Claire Rochford Goes with the Flow
“Some of my favorite designs came about as the result of a random conversation, a just-before-bed thought, an art session with the kids, or just moving things around on screen until they felt right.”
Dear Readers, today we’ll meet the talented Claire Rochford, whose book designs you’ve inevitably come across—if not in your own cookbook library, then certainly on the shelf of your favorite culinary bookshop. I admire her versatility in both designing and illustrating books, and I especially love the joyful, whimsical feel of her work.
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I’ve long admired the work of English book designer Claire Rochford—from her early days on the creative team at Quadrille Publishing in the UK, to her latest work as a freelance designer. Her designs are vibrant and warm, and often include her own illustrations. Cookbooks are among Rochford’s favorite projects, and her designs—many of them featuring illustrated covers—will be familiar to American cookbook lovers.
Rochford studied Graphic Design at Falmouth University in Cornwall, England. While she was a student, she worked as an editorial designer at a small media company where she had a hands-on role in every part of the creative process. “I had to do everything: source material for articles, write the articles, take photographs, and then design the whole thing,” she explains, grateful for the opportunity to have learned how publications come together from start to finish. The job prepared her well for her role as an in-house designer at Quadrille, which she started in 2004. Rochford worked her way up the ranks, eventually becoming Head of Design in 2018.
In 2023, Rochford left Quadrille and took the leap into freelance book design, setting up her own practice in London. She works on a wide range of lifestyle books for clients such as Ebury Press, DK, Quarto, Murdoch Books, Smith Street Books, Bloomsbury, and Hardie Grant Books (the latter being her main US publishing client). “I really enjoy the variety in both pace and subject,” she says, “as it gives me plenty of inspiration for each project.”
Rochford’s designs feel light and effortless, despite the complexity of the books and the rigor required to execute them successfully. There is a great deal of structured thought that she puts into her work, but she also gives herself and her collaborators space to experiment and play—even initiating occasional dance parties. Her playfulness is a breath of fresh air, and I hope you enjoy this peek into her work as much as I enjoyed chatting with her.
What do you enjoy most about designing cookbooks?
My initial thought was that this was such an obvious answer: the food! I love cooking and eating, and having the opportunity to try dishes cooked by so many incredible chefs, food writers, and food stylists is such a privilege. However, I think it’s much more than that. There’s something about the process of designing a cookbook that is so pleasing: you often work closely with the whole team for a long period of time, and you find yourself becoming really invested in the success of each project, which is incredibly fulfilling.
What do you believe makes a cookbook’s design outstanding?
That’s such a tricky question! Design is SO subjective (anyone who’s sat through an in-house cover meeting will tell you that). There absolutely isn’t one single formula for success. I think it’s really important that recipes are clear and practical—there’s no point designing something really cool that is impossible for the reader to navigate. But cookbooks also need to act as desirable objects, to inspire people to pick them up and want to read and cook from them. So, looking for that balance between beauty and practicality is probably the holy grail!
There seems to be a preference for illustrated cookbook covers in the UK, while American cookbook covers typically feature photographs. Would you agree that UK readers prefer illustrated cookbook covers, and if so, what do you attribute this to?
The UK market is definitely full of illustrated covers, and has been for a really long time now. When I first started at Quadrille, almost everything was photographic, and then it slowly shifted. My timeline might be off, but I think the influence of those incredible Phaidon covers and a lot of Evi-O’s early work really started things.1 I also think that the amazing work of fiction cover designers in the UK has pushed other book designers too.
I’d love to know more about how books are purchased in the US, but I think the way we buy books in the UK is definitely a factor. Shops like Waterstones are always nicely laid out, and a good cover design is key to getting your book face out on the tables. This is similar to the way books are sold in gift outlets and shops, where they are part of a well-considered merchandising and aesthetic plan. (Note to all my friends in Sales not to shoot me for any inaccuracies!) But do I actually think that UK readers prefer illustrated covers? I’m not sure. Within our small foodie world, absolutely. But the bestseller charts are almost always dominated by clean, clear, photographic covers: Pinch of Nom, Bored of Lunch, Jamie Oliver, etc.
When I first worked at Quadrille, our books were sold to US publishers, and those publishers had complete creative control over the cover design (with author approval, of course). Once Quadrille started its distribution relationship with Chronicle Books, things changed a bit: covers were presented to Chronicle, and we were given feedback. The aim was always to produce a cover which worked in both territories. So, there were definitely times when you could get away with an illustrated cover, but if a book was hoping to be a big seller in the US, then you’d be working on a photographic cover right from the start.
I actually did a bit of research into my recent illustrated covers to see how they looked in the US, and surprisingly, they are all pretty much the same. I know from speaking to the publisher that the US taking the Boustany cover as-is was a big deal, as Sami’s previous books, and all the Ottolenghi titles, had been changed to photographic covers.2
What other differences do you notice in the way UK and US cookbooks are designed?
This is probably a broad generalization, but US cookbooks are a little more literal and less whimsical and pretty with their designs, and a bit more practical and punchy with the photography. Although saying that, I feel like I’m ignoring things like the Molly Baz books, or the new King Cookbook (the prettiest of books!).
When a UK cookbook features a photograph vs. an illustration on the cover, what do you think determines that decision?
Related to my point about the bestseller charts, certain subject areas seem to demand a photographic cover, and to ignore that would likely hamper sales. Anything in the health sphere tends to be photographic, or any book where the key market is at the more commercial end. Sometimes publishers come to me with a clear photographic/illustrated brief, but often I try both options. It’s useful to compare the two and determine what’s right for the book. Photographic covers can be just as beautiful as illustrated covers and, if the image is right, more impactful too.
What advice would you give authors about working successfully with designers on their cookbooks?
Trying to articulate how you’d like your book to look is incredibly hard, but actually, you shouldn’t really have to. Some authors have a clear idea of what they want from the outset, but often the most straightforward projects are those where the brief isn’t as prescriptive. I find it most helpful when authors talk about the book itself, as that gives me a much better idea of what it needs to be. I’m more likely to ask for examples of books/designs they DON’T like too. That tells me a lot about their aesthetic preferences without feeling like I’m copying something which has gone before.
And be honest. Sometimes a magical project comes along where I absolutely nail the cover the first time, but that’s not the norm. I’m bound to present a good number of designs that don’t quite hit the mark, and the most useful thing an author can do is be honest about them and tell me what they don’t like.
Conversely, what advice would you give designers about working successfully with authors on their cookbooks?
Leave your ego at the door. Design is really tricky because it’s incredibly personal but also incredibly subjective. People are going to dislike your work (and most manage to express that quite politely), and that’s ok. You’re often hired for your previous work and style, but your job isn’t to produce the book you’d like; it’s to produce the book that best fits the author. And the publisher/sales teams/book buyers/readers! There are so many interested parties that a designer with an ego just makes it hard work. Give considered responses based on best design practices and your own experience, but don’t take it personally if your favorite design isn’t selected.
You often provide illustrations for the books you design. How did you develop your illustration skills, and when did you first start contributing art to your books?
Well, I’m an only child, so I’ve been drawing to keep myself entertained since I was little. I think the first book I provided illustrations for was a knitting book for Quadrille, a really long time ago. I decided that it would be lovely to hand-draw the project titles and the step illustrations, but couldn’t quite find the right person (or probably also the time to commission them), so I did them myself.
I didn’t do too much when I was at Quadrille until COVID. An office isn’t a great place to paint and draw, but being at home was. After going freelance, I found I had more headspace and flexibility to illustrate more. I bought an iPad and an Apple Pencil and just started having a play with Procreate. Most of my illustrations are still just me having a play and trying new things. I’m slowly getting more confident, but I don’t think the imposter syndrome will ever fully go away.
How do you determine when to hire an illustrator vs. illustrate a book yourself?
It depends on a number of factors. Sometimes a publisher will specifically request a particular illustrator, or just the requirement to commission one. Sometimes a publisher actually asks me to provide illustrations and, I’ll be honest, that still blows my mind (see previous note about imposter syndrome). Most of the time, I consider the needs of the project: do I have the time or the skills to illustrate this one, or would it be better to commission? There are so many incredible illustrators out there whose skills far surpass mine!3
What’s a book you’ve worked on that you’re very proud of, and why?
This is such a hard question, I have so many favorites! I think some just feel really perfect because everything works: there is a lovely author and creative team, and delicious food on set; I learn something new; or the stars align, and the design process just clicks immediately. Ferment and Rice both fall into that category. I’m also super proud of One Pan Vietnam. I only designed the cover, chapter openers, and sample spreads for that one, but it represents a point where I felt really comfortable just going for it on the illustrations, and it was really great for my confidence.
Are you a frequent reader/user of cookbooks? If so, which are your favorites?
Absolutely. I have quite a collection, it would be rude not to! I don’t know, however, that I’m a much better cook than your average cookbook reader.
There are plenty of books in my collection that I loved reading, but in terms of books I cook from regularly, it’s Claire Thomson all the way. I have two children, a vegetarian husband, and limited time, and her recipes are so brilliant (and quick and easy) for all of those things.
Is there a cookbook you really love?
Too many! From a design perspective, I love The Gourmand series (Lemon, Egg, Mushroom—technically, these are books about food rather than cookbooks). They are so striking, and isn’t it the dream not to have to consider a title on the cover!
Ester is an absolute masterclass in subtlety. It’s the most beautiful book in an almost entirely neutral palette (credit to Daniel New and Patricia Niven). I love everything that Luke Bird and Dave Brown do, but in particular Steak (designed by Luke) and Pizza (designed by Dave). Both do exactly what I talked about earlier: they’re beautiful objects, considered throughout, but they also perfectly convey the voice and personality of the authors.
I’m also a big fan of Julia Hastings’s covers for Phaidon.
From a user’s perspective, some of my oldest cookbooks are still favorites. Kitchen Diaries by Nigel Slater is the most enjoyable read and has such delicious, comforting recipes. One of my uni friends introduced me to Nigella Lawson’s How to Be a Domestic Goddess, and I still reach for that book sometimes.
While at Quadrille, you worked your way up from being a Design Assistant to Head of Design. How did your experience “in the trenches” influence how you managed your team?
Well, there was a lot of winging it! I was managing people I’d known as friends for years, and, to be honest, I was lucky that they were all so good-natured and patient with me. I wanted them to feel that I was there to provide knowledge and support if needed, but also to give them the confidence to do great things themselves. There was a time when it wasn’t particularly glamorous to be the in-house designer, and all the fun or big jobs went out to freelancers. I was quite keen to reverse that trend and give them full ownership over bigger projects.
What inspired you to go freelance, and how has the transition from in-house to being on your own been?
A series of very mundane life events that had nothing to do with design inspired the change. Going freelance had always been a consideration, but the timing never felt right. I went back to work part-time after both maternity leaves because the thought of managing a freelance schedule and finances at that point terrified me, and I needed the security. And then in 2023, I realized that my husband and I could manage on one salary, so the jeopardy element had gone.
I also found that my children, especially post-COVID, needed me at home. The flexibility of freelance life felt like the perfect way to manage that. I’ve been incredibly lucky that the transition was quite smooth. I managed to pick up work pretty quickly (thanks in part to some recommendations from freelance designers I had previously commissioned) and had accumulated a good list of contacts from my time in-house. The hardest adjustment was the admin: invoices, taxes, becoming your own IT support, and paying for storage (no endless server space anymore).
What would you say to in-house designers who are thinking about going freelance?
Make the most of your time in-house before you bite the bullet. Get as much experience as you can, make plenty of contacts, and grow in confidence. Being freelance is brilliant, but I don’t think I would have enjoyed the experience as much if I’d gone out on my own earlier in my career.
Do you see AI, or other new design tools or platforms, significantly changing the way book designers work?
I hope, like in many industries, that we can use AI tools to make our lives easier. There are already AI-driven tools in the software we use, and if they make a job quicker without diminishing quality, that’s ok, isn’t it? But I really hope it isn’t seen as a quick fix for the creative process. I think that needs to come from real people. Some of my favorite designs came about as the result of a random conversation, a just-before-bed thought, an art session with the kids, or just moving things around on screen until they felt right.
In your 20-year career, how would you say you’ve matured as a designer, and what are some of the most valuable lessons you’ve learned?
Oh, it’s all about confidence. I feel so much more confident in my abilities now than I did when I started, which means I’m more willing to put myself out there, try things, fail, and pick myself back up again. And I think it’s really important to be open to new stuff: ideas, collaborators, technology, processes, whatever it might be. Don’t keep doing things the same way you’ve always done them; you’ll get bored pretty quickly, and you’ll never learn anything new. Most importantly, though, keep a sense of perspective—books are amazing things, but this isn’t an industry where lives are at stake, so keep it fun!
Thanks so much for reading, and I hope to see you back here in two weeks, when we’ll be getting stylish in the next “Notable Creatives.”
It’s difficult to pin down the time frame for this shift, but we estimated it to be roughly 2017 to 2021. “I think those first Tim Anderson covers and others felt so different when they hit the UK market,” says Rochford, referring to designer Evi-O’s covers for Tokyo Stories, Vegan JapanEasy, and Your Home Izakaya.
A notable exception to this practice was the 2024 American release of Yotam Ottolenghi’s Comfort, when readers overwhelmingly preferred the illustrated UK cover over the US cover, which featured a photograph. Ten Speed Press heeded the call and offered an alternate US edition with the original illustrated cover.
Rochford finds illustrators in a variety of ways, explaining, “I do trawl the agent websites, but I often find illustrators on Instagram. Sometimes Pinterest is useful too (if you can dodge the AI slop!).” She also keeps a list of artists she’d like to work with when the right project comes up.
Peckish is one of my favorite cover concepts - and title concepts - ever. Just love, love, love everything going on there. Great to get to know Claire's work much better.
What a juicy post for cookbook lovers! I especially loved seeing all the tries for Chocolate Baking.