A wealth of literature exists for the psychology of colour in design and
aestheticism, meaning that us humans are often compulsively attracted to certain and specific visual imagery.
Naturally, this is also the case for how we chose our next read.
Paperbacks have done well to bat off the incessant threat of e-books and kindles and continue to remain our chosen favourite companion when wanting to delve into
some literature. So how have they managed to secure this privilege, and why do our loyalties lie
with the bound skin of a book?
The history of the book jacket, as we would expect, looks rather different to the sprawl of
illustrated, vibrant and laminated covers that occupy our bookshelves today. Without the
distracting blue light stimulants, novels were the first port of call for those wishing to detach
themselves from the hardships of day to day life. Libraries were packed with a plainer, more
consistent selection of covers, occasionally spotted with a fine, detailed illustration on the
spine. This however didn’t stop avid and passionate readers from devouring books, as the
stories that they contained were the treasure, and the cover merely a vessel for transportation and protection (hence why we book jackets are also known as dust
jackets!).
Fast-forward to the contemporary publishing world, book covers
have diversified, enlivened and play a more critical role in the sale and consumption of
stories. Looking at the recent no.1 best-selling sensation Butter, authored by the
cult Japanese novelist Asako Yuzuki, we are presented with the rewards that may be reaped
when one considers the book cover with thought. Although Butter has also garnered
widespread attention and recognition for its unique storying of identity politics and feminism
in Japan, its cover – a rich yellow backdrop fronted by a horizontal cow, Japanese lettering
and a brushed blooded fingerprint presents an unusual visual of contraction. Psychological
design experts point out that yellow is typically associated in the human brain with happiness
and optimism, which seems an incongruous choice when paired with a blooded handprint.
The cow, we are left wondering can only be attributed relevance for its role in the creation of
dairy and thus, butter. An enticingly awkward coalition of imagery. Which brings us next to
the important part, that the unusual, the queer and the exciting plays in capturing our interests
when book browsing.
To read further into the psychology of design, the colour of the cover – be it red (associated
with danger, violence and passion) or green (commonly associated with nature and peace) is
read with a subconscious notion of genre. Harnessing this implicit yet powerful visual tool
seems to prove well in attracting readers with a genre in mind. When coupled with a bold and eye-catching font, covers, as the first point of contact with a potential
buyer, allure sales through a loud jacket of juxtapositions. Maybe we will see more opulent and busy front
covers stacking shelves, or in effort to stand out from the rest perhaps we may see a rise in
minimalist, toned down covers, returning to the aesthetic of classic book design from our past (see the current cover designs of the Penguin Classics range).
