Kazu Kibuishi
A Journey from Hufflepuff to Hogwarts
Kazu Kibuishi, a self-identified Hufflepuff like fellow illustrator Brian Selznick, has a deeply personal connection to the Harry Potter series. Not only did the project of illustrating the 15th anniversary paperback covers mark a significant professional milestone, but it also came at a time when Kibuishi was facing a difficult illness. As he himself has reflected, "in some ways, Harry Potter saved my life."
Kibuishi's stylistic foundation is rooted in motion and storytelling, cultivated from a childhood dream of becoming a Disney Imagineer and a love for action movies. His acclaimed graphic novel series Amulet is a testament to this, with its dynamic illustrations and cinematic scenes. When Kibuishi began conceptualizing the Harry Potter covers, he brought that same kinetic sensibility to the project.
The Call from Scholastic
The idea to redesign the iconic covers came from David Saylor, Creative Director at Scholastic, who was also behind the original editions and founder of the Graphix imprint that publishes Amulet. Saylor, recognizing Kibuishi's unique ability to merge narrative and design, invited him to submit samples. Initially, Kibuishi hesitated. He deeply admired Mary GrandPré’s original covers and felt they were already perfect representations. "I was a curmudgeonly fan," he admitted. But once he understood the goal—to reintroduce the series to a younger generation—he warmed to the idea and submitted sketches.
The third book, Harry Potter and the Prisoner of Azkaban, was the first one Kibuishi drew. That early sketch, featuring Harry casting his Patronus at Dementors, so impressed Scholastic that they asked him to complete the entire series in that style. From that point, the project took shape rapidly over several months.
An Author's Perspective on Illustration
What set Kibuishi apart was not just his illustrative prowess, but the fact that he was also a writer. This dual identity gave him a unique insight into how books should feel and function. He approached the covers as an author might, asking: "If I were the author of the books—and they were like my own children—how would I want them to be seen years from now?" Inspired by classic paperback covers of literary masterpieces, he envisioned the new Harry Potter covers as windows into Rowling's world, rather than static portraits or film-style posters.
This reverence for the text led him to preserve the iconic Harry Potter logo, originally designed by David Saylor. Although Scholastic sent him a hand-drawn copy for refinement, Kibuishi chose not to alter it, acknowledging its significance to the Harry Potter legacy.
The Process and Creative Challenges
Kibuishi had great autonomy during the design process. Saylor offered minimal direction, often responding to requests for feedback with, "What do you think?" This freedom encouraged Kibuishi to pour himself into the work, especially knowing his readers—young fans of Amulet who were ready to discover Harry Potter.
Yet the creative process was intense. Some covers took over 130 drafts, with Kibuishi frequently retracing his steps to earlier versions to regain lost direction. He relied on Cheryl Klein at Arthur A. Levine Books to help fact-check the visuals. Kibuishi didn’t reread the series in full until late in the project. His initial roughs were based on memory, focusing on emotional tone and atmosphere before delving into the details.
Scene as Story – Choosing the Moments
Rather than collage-style movie posters, Kibuishi chose to depict singular, powerful scenes from each book.
For Philosopher’s Stone, he selected Diagon Alley, symbolizing Harry’s entry into the magical world.
Chamber of Secrets evolved through about 100 versions before settling on the cozy comfort of the Burrow, reflecting the warmth Harry finds in the Weasley family.
Prisoner of Azkaban solidified the visual style with the Patronus scene, emphasizing themes of self-discovery.
Goblet of Fire was unveiled at the American Library Association convention and depicted the vibrancy of the Triwizard Tournament.
Order of the Phoenix featured the group flying away on Thestrals, unveiled accidentally online.
Half-Blood Prince showcased Harry and Dumbledore at the cave entrance, emphasizing the looming danger.
Deathly Hallows was revealed on July 31st at a fan-filled event at Scholastic headquarters, filled with crafts, creatures, and cosplay.
The Hidden Narratives of the Back Covers
Initially, Kibuishi was provided with promotional quotes to use on the back covers. He felt this was a wasted opportunity and suggested using the space to tell a visual narrative of Harry’s journey instead. This led to a sequence of back covers, each showing Harry from behind, centered in pivotal moments from the series.
The concept began with an unused illustration of Harry facing the Hungarian Horntail. Though rejected for the front cover, it was so striking that Kibuishi repurposed it as a back cover image. From there, he depicted Harry’s emotional and physical growth—from a small boy staring into the Mirror of Erised to a determined young man confronting Voldemort.
These illustrations were created quickly, in under a week, yet they carry profound emotional weight. Kibuishi selected quotes from the text to accompany each image, reinforcing the narrative arc.
The Box Set and Personal Touches
The artwork for the complete box set is a rich tapestry of Easter eggs and cameos. Like GrandPré before him, Kibuishi embedded tributes and hidden gems throughout. The artwork is set in Hogsmeade and features:
Kibuishi himself working at Zonko’s joke shop.
David Saylor manning the cash register.
J.K. Rowling writing at her desk above the shop.
Arthur Levine holding a book in a window.
Cheryl Klein, Levine’s assistant, alongside him.
Kibuishi’s wife Amy and his assistant Jason (who picked his Hogwarts house) appearing as background figures.
Each individual featured in the artwork was allowed to choose their Hogwarts house, adding a personal layer of magic to the scene. Kibuishi joked that he didn’t think he’d make it into Hogwarts himself, thus placing his likeness outside the school, delivering books.
Tribute and Transformation
Kibuishi’s Harry Potter covers are more than a redesign. They are a tribute to storytelling, art, legacy, and fandom. They bridge generations, offering new readers a gateway into the wizarding world while honoring the affection held by long-time fans for the original covers.
What began as a daunting responsibility became, for Kibuishi, a celebration. He was not creating the Harry Potter world but celebrating it, and in doing so, he left his own enchanted mark on it—an artistic Patronus of his own.