Krenz & Loiza
An Ambitious Vision
In the fall of 2019, an exciting and daunting opportunity emerged for a Taiwanese creative team. J.K. Rowling's agency approached Crown Publishing during a routine meeting with a proposal: to create a commemorative edition of the Harry Potter series specifically for Taiwan. The occasion? The 20th anniversary of the publication of the Traditional Chinese version of Harry Potter and the Philosopher's Stone. Taiwan would join other nations like Thailand, Indonesia, Japan, and China in presenting a redesigned version of the beloved series. It was a chance to create something completely original, with a distinct Taiwanese flavor.
The scale of the project was massive, and the expectations were high. With numerous regulations to follow, approvals to obtain, and a design vision to construct, the publishing team hesitated—but only briefly. The potential to participate in a global celebration of Harry Potter proved too tempting to resist.
Finding the Right Artists
Selecting the illustrator for such a significant project was a crucial step. The editor’s mind turned to a set of postcards purchased at CWT in 2016, painted by an artist named Krenz. The imagery had left a lasting impression. Even though years had passed, and countless illustrations had been considered for various books, nothing had ever quite matched the magic in those postcards—until now.
Krenz’s artwork, with its ethereal light, subtle shadows, and sweeping perspectives, brought a magical atmosphere that felt perfectly suited to the Harry Potter universe. He quickly became the frontrunner among more than a dozen illustrators under consideration. When Krenz’s portfolio was submitted to Rowling’s team, it was met with enthusiastic approval—an uncommon response from a notoriously discerning team.
Building a Team of Wizards
Inviting Krenz was a gamble. The review process was rigorous and often invasive: complete illustration concepts had to be explained in advance; line drawings, color drafts, and final designs had to be submitted and revised at multiple stages. Confidentiality agreements were required, and changes could be requested at any point. It was no small ask.
To everyone’s relief, Krenz accepted the invitation—and brought backup. He was joined by his partner Loiza and two assistants, forming a powerhouse team. Their responsibilities were clearly defined: Loiza would handle the line art and object design for the covers, while Krenz would focus on coloring and the expansive back-cover illustrations.
Magic in the Details
One of the most intriguing creative decisions was to avoid depicting characters on the covers. This bold move was guided by the belief that each reader holds their own image of Harry, Ron, Hermione, and the rest. Character designs can lock readers into a single interpretation—especially those shaped by films. By focusing on objects, symbols, and atmosphere instead, the covers invited imagination rather than limiting it.
The cover of Philosopher’s Stone included a beautiful arrangement of fan-favorite elements: Hedwig, the Hogwarts Express, the Platform Nine and Three-Quarters sign, Harry’s acceptance letter, a wand, a Gringotts key, and the Hogwarts crest—all tastefully interconnected.
The back covers offered something even more spectacular: a continuous illustration that, when all seven spines were aligned, depicted Harry and Hedwig flying over a stylized Hogwarts. This image wasn’t a scene from the books, but rather one that might plausibly exist within the world. Rowling’s agency loved the idea—but not without caveats.
The Rules of Magic
Rowling’s team had one guiding mandate: no movie references. That meant no visual similarities to the film adaptations—no matter how minor. The Hogwarts Express, Platform 9 ¾, and even the Hogwarts crest had to be redesigned from the ground up. In a stroke of brilliance, the team chose to base the Hogwarts Express on Taiwan’s own Alishan train, giving it a unique cultural flair that instantly won approval from Rowling’s team. “It’s very Taiwanese!” came the praise.
Still, challenges remained. Hedwig, for example, had been drawn with an incorrect toe configuration—a detail noticed not by Rowling’s people, but by the Raptor Research Group of Taiwan. The illustrators sprang into action, revising the owl’s grip in a last-minute fix just before printing.
The Longest Quidditch Match
Despite Rowling’s approval of the overall design, additional requests came in—many of them incredibly specific. Hogwarts could not be situated near the sea. Hogsmeade had to appear at a precise angle. All buildings needed pointed roofs. Even Harry himself was not spared: his robes had to be ankle-length, his hair messier and darker. A final, unexpected change: Harry had to fly to the right. This was to ensure he’d be visible earlier in the series when books were displayed from left to right.
Changes kept coming, even after the “final” version had been submitted. The team began to dread emails bearing the words “Harry Potter.” The stress was immense, the hours long—but the result was something they could be proud of.
A Castle of One’s Own
Designing a new Hogwarts was an extraordinary challenge. Krenz had to abandon anything resembling the cinematic castle. He delved into research, exploring ancient architecture from around the world to craft a unique “Taiwanese Hogwarts.”
After much trial and error—tearing down towers and rebuilding walls—the castle took shape. The lake’s boundaries were redrawn, the village relocated, the colors adjusted. Krenz’s vision, once shaped by outside influence, had become wholly original.
A Legacy in Ink
In the end, the commemorative edition of the Harry Potter series released in Taiwan in 2020 became a triumph of creativity and cultural reinterpretation. The artwork of Krenz and Loiza didn’t just honor the spirit of the books; it gave Taiwanese readers their own visual language for the stories they loved.
Their work stands as a testament to what can happen when creative freedom meets cultural specificity, guided by the magical legacy of Rowling’s world and the meticulous craftsmanship of artists determined to make their own mark on it.