“Na-Na-” was a catchphrase in “Kamusari” in this novel. It was used on many occasions, which denotes downshifting without rustle and bustle. I think that was very interesting, just like dialects in Japan, always lingering in our heads for days. I intuitively designed these words into a radial, circular arrangement, like echoes from the forest.
In this project, I wanted to keep the feeling of “mystery”. The book cover was designed with tracing paper so as to present the forest's mysticism in the cloud and mist. Declining the directly real picture using, I aimed to prevent the mundane, and on the other hand, it could also shorten the distance between the reader and “Kamusari ( in Japanese, means ” mythology about people being abducted by an angry god"), being attractive to read.
哪啊哪啊（ なあなあ） 是小說中「神去村」居民，說話時的口頭禪被運用在很多場合， 帶有不汲汲營營、不匆忙的意義。我覺得這個很有意思， 就好像日本各地的方言， 在耳邊喃喃自語， 我也很自然地將這些文字設計成放射狀、環狀的排列，有如出自森林裡回聲。
我想保留出這份「神秘感」， 重新發想了一個新的提案。整個封面大面積利用描圖紙遮罩的特性， 蓋住內封一張柔焦化的森林照片， 呈現出山中雲霧繚繞的氣氛。避免掉直接運用圖片原因是希望從規律中抽離出來， 一方面也可以拉近神去村的「距離感」， 同時讓人想窺探這個森林故事。
The bronzing traces are not just meant to emphasize the concrete shape of forests but also to represent the details creatures in the forest.
細碎的燙金痕跡， 除了穩定畫面構圖， 讓版面豐富之外， 也代表著森林的靈氣、生生不息的萬物。
NOTE:
This project is a mockup of design practice.
There is no collaboration or commission with the book publisher.
