Hanna Särekanno
A Magical Invitation: The Beginning of a Journey
Every journey into the Wizarding World has its own kind of magic. For Estonian illustrator and designer Hanna Särekanno, that magic began in August 2020 when she stumbled upon a news article announcing a nationwide competition launched by the Estonian publisher Varrak. The contest called for artists to submit a new cover design for Harry Potter and the Philosopher’s Stone—a fresh Estonian edition with a look rooted in local design sensibilities. For a lifelong fan of the series and a budding graphic designer, it was an irresistible opportunity. Though intrigued, Hanna initially bookmarked the competition and set it aside. It wasn’t until November, right before the deadline, that she finally submitted her design.
Applicants were required to submit a completed cover for the first book, along with a proposal outlining visual plans for the rest of the series. There were few specific rules, other than one guiding principle: the new design had to resonate with both children and adults and reflect a distinctly Estonian identity. Särekanno’s entry, minimal in execution but brimming with subtle symbolism, would eventually capture the hearts of the selection committee—and, through the involvement of The Blair Partnership (the agency managing J.K. Rowling’s works), become the official face of the Estonian Harry Potter rerelease.
From Finalist to Phenomenon
By December, Särekanno had been notified that she was among the final three candidates. A month later, she learned that she had won. Her minimalist, Nordic-inspired design had triumphed over 50 other submissions. The excitement, however, was only the beginning. Before her winning design could go to print, adjustments were necessary—some dictated by the publisher, others by legal and branding constraints.
One such revision came from The Blair Partnership, who ensured that Särekanno’s version of Hogwarts did not resemble Warner Bros.' cinematic depiction. Her original castle had been inspired by the films, but copyright limitations meant she had to reinvent the iconic school from the ground up. She also had to adjust elements such as color saturation and the placement of J.K. Rowling’s name. Still, Särekanno’s signature visual language—clean lines, flat colors, symbolic objects—remained intact.
Minimalism and Nordic Aesthetics
Hanna Särekanno’s approach to the Harry Potter covers marked a notable departure from the more narrative, character-driven styles that have come to define many illustrated editions. Instead of depicting complex scenes, she embraced flat illustrations, limited color palettes, and careful compositional balance. Her design philosophy—rooted in Nordic minimalism—focused on clarity, visual rhythm, and quiet symbolism.
Estonians, she explained, tend to favor simplicity in visual culture. This informed her creative choice to emphasize iconic shapes—Harry’s glasses and lightning bolt scar—on the top half of each cover. Meanwhile, a field of objects in the lower half provided narrative hints: wands, owls, brooms, and other story-specific icons placed in symmetrical patterns. These seemingly decorative elements served a narrative purpose, enticing readers to scan the page and discover story fragments hidden in plain sight.
“I wanted the eye to focus on the part with Harry’s glasses, which directly illustrate the title of the book,” Särekanno said. “I chose to make the rest of the illustration more subdued, so the reader lingers longer and turns the cover into a little adventure of its own.”
Inspiration and Influence
Though she made a deliberate effort to avoid influence from existing Harry Potter artwork while designing her submission, Särekanno did have personal favorites among global editions. She cited the Indonesian covers by Nicholas Filbert Chandrawienata, praising their focus on magical creatures and meticulous character illustrations. But her greatest admiration was reserved for the work of Olly Moss—particularly the Pottermore covers—whose minimalist style and layered symbolism deeply influenced her.
“Moss’s work is incredibly clever,” she remarked. “It appears simple, but it’s packed with meaning. That’s the kind of impact I hoped to achieve.”
Objects, Symbols, and Storytelling
One of the more charming aspects of Särekanno’s covers is the array of small symbols and objects she includes—each carefully selected to hint at the plot. Across all covers, certain motifs like owls, wands, and brooms are repeated to emphasize their importance throughout the series. But other items are chosen specifically for the individual story: a mirror for the first book, a snake for the second, a hippogriff for the third, and so on.
Deciding which elements to include—and which to leave out—was no easy task. Space constraints sometimes forced tough choices. Additionally, the limitations of the flat-color illustration style meant that some objects were too complex to render legibly. Even so, Särekanno was proud that, more often than not, her intended elements made the cut.
“I wanted to give readers just enough to spark recognition and curiosity,” she said. “They’ll know there’s a story behind each symbol, even if they’re not sure what it is yet.”
A Fan’s Dream Come True
Särekanno’s love for Harry Potter goes far beyond design. She grew up with the books, read them multiple times, and listened to the audiobooks while working on illustration projects. In short, she is exactly the kind of person fans would hope would reimagine their beloved series—someone who understands the world intimately, yet brings fresh eyes and a new visual voice.
Her background in graphic design, particularly during her studies at Lake Forest College, prepared her well for the challenge. She credited the college—and especially Professor Margaret Coleman—for providing the foundation and support she needed to succeed. It was, in fact, during her Advanced Graphic Design course that she completed the book cover redesigns she would later submit to Varrak.
Following her graduation, Särekanno relocated to the UK and began working on the remaining covers of the Harry Potter series. With each new volume, she brings the same precision, restraint, and symbolic layering that made her Philosopher’s Stone cover such a success.
A Red Jacket and a New Legacy
In May 2021, the Estonian edition of Harry Potter ja tarkade kivi (Harry Potter and the Philosopher’s Stone) arrived in bookstores wrapped in Särekanno’s striking red jacket. Gone were the sweeping illustrations or detailed scenes familiar from earlier editions; in their place stood an elegant, thoughtful design that encouraged closer inspection and contemplation. It felt more like a poster for a timeless myth than a children’s novel.
Each subsequent cover promises a variation on this theme, adapting color and imagery while maintaining a consistent visual identity. The minimalist visual style has not only found a welcome home in Estonia but has also garnered international attention for its quiet elegance and contemporary edge.
A Story Still Unfolding
Though Hanna Särekanno may have started as one of fifty applicants in a national competition, she is now part of the larger visual legacy of Harry Potter—a world illustrated over the years by dozens of artists across countries and cultures. Her contribution stands out not for its grandiosity, but for its calm, measured approach: a cover that invites you to pause, to reflect, and to search for meaning in the simplest of lines.
And in a universe filled with flying broomsticks, shape-shifting maps, and enchanted staircases, sometimes the quietest magic is the most powerful of all.