10 Questions with Nina Mašina

Aleksandra Nina Knezevic (Nina Mašina) is a designer and illustrator born in Sarajevo, Bosnia and Herzegovina. Her creative passion lies in designing books, book covers, and illustrations. With over 20 years of experience, she has designed covers for numerous books, including those by Nobel laureates, literary classics and poets. 

In recent years, her creative interest has also expanded to children's books and illustrations. As part of this opus, she has designed covers for the Harry Potter book series for the Bosnian publisher Buybook. Her visual language has been described as the one that effortlessly communicates in an universal language through playful typography and graphic forms. In her artistic practice, Aleksandra Nina combines traditional techniques with the ones leaning on the latest developments in digital technologies.

She began her work by hand-drawing using materials such as ink, markers, coloured pencils, and watercolour. At the same time, digital technologies allowed her to adapt manually created forms to contemporary needs more easily, and through digitization, she arrives at the final stages of her work. Although she gladly uses digital tools, she also loves the classical creation process: hand-drawing, choosing the texture of paper, mixing colours, selecting specific brushes, and, generally, the tools she uses in creating her work. This process provides her with a meditative and liberating experience and certainly produces wonderful results!

By exploring new artistic techniques and researching ancient crafts of painting and illustrating she gains an inspiration for her further artistic advancements. She is fascinated by Persian miniatures and manuscripts, which she finds particularly appealing. Coming from a multiethnic culture, this type of visual language feels very familiar to her. Exploring new visual languages and techniques allows her thoughts and feelings to flow freely.

Her mode of expression is a reflection of thoughts and words, delving into themes of identity, memory, and transformation. Before she starts working on book covers, she studies the book to find the main emotion and the image that would support these impressions. For designing a cover, she doesn't read the book in the usual classical way. Often she is looking for inspiration in stories, images and sometimes within her dreams. In her creations, she captures the essence of city life, from majestic buildings to the delicate curvature of rooftops, intricate window grilles, towering skyscraper spires, and winding bridge spans. Unreal perspectives emerge, from which faces, eyes and images of cities appear. The city is not just a visual spectacle; it is a complex weave of intertwined emotions.  

As her work is tied to another form of creative expression, namely literature, she tries to complement and enhance the dimension of the existing form. Her work is inspired by pre-existing artistic works, where she creates her own visual interpretation. She loves the texture of paper, the smell of books, and the printing technique and prefers the printed form of books.  

Growing up in a multicultural environment has greatly influenced her artistic vision. The rich tapestry of cultures and experiences she has been exposed to has shaped her way of thinking. Her sources of inspiration include African art, Persian art, illuminated manuscripts, Sacred geometry, Dadaism, Surrealism, Russian Avant-garde and Bauhaus. Artists such as Mattoti, Folon, Paul Klee, Italo Calvino, Audrey Bradsley, David Hockney, and many others are dear to her.

She strives to create art that not only resonates on a personal level but also fosters a sense of connection and empathy among viewers. Her art is a journey into the human psyche, an exploration of the emotions that define our existence. Viewers are invited to immerse themselves in the colours and textures of her work, to find their own connections within the shapes. Her book covers aim to evoke readers' desire to read the book, even if they have already read it.

www.ninamashina.com | @nina.masina

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how would you describe yourself as an artist? 

My name is Aleksandra Nina Knežević, and I am an award-winning illustrator and designer specializing in book covers and children's books. Coming from the vibrant city of Sarajevo, my passion lies in crafting captivating visuals that transcend borders and resonate with audiences worldwide. For over two decades, I have had the privilege of producing creative designs for numerous well-recognized publishing houses and esteemed authors. My artistic style is characterized by its contemporary flair and an innate ability to convey an universal visual language through playful typography and graphics. One of my crowning achievements was being recognized among 200 best illustrators globally, an honour I earned for my contributions which arefeatured in "Luerzer's Archive: 200 Best Illustrators Worldwide 09-10." Among my most recognized works are the designs for the Bosnian edition of the Harry Potter book series, a project that allowed me to bring the magic of J.K. Rowling's world to life.

How has growing up in a multicultural environment influenced your artistic vision and the themes you explore in your work?

Growing up in a rich, diverse culture has profoundly influenced my artistic vision. This has shaped my way of thinking, my use of colours and textures, and the themes I explore. Being able to work in multicultural environments has enriched my artistic expression, allowing me to connect with a broad audience and infuse my work with a sense of universality.

Let's talk about your work. Can you walk us through your creative process, from the first idea to the final product?

My creative process begins with hand-drawing, using materials such as ink, markers, coloured pencils, and watercolour. This traditional approach allows me to explore and experiment freely. I then digitize my drawings, adapting them to contemporary needs using digital technologies. This combination of traditional and digital techniques provides a rich, meditative experience and yields wonderful results. For book covers, I immerse myself in the story to identify the main motion and create initial sketches that develop into the final design.

Designing book covers is a unique art form. Could you share your approach to this process, especially when it comes to capturing the main emotions and themes of a book?

Designing book covers is a nuanced art form that begins with a deep engagement with the text itself. Before embarking on the creative process, I thoroughly analise the story. This initial immersion allows me to discern the primary emotions and thematic undercurrents that define the narrative.
Through preliminary sketches, I explore various compositions, colour palettes, and typographic elements. Each design decision is informed by my interpretation of the book's essence, aiming to encapsulate its core themes and evoke an emotional response from potential readers.
Ultimately, designing a book cover is about creating a compelling visual narrative that serves as a gateway to the story within, inviting readers to embark on a literary journey.

Book covers play a crucial role in capturing the readers' attention. How do you ensure that the typography and illustrations on your book covers resonate emotionally with readers?

I pay close attention to how typography and illustrations work together to convey the book's mood and message. The typography is carefully selected to match the emotional tone of the illustrations, creating a cohesive visual narrative. This harmony between text and image helps capture the readers' attention and evoke the desired emotional response, from potential readers.

Who are some of the artists that have inspired you the most, and in what ways have they impacted your work?

I draw inspiration from a wide range of artists and artistic movements. Some of my major influences include miniature art, illuminated manuscripts, African art, Sacred geometry, Dadaism, Surrealism, Russian avant-garde and Bauhaus. 
Artists such as Lorenzo Mattotti, Jan-Michel Folon, Paul Klee, Audrey Bradsley, Tamara Lempicka, and David Hockney have profoundly impacted my work. Their innovative approaches and unique styles inspire me to push the boundaries of my own art.

Speaking of influences, what is it about Persian miniatures and manuscripts that fascinates you, and how do these influences appear in your work?

Persian miniatures and manuscripts captivate me with their intricate details, vibrant colours, and storytelling. These traditional forms of art resonate deeply with me. They inspire my use of detailed patterns, rich textures, and a harmonious blend of colours in my work. This influence is evident in my illustrations, where I strive to capture the essence of these ancient techniques.
Traditional techniques may seem very outdated in this time of artificial intelligence. However, from my perspective, they represent inspiration and a connection to the beginnings of book illustration. In Sarajevo, at the National Museum, people could still be inspired by one of the oldest illuminated manuscripts in the world, known as the Sarajevo Haggadah, created in medieval Spain around 1350.

You have worked on important pieces of contemporary literature and world-famous authors. What have been some of the most memorable experiences you had so far, and why?

One of the most memorable experiences in my career has been working on the illustrated book covers for the Harry Potter series for the Bosnian publisher Buybook over the past decade. This project allowed me to engage with a beloved global phenomenon and bring my own artistic interpretation of J.K. Rowling's magical world.
Another significant experience has been designing covers for many cherished books that I grew up with. These include works from authors such as Franz Kafka, Carlo Collodi, Oscar Wilde, and my personal favourites, Italo Calvino, Ernesto Sabato, Simone de Beauvoir, Herta Müller, and Elif Shafak. Each of these projects has been a unique opportunity to delve deeply into the literary worlds created by these distinguished writers.
Throughout my career, I had the pleasure of working on book covers of many well known authors coming fromBalkan. These projects have brought me an immense satisfaction as they allowed me to contribute to the literary culture of my own region.
I find great joy in illustrating children's books, a field I've been involved in for the past decade. A particularly proud moment was when my illustrations for the children's book "Marvelous World" were awarded at the Bologna Children's Book Fair and received a Merit award in the "3x3" - The Magazine for Contemporary Illustration. This recognition has been incredibly rewarding and has affirmed my dedication to creating artwork for young readers.

Looking ahead, what is one project you would love to work on? Do you have any author or series you would like to illustrate?

I would love to work on illustrating children's classics and especially books like "Alice in Wonderland". It is a challenging task due to its rich illustration history and I believe that it would be an exciting project. I am also intrigued by the idea of creating animations to promote books, adding another dimension to readers' experience. 

And lastly, how do you see your work evolving in the future? What do you wish to accomplish in the coming years?

I strive to create art that not only resonates on a personal level but also fosters a sense of connection with viewers. In the coming years, I aim to continue exploring new techniques and uncharted territories. My art is a journey into the human psyche, and I hope to continue this exploration. Ultimately, I wish to evoke a desire for readers to engage with the books I illustrate and gain new perspectives.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.