It is much more than just a protective wrapper. A book cover creates the first impression a writer wishes to convey to readers. Since the dawn of printing, books have been a testament to the technological developments of the time, and a reflection of the culture and art of the region. From simple lettering to digitally crafted covers of this generation, book art has undergone a revolution that mirrors the changing landscape of the nation's publishing industry.

Simple beginnings

Dr SM Zahid Hossain, professor of Graphic Design, Crafts, and History of Art at the University of Rajshahi, is a noted authority on the history and development of book cover designs in Bangladesh. Reflecting on the need for cover art, Professor Hossain said, "A good book cover introduces a publication to its audience and readers."

Depending on the subject or content, the design changes as the graphic art of a non-fiction book or a textbook will differ from that of a children's novel. It is up to the designer to create the individuality through the cover art.

We have now entered the digital age, where books are no longer limited to print but have evolved into digital formats. Yet, the necessity of a cover remains, even for digital editions.

In the early 20th century, covers were primarily produced using letterpress printing, often featuring only the title in simple, unembellished forms. Later, in the Indian subcontinent, some artists incorporated lithography and woodblock printmaking techniques. This marked the beginning of artistic cover designs in Bangladesh.

"Kazi Abul Quasem was a pioneer designer acclaimed for his colour illustrations. Back in the colonial period, he made significant contributions to book illustrations and cover designs," shares Professor Hossain. 

The post-1952 era ushered in a new phase for Bangla books, and covers underwent significant transformations. The most significant cover of that period was the homage to the events of February 21, 1952—edited by Hassan Hafizur Rahman, and published in 1953. The cover bears historical significance as one of the first political works in Bangla.

Post-Liberation War, Nondito Noroke by Humayun Ahmed features one of the most evocative cover designs. The use of vivid colours—white, red and green—and Qayyum Chowdhury's signature line work for the woman and the child in her womb, along with his abstract designs behind the figure, all seem to tell the story of a woman in distress, without giving away the story or being too literal in its representation.

Today, Bangladesh boasts a robust printing industry and it is not astonishing that we have a strong heritage of powerful book covers designed by some of the prominent artists in the country. From Zainul Abedin, Quamrul Hassan, Qayyum Chowdhury, Hashem Khan, Biren Shome to Samar Majumder—leading artists have always contributed to this field. Designers like Dhrubo Esh have created a niche in cover design and are acclaimed for their works.

The annual Amar Ekushey Boi Mela plays a crucial role in sustaining the publishing industry. Although sales plummet once the fair ends, the fair's limited duration sees the release of just enough books to keep the industry of book cover design thriving.

Along with the publications, covers are also given their due importance, which is why cover design has flourished as a field of art. The Bangla Academy and Jatiyo Grantha Kendra have made significant contributions by awarding the best cover design, attracting young designers to this field.

Words from a bibliophile 

Farhana Azim, 43, is an avid reader of Bangla books. Even as a bibliophile, the changing scenes in the book cover industry have not failed to create an impression.

"The content of our books, irrespective of whether they are fiction or non-fiction, is very different from global titles and this uniqueness is reflected in book designs," says Azim.

Perhaps, even when compared to Bangla publications from West Bengal, India, our designs have a distinct touch. Folk art, too, has made significant contributions to shaping the minds of artists, and it strongly resonates in Bangladeshi book art.

Some art historians and bibliophiles alike often complain that book art now does not reflect the contents of the manuscript. As a puritan, Professor Hossain, too, believes, "The cover must bear some semblance to the content. Software and templates are there to help artists, but one must not rely too heavily on them. There should always be a human touch to book covers."

Azim, however, holds a different view. "While many argue that some of the more popular publications in Bangladesh, fiction and poetry in particular, misrepresent the content of the book, I personally do not judge a book by its cover at all. I take it as art in one of its finest forms. The designer should be free to use their creative brilliance in narrating a parallel story, and not necessarily be tied down to the content.  

Art and the artists

Sohag Parvez is a prominent painter and a prolific designer. His works bear a signature touch and a reflection of our culture. As a specialised designer of children's books, and being true to his artistic individuality, Parvez primarily uses watercolour—his favourite medium—for designing covers.

"Whenever I am asked to design, I ask for a synopsis from the author. It is important to know what the writer desires from the cover design and what the content demands," shares Parvez.

He adds, "One must have a clear vision of what the audience will find most eye-catching. Children are mostly attracted to realistic imagery, while a more mature reader may find semi-abstract or abstract concepts more engaging."

Like many, Parvez believes that book cover designers should have a forte in drawing to achieve the best results.

Syed Najmus Sakib is a graphic designer who has witnessed art transform from manual techniques to the dawn of AI. As a young artist, he sees the advent of technology as a boon for the creative fields. "Software has given us the freedom to channel our creativity in the shortest possible time. I see artificial intelligence as the next step forward," he asserts.

On AI restricting human creativity, Sakib responds, "That depends solely on the user. AI broadens the human capacity to think and create. One still needs to generate creative prompts to get the best result. We have all moved from hand-drawn illustrations to software, as it has simplified the process. It would not be possible for someone devoid of finer aesthetics to create a digital masterpiece!"

All bibliophiles worth their salt will agree that book covers offer a visual narrative that enhances the reading experience. Cover designers, seasoned artists, and emerging talents continue to push boundaries while maintaining a connection to tradition. The fusion of art, identity, and culture in book covers will undoubtedly continue to evolve over time, bridging the gap between creativity, technology, and the written word.

Mannan Mashhur Zarif is senior sub-editor at The Daily Star.