Nick Filbert
A Local Vision
In 2020, to celebrate the 20th anniversary of Harry Potter in Indonesia, Gramedia Pustaka Utama made a bold decision: instead of reusing an international cover, they would commission new artwork from a homegrown talent. The result? A stunning series of covers by Indonesian illustrator Nick Filbert, each centered on a Fantastic Beast from the story—a unique direction no other edition had fully explored.
Senior editor Diniarty “Dini” Pandia recalled how Rowling’s agents originally proposed licensing an existing design. But she pushed back: “That made me more eager to create an Indonesian cover. Who knows, maybe it could go international later?”
Drawing from Childhood
Nick had been drawing since kindergarten. Encouraged by his supportive parents, he spent much of his childhood entering art competitions. Though he briefly stepped away during high school, he returned to his passion in college, majoring in animation art. After gaining experience at a major Indonesian illustration studio, he struck out on his own in 2015 and has been working independently ever since.
A Fan First
Like many around the world, Nick grew up with Harry Potter. He devoured the books, watched the films countless times, and felt he had aged alongside the characters. When his editor challenged him to propose a new cover concept, he leapt at the chance. “It felt like a gift,” he said.
To him, Rowling’s world was not only rich in magic, but a lesson in imagination—especially before the films brought it to life. “We were challenged to visualize what had never been shown. That’s what makes the book so special to me as an artist.”
The Beasts of Magic
Nick’s concept centered on Fantastic Beasts—the magical creatures woven throughout Rowling’s world but often overlooked on book covers. “Fantastic Beasts aren’t just complementary. They’re integral,” he said. “Each cover focuses on a prominent beast from that book, without giving away the story.”
It was a theme close to home: the beasts became visual metaphors for the diverse fauna of Indonesia. No two were alike, and each design reflected both magical wonder and local artistry.
Batik and Detail
Nick also paid tribute to Indonesian visual culture by incorporating batik-inspired patterns and earthy tones. “The other main idea was to incorporate the spirit of Indonesian batik artwork, which is made meticulously and skillfully.” This meticulousness shaped every piece. “Each book cover is a giant continuous drawing,” he said, “with lots of characters, objects, and dynamic head-turn ‘animation’ to make the beasts feel alive.”
Each cover took around a week or more—from idea and rough sketches to final linework and coloring. He approached the challenge with joy. “Success for me is doing what I love, my own way.”
Style and Substance
Navigating between personal expression and market appeal is no small feat. “The challenge,” Nick explained, “is finding the middle ground between my own artistic ideals and something the public will love.” His years in an illustration studio helped him strike that balance. “I learned which works sell, and which don’t.”
Approval for the first two books took months, with Rowling’s team questioning every detail—color, typeface, layout. But by the third, they trusted him. “The next approvals only took a week.”
Voldemort and the Final Chapter
Though his cover for Philosopher’s Stone features a beast and a richly layered scene, Nick’s favorite book to work on was the final one: Harry Potter and the Deathly Hallows. “There were so many elements I wanted to include. The challenge was deciding how much to put in, and what to hold back.”
His favorite character? Not Harry, Hermione, or Hagrid—but Voldemort. “Design-wise, he’s fascinating. He can split his soul, he’s always with Nagini, and he has such rich development—from orphan to the greatest dark wizard. He’s layered. That’s what makes him so interesting.”
A Magical Homecoming
In the end, Nick’s covers not only reimagined Harry Potter through the lens of Indonesian culture, they also proved the power of local talent in global franchises. From beasts to batik, Filbert’s work is a visual tribute to both the magic of J.K. Rowling’s world and the artistic spirit of his own.