The phrase "aesthetic cover" is correct and usable in written English.
It can be used to describe a visually appealing or artistically designed cover for a book, album, or other media.
Example: "The aesthetic cover of the novel immediately caught my attention and made me want to read it."
Alternatives: "artistic cover" or "visually appealing cover".
Yet the book as a whole has a dated aesthetic — its lenticular cover flashes between two images, and its inside typeface has a nostalgic '70s vibe — perhaps wistful for an era when space travel still felt mythic rather than humdrum.
Now I'm only a little late on Parquet Court's new EP, which came out yesterday, but it keeps up the Fall/Pavement cover aesthetic, complete with the perverse delight in homophones (Parkay Quarts!?): It's great and ramshackle, just as the cover would suggest.
From here, most historic and aesthetic bases are covered: American and European modernism, photojournalism, portraiture and celebrity portraiture, still life, photomontage and collage, abstraction and avant-garde experimentation as well as Conceptual art, performance art and body art.
And you can see the result in the aesthetic distance I covered from "Brief Fling" in 1989 for American Ballet Theater to "The Brahms-Haydn Variations" last year for the same company.
Likewise, a UX/UI design patent would cover the aesthetic, as opposed to the specific functionality, of the experience.
It's hard to beat the aesthetic of old magazine cover design from Japan.
The Independent felt that the first song from the album, "Bad Romance", set the tone for the album, whose dominant atmosphere and aesthetic, from the monochrome cover shot and the crucifix logo onwards, is gothic.
The USTA's resistance to canvas court covers on aesthetic grounds doesn't help, either.
The songs on the album don't depart from Redbone's trademark aesthetic: they're mostly covers from an era gone by, including selections made famous by Jelly Roll Morton, Duke Ellington, and Irving Berlin.
The autobiography he wrote in middle age and the scintillating series of conversation books he wrote with Robert Craft in the last years of his long life covered his aesthetic tracks, fudging not only opinions he had held earlier but even inconvenient facts.
