Bena Sareen: “Every book is a new challenge”

You were studying Sociology and then veered towards graphic design. Shall we begin with that story?

Indeed, for many years I pursued Sociology. I did an M Phil in Sociology and then had a chance encounter with graphic design. I had an awareness of and love for the visual arts all through. I come from a family of scientists, and a historian. Academics seemed like the obvious route then. Design was perhaps the best digression in my life!

Did Sociology come in handy? How can someone prepare to be a book designer? Should a book designer know more than just design?

No regrets at all for having spent many years studying Sociology. My brush with academics informs my understanding at a deeper level, and enables a more nuanced visualisation of some subjects.

All arts — films, music, sculpture, painting, packaging, sign boards — anything and everything is exciting for me. A designer can find fuel anywhere and everywhere. There was no separation in the Renaissance period. Look at Leonardo da Vinci and so many others. And at home, Satyajit Ray, who was a film maker, writer, illustrator, and book cover designer!

How did you know that you wanted to make/design books? Were there any role models to emulate?

It was serendipity, really. I had a professor (I studied Graphic Design in the US) who I imagine saw some potential in me, and really encouraged me. I am, till this day, utterly grateful to him. From then on, it was being at the right place at the right time.

Please walk us through the process of book design. What does your work involve and how do you decide the aesthetics of a book?

The actual process of visualization is hard to pin down. Till date, after 25 years of doing what I do, I find it hard to describe this amorphous, unpredictable, non-linear process. And I suspect that is the reason I stay afloat in this industry, very happily at that. Every book is a new challenge. But, yes, there is a method to this madness. It starts with a cover brief from the editor. This gives me an overview of the book, the target audience and any ideas they or the author may have. I then get down to reading the manuscript, scribbling and doodling on the sides. Sometimes a character inspires me, sometimes it’s a scene, or something atmospheric in case of fiction. Once in a while, epiphany strikes and there’s no way I can put down the how and when of it. These are my happiest moments. When I’m working towards a cover I’m living in a zone — consciously or unconsciously ideas are taking shape at the back of my mind for days.

At times, I’m so excited with an idea that I need to get down to the execution right away, irrespective of the time of the day. While there are times where the visual in your head translates well on the screen/drawing board, at other times it simply doesn’t. And then you restart from scratch. The transition from idea to execution can throw up some surprises. I love this uncertainty and unpredictability.

The look of the book is of course a reflection of the content — the tone, the period it is set in, or inspired by the protagonists. And for non-fiction you try and distil the central idea and come up with a representative visual. While books of a certain genre have a broadly defined look, we designers need to make our work stand apart within that genre to grab eyeballs.

Book designers are like mediators between authors and the reader. I am acutely aware of the responsibility we book designers must carry to represent the author’s work of several years, accurately and aesthetically. And at the same time, be aware of the target audience.

You have made some beautiful book covers. Does it involve consultation with the author? How are creative differences resolved if any?

We share a cover draft with the author once it’s approved internally. Sometimes the authors have feedback which we try and address as best as possible. There is some toing and froing where we try and show the author our perspective which in turn is informed by what will work well in the market, and yet is true to the book. In sticky situations (which is very rare, I’m grateful for that!) you have to arrive at a compromise. You don’t want an unhappy author at the end of the day, and neither do you want a book cover that won’t sell.

Your covers are greatly influenced by an overarching minimalism, especially the ones you have made for Aleph’s Greatest Stories Ever Told series.

You’re right, I veer towards simplicity by instinct. I tend to combine a simpler visual with a strong use of colour and typography. I have always admired Japanese minimalism. But I bring in my love for colour, it’s a vital tool in my design language. Must be my Rajasthani roots coming into play.

Also, a book cover offers a small canvas, and with the advent of social media, you need your covers to translate well at thumbnail sizes as well. Busy covers don’t stand out, it’s too much information to grasp in a fleeting moment as you scroll.

Do you ever feel constrained by market expectations while pursuing your creative work? Is that a hindrance? I am asking this because we hear all the time that a book cover is a fine balance of art and commerce.

Occasionally, I want to be able to do something more abstract, quieter, more subtle. There are times when I use the back cover to experiment. Since the back cover is more an extension of the front cover idea, and there is no author, publisher approvals for this space (such a joy!), I’m able to experiment freely. I also enjoy offering a little surprise to the author in what I present on the back.

You are an industry veteran. How has the art of book design evolved in India?

Gosh, yes, I started out as the first Art Director of Penguin India. I did a hundred covers in that first year...and this, with no Internet (circa 1999), no photo agencies, or illustrator banks to source from. Cover design has come a long way in the last two decades. Today, we have access to inspiration and talent from across the globe. This is reflected in the fantastic variety and richness book covers in India display.

I feel great pride that, we at Penguin India under David Davidar, set in motion a rich tradition of attributing value, and understanding the potential of book covers. Such a delight to see this aspect of publishing gaining the attention it deserves. I recently gave a lecture at a publishing course which had 170 participants. I’m so delighted people are drawn to this industry.

Kunal Ray is a writer and academic. He teaches at FLAME University, Pune