Swoon-worthy: 5 beautiful book covers.

By Slavica Zlatar-Banika

Judging a book by its cover.

‘Never judge a book by its cover.’ We’ve heard that a million times. Yet I’ve identified five beautiful books that I must have — based on their looks.

Superficial? Not at all.

There is such a thing as love at first sight — especially in design. If a book cover creates such an emotional response that you must possess it — not just read it — there must be a reason. Let’s dig deeper and see what’s behind it.

What about these five books make me, as a graphic designer, swoon?

Criteria: Keep it simple.

I want to make this review super simple. This technique can work for designers and non-designers alike.

It’s a matter of getting in tune with your aesthetic sense. Pay attention to how the designs make you feel.

Notice what gets your attention. What design creates an instant emotional response? Then, try to understand why.

Using my rational side, I will decode why these books resonated with me. Yes, designers do have one.

1. I love it. What is it?

**I love it. What is it?: The power of instinct in design and branding.** Turner Duckworth and Gyles Lingwood. *Images used with permission from Phaidon Books.*

I can keep looking at this cover and not get bored of it. Though minimalist, it isn’t sterile. Black, red and cream work together to create a modern vibe, yet it is still warm.

I want it on my desk. When I look at it, things feel ‘right’. There is order and balance.

The subject matter of this book touches on the ‘power of instinct’ and its role in design and branding. Interesting. Smart copywriting, too.

Texture / Colour: Cream. Matte. Black spine. A hit of bright red.

Typography: Sans serif/slab. All caps. Tracked. Humanist vibe. Centred.

Photo / Illustration: Graphic red triangle. Negative space.

Details: Page corner die-cut. The corner cut turns into a heart on the inside cover.

2. Parisian Chic.

**Parisian Chic:** **A Style Guide by Ines de la Fressange.**

This book was one that I had to have. Good thing the content matched the quality of the cover, too.

It won me over with the faux leather texture.

The font choice and charming illustration style give this cover a humanist vibe. It feels accessible — not intimidating – yet stylish. Not too perfect. Comforting.

The red colour is like a passport with gold ‘typewriter’ lettering, creating a bit of nostalgia. Not that that would work in every context — but here it does.

And a built-in ribbon bookmark? Yes, it had to be mine.

This was my passport to Parisian Style. I was in.

Texture / Colour: Faux leather. Deep red. Sturdy but flexible. Rounded corners. Textured.

Typography: Modified slab serif. Touch of script. Humanist vibe. Left-aligned.

Photo / Illustration: Casual, sketchbook style. Elongated illustrations — like Ines de la Fressange herself. Slim forms. Negative space.

Details: Red grosgrain ribbon bookmark.

3. Linda Evangelista.

**Linda Evangelista Photographed by Steven Meisel** with an introduction by William Norwich. *Images used with permission from Phaidon Books.*

Yes, it’s true, I am a sucker for typography. When done well, type-only covers always work for me.

In this case, I love that the type becomes the ‘image’ of this cover. And it tells you everything you need to know in one spot. Yes, it is about supermodel Linda Evangelista. Yes, the photos are by Steven Meisel.

The modern font reflects the fashion world well, too.

But a book about photography without a photo on the cover? Yes! Brilliant for two reasons. One, it’s unexpected. And two, it contrasts with the photo-rich interior. Contrast is vital to good design.

Texture / Colour: Matte black and white.

Typography: Modern font. High contrast. Thick/thin. Tight leading. Tight tracking.

Photo / Illustration: The type is the image. Framed by negative space.

Details: Minimalist.

4. The Atlas of Car Design.

**The Atlas of Car Design: The World’s Most Iconic Cars** (Rally Red Edition). Jason Barlow, with Guy Bird and an introduction by Brett Berk. *Images used with permission from Phaidon Books.*

There is a black version of this cover, but this red one hit the right emotions for me.

It is the prefect hue of red for this subject matter. It resonates on such a pure ‘note.’ You can almost ‘hear’ it. Eye-catching and exciting. Yet, it shows design ‘restraint.’ Key in the luxury market.

I’m not a car aficionado — yet — but I want to add this book to my collection.

Tactile. Embossed. Smooth. Energetic.

Texture / Colour: Matte. Pure, bright ‘rally red.’ Metallic Silver. Contrast.

Typography: Sans serif. All caps. Tracked. Centred.

Photo / Illustration: Graphic car ‘grill.’ Smooth. Rounded corners. Negative space.

Details: Embossed. Metallic.

5. Ettore Sottsass.

**Ettore Sottsass.** Philippe Thomé. *Images used with permission from Phaidon Books.*

Here, we have many things that excite me simultaneously. The first one is — stripes.

I am always drawn to them. Stripes create order, harmony, and repetition — key elements in good design. But, here, stripes have levelled up. They are dangerously close to becoming art.

There is a black and white striped Sottsass-designed object on the cover. The graphic pattern extends to the background, spine and the back cover. Graphic, minimalist, bold. Full bleed and wraparound. Drama. Love that.

On top of all that, the subject of the book has me, too. Italian design gets me every time. My three favourite words in the English language? Made in Italy.

Done. Sold.

Texture / Colour: Graphic. Matte.

Typography: Bold. Minimal. Sans serif.

Photo / Illustration: Photo and graphic combination.

Details: Minimalist.

Conclusion.

As a baseline, book covers should communicate what a book is about. But they need to do more.

This again touches on that human quest for beauty and what it represents. Beauty is perfection. We crave it. It captures our hopes and aspirations. In design, beauty is not a superficial aspect. If you achieve true beauty in design, the result looks simple. But, it involved a process of pulling out the true essence of the subject and eliminating the unnecessary.

This applies especially to books relating to the aesthetic world. Books on design, art, fashion, and architecture need to inspire. They must capture the imagination. If they ignite an emotional response — the designer has succeeded.

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