there’s not memorable about AI “art.” Do you think publishers are being shortsighted about their own reputation too?
The advent of AI is a significant intervention – it can add and detract in the creative process. AI does provide easy access at a low cost to authors, designers and publishers. I think this is particularly helpful for self-published authors and small publishing houses with limited budgets. However, I do feel there will always be space for authenticity and originality, which an experienced designer with an understanding of their target audience can bring.

In time, we may see greater value accorded to hand-drawn illustrations, photography, and hand lettering as a counter response to a certain “homogenisation” that AI can bring. Just as there seems to be a quiet comeback for physical books, vinyl records, knitting and other tactile crafts, I think there will remain a space for us designers. That said, we will have to learn to use AI to our advantage and combine insight with technological innovation.

There are many young designers who are starting out in the age of AI. What advice do you have for them?
I need advice myself!

According to you, what are some of the unforgivable sins of book cover designing?
Inappropriate typeface use is a big one. When there is a lack of hierarchy in the cover elements it results in everything vying for attention at the same time, and in the process, you lose a browser/scroller’s attention.

When you go to a bookstore, what kind of book covers immediately draw you in?
I’m not sure what part of me takes precedence in a bookstore – the designer or the curious reader – I can’t separate the two.

Also, it depends on the space you are in your own head. It’s so subjective.

But, yes, as a browser, I am drawn to minimalism instinctively. As a designer, I pick up books for a cover style that reveals design possibilities that surprise me.