1001 Arabian Nights is a collection of Middle Eastern folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English-language edition. Its tales of Aladdin, Ali Baba, and Sindbad the Sailor have become part of the Western folklore.
My grandma, as a native north-africana used to tell us bedtime stories that have been passed down to her through the generations. Some of those stories are part of the tales of 1001 Arabian Nights.
The redesign of the book cover is mainly based on typography design. After a broad research of Arabic typography, I created a typography that has the elements, ornaments and accents of the Arabic language,
using the English alphabet.
using the English alphabet.
I chose to use leather as my material of choice because it gives an instant connotation of an old memory.
The texture, the smell and the colour created the sensorial experience that I was looking to transit to the user.
In fact, most medieval bindings were made out of animal skin who involuntarily ended up protecting the manuscript. An added bonus of leather was that it accommodated blind-tooled decoration, which was applied in mesmerizing shapes and patterns.
The texture, the smell and the colour created the sensorial experience that I was looking to transit to the user.
In fact, most medieval bindings were made out of animal skin who involuntarily ended up protecting the manuscript. An added bonus of leather was that it accommodated blind-tooled decoration, which was applied in mesmerizing shapes and patterns.
Laser cutting could be tricky, therefore mistakes happened along the way. I was needed to rethink my typography and correct the file so the laser cut machine won't lose parts of the letters.
I was using the laser cut in two different formats, laser cutting and laser engraving. The typography and some of the stars are cut while the author name and other details are engraved in the leather.
I was using the laser cut in two different formats, laser cutting and laser engraving. The typography and some of the stars are cut while the author name and other details are engraved in the leather.
As an addition for the user experience, the cover is glowing in the dark. This helped to enhance the magical essence of the book, and to create this sensorial experience.
Following the sensorial experience and the concept of glow in the dark, I wanted my AR interactivity to convey the world of tales this book has to offer.
I used Trapcode Particular to bring to life the mystical essence of the book, using different kind
of particle emitters as a base for my AR animation. Afterwards, I used @ARTIVIVE as a tool to make the fusion between the digital and the tangible worlds I created.
I used Trapcode Particular to bring to life the mystical essence of the book, using different kind
of particle emitters as a base for my AR animation. Afterwards, I used @ARTIVIVE as a tool to make the fusion between the digital and the tangible worlds I created.
Special thanks to:
@Cabeza Patata
Ateneu de Fabricació Digital de Gràcia
Ateneu de Fabricació Digital de Gràcia
