The Harry Potter books have been published in 55 languages in 75 countries. In most English- speaking countries the books are published wholly or in part by Bloomsbury, the original copyright purchaser. Most people are aware of the changes made by Jo Rowling and the American editor, Arthur A. Levine, in adapting the books for the American market, and the ramifications of those changes when the books were made into films. These changes are part of that Shavian notion of two countries divided by a common language. In genuine translations of the text, much liberty needs to be taken with names and descriptions not only because of the vagaries of language, but also of culture. Some of these changes are amusing, and tell much about prejudices for and against the British in various countries. They also, of course, emphasize the "Everyperson" quality of Harry Potter, transforming the Harry into someone similar to the reader. This paper would not focus so much on language but on the books as physical objects: size, shape, layout, illustration. What is most surprising is that the artwork accompanying these translations seems to have its own special bias. Many translations are accompanied by indigenous artwork that transforms Harry and his associates into more familiar people with local facial features and apparel, but a great many translations use the American artwork rather than the British. The modern Greek translation (the ancient one being a Bloomsbury edition) seems to be an anomaly as it uses the British artwork. This paper would examine some of the implications of the complexity of rights for Warner Brothers' 'indicia' as they call their Harry Potter logo, the rights for the British text, and the rights for the American artwork. Much of the implications of these agreements will be illustrated using slides of various translations, showing the implications in layout, the use of the American typefaces in some cases, the odd look of the Harry Potter lightening scar logo in non-roman alphabets, and the implications and interests of illustration by various artists, particularly Serena Riglietti The paper shall then consider the implications of such differences in making the child / adult quality of this cross-over publication.