Me & the Magic Cube, written by Daniel Fehr, translated by Marshall Yarbrough, and illustrated by GOLDEN COSMOS is a Pantone color fan's dream! GOLDEN COSMOS is a pseudonym for the Berlin-based duo Doris Freigofas and Daniel Dolz, and I got to chat with both of them about how the illustrations for this book came together.
About the book:
Have you ever picked up a Magic Cube and wondered who invented it, who can solve it, and how in the world you can, too? Jump into this fun and fact-filled picture book to discover the mathematics and magic of the Cube!
In a dusty box, a child finds a colorful cube. Fascinated, they begin to turn it. Soon all the colors are mixed up. Can the cube be solved? And how does it work anyway? Three friends set out to find the answers.
Since 1974, when Rubik invented his famous cube, 500 million Magic Cubes have been sold worldwide. To this day, new speed-cubing records are still being set.
Check out the endpapers!
Let's talk GOLDEN COSMOS!
LTPB: How did you become the illustrator of Me & the Magic Cube? What were the first images that popped into your mind when you saw Daniel Fehr’s text?
GC: At a meeting of illustrators and authors at NordSüd Verlag in Zurich, we had the chance to meet Daniel Fehr in person and learned about his new project — a book about the Rubik’s Cube. The publisher wanted us to accompany this project visually, as they felt our style would be a perfect match for the subject — and we agreed! We immediately had a sense for the visual world: the colors of the cube are exactly the primary colors we often use in our work.
When we read the text for the first time, we realized we were entering a universe completely new to us. There are so many fascinating facts about the object — how it was created and all the things people have done with it. We also found the concept of combining nonfiction with storytelling exciting — creating a sort of hybrid. The story the children experience together carries the reader through the book, while the facts run alongside.
To figure out how this could work, we explored many directions and, as we often do, also discarded some ideas. For example, in the beginning, there was the idea of using avatars of the protagonists as a bridge between the narrative and factual sections. But we eventually decided that a clear separation would work better, allowing the story and the factual parts to coexist side by side.
This formal separation is also reflected in the colored backgrounds and two different typographies.
GC: The author Daniel Fehr provided us with extensive research materials right from the start — including images, videos, and all sorts of stories — which allowed us to dive straight into the project. We were also able to reach out to our editor, Naomi Wolter, at any time. She shares Daniel Fehr’s passion for the Rubik’s Cube, and the short solution guide in the book is actually written by her.
The cube is a beautiful object that invites all kinds of playful interaction — not just solving it. For example, it inspired us to design patterns and mosaics with it. We wanted the book to offer as complete a “Rubik’s Cube experience” as possible. That’s how we came up with the idea to design the entire book — including the endpapers — as if the reader were opening a Rubik’s Cube and stepping inside it.
GC: We always start by sketching with pencil on paper to get a feel for the individual image compositions and the overall visual flow from one image to the next.
The final illustrations are created digitally — using Adobe Illustrator, Photoshop, or sometimes Fresco. The finished artworks are always like a puzzle made up of many different pieces. For each new project, we explore what kind of visual language suits it best — and that’s always a bit uncertain at the beginning.
LTPB: It looks like you do a lot of commissioned work and side projects! Can you tell me what else you do in addition to writing and illustrating children’s books?
GC: We also got ourselves a potter’s wheel, and whenever time allows, I (Doris) spend time throwing pottery. I also carve and work with wood. With pottery or woodcarving, the focus is on the sensory experience — working with the material itself. For me, these are mediums where the process matters more than the outcome. It’s a space where I can explore more freely and experimentally — it’s my creative playground.
GC: Our latest book deals with the topic of mobility — a complex and dynamic subject that once again requires a great deal of research. We’re still at a very early stage with this project, in that magical moment where everything is still open and so much is possible.
We’ve set off on the journey and are letting our intuition guide us — curious to see where we’ll end up!
GC: We would choose Beatrice Alemagna. She has the rare ability to move you with her images — to make you laugh and cry — and she’s a virtuoso when it comes to drawing. You never get tired of looking at her line work. Her illustrations form a powerful, tension-filled symbiosis with the text — they’re far more than just a beautiful accompaniment.
A big thanks to GOLDEN COSMOS for taking time to answer some questions about this incredibly special book! Me & the Magic Cube published last month from NorthSouth Books!
Special thanks to GOLDEN COSMOS and NorthSouth Books for use of these images!
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