Minalima
A Fresh Spell Cast on a Classic
In July 2020, Scholastic released a dazzling new edition of Harry Potter and the Sorcerer’s Stone (known internationally as Harry Potter and the Philosopher’s Stone), launching readers back into J.K. Rowling’s magical world through the inventive lens of design studio MinaLima. Celebrated for their work on the Harry Potter and Fantastic Beasts films, designers Miraphora Mina and Eduardo Lima transformed the first book in the iconic series into an immersive visual experience.
Complete with pop-out paper craft features and special fold-out pages, this edition invites readers to physically explore the wizarding world. From Diagon Alley to Hogwarts School of Witchcraft and Wizardry, to a festive Great Hall feast that nearly leaps off the page, the MinaLima edition is not just a book—it’s an invitation to step through the page into another realm.
“This new edition of Harry Potter and the Sorcerer’s Stone is the perfect way to start a new generation of readers on their Hogwarts journey, and at the same time is sure to be a treasured keepsake for fans to add to their collection,” said Ellie Berger, President of Scholastic Trade. “The Harry Potter series continues to inspire readers of all ages with its universal themes of friendship, imagination and the triumph of good over evil.”
From Film to Page—An Artist’s Return
For MinaLima, this edition marks a return to the roots of the franchise that shaped their careers. “Twenty years of designing for the Wizarding World have come full circle in this extraordinary opportunity to depict Harry Potter and the Sorcerer’s Stone in a whole new way,” said Mina and Lima. “From creating Harry’s Hogwarts acceptance letter for the first film, to envisioning his world for this new illustrated edition, MinaLima’s many invitations to visualize this fantastic universe never cease to beguile.”
They describe the project as “a real honour,” particularly as they joined the “exclusive club” of illustrators who have brought Rowling’s story to life. Though they follow in the footsteps of Jim Kay, whose painterly vision reimagined the series in lush watercolors, MinaLima approached the story with their signature graphic flair and immersive design sensibility.
The biggest challenge? “Trying to un-think working on the films,” they explained. “And re-think, in a very from-the-heart way, what we felt we could best do for the text. This was a lovely opportunity to be fresh, and think – what would a child really love to see?”
Hidden Wonders and Iconic Imagery
Every page of the MinaLima edition contains surprises—both overt and hidden. “It’s always about that,” they said. “There’s also a few little easter eggs—and there’s one in that particular drawing,” they noted about the double-spread of the Hogwarts Express and Platform 9 3/4. That illustration includes delightful nods to the series: the Elder Wand, Trevor the toad, a "P" for Peverell, Scabbers the rat, Harry’s glasses, and more.
Creating the visual treatment for the book began, naturally, with reading. Eduardo explains: “That process sometimes takes a couple of months because we need to reread the book and establish a book map, which is a script of the book and what’s going to be illustrated. We need to make sure that all the important passages are represented. And sometimes we have opportunities to enlarge things that we saw in the film but were very quick, like the Slytherin common room.”
Miraphora elaborated: “[The book map is] how we create a good reading rhythm for the reader… We’re illustrating and designing—thinking about typefaces, drop caps, the endpapers, the finishes, the treatment of the pages so they have a slight aging—we have 100% control over the whole piece. That’s why I call it a piece of architecture because it really is a three-dimensional process that you’re working with. Every time you move something, it affects something else, and you end up with a massive building.”
An Immersive Creative Process
Despite their long-standing work within the Wizarding World, this was MinaLima’s first time illustrating a Harry Potter novel in its entirety. “This book was a big responsibility as it has become a modern classic—loved by millions of children across the world,” Eduardo reflects.
The team approached it methodically: “We started by reading the book and creating a ‘book map’ where we identify key moments, unusual twists and visually interesting opportunities. We then decide whether these situations would be best represented as full-page illustrations, spot illustrations, or interactive elements.”
The result is a feast for the eyes. Nearly every page features vivid illustrations and rich design elements, alongside physical surprises like a fold-out Hogwarts acceptance letter. As Eduardo notes, “It is also a very technical, three-dimensional process… We need to make sure the inserts and features are evenly spread out through the book and that manufacturing in volume will be feasible—quite the opposite of designing a book as a film prop!”
Personal Favorites and Creative Liberties
For all the structural planning, there was also delight in artistic spontaneity. Among their favorite illustrations, Eduardo highlighted the introduction of Hogwarts, while Miraphora favored Diagon Alley. “The interactives are where we need to consider a more 3D and playful approach; this one is full to the brim with rich content for the reader to discover… hopefully much like Harry did on his very first visit.”
The book also allowed the designers to depict aspects of the wizarding world that had never been visualized in the films. One such example: Dumbledore’s magical watch. “This book brought new opportunities: we could bring to life some pieces that are important to the story but did not make it into the films,” Mira reveals.
Magic Rooted in Reality
Why has Harry Potter and the Philosopher’s Stone endured more than two decades after its release? MinaLima credit Rowling’s skill at blending the fantastical with the familiar. “In my opinion, the appeal is a magical world anchored in a reality we are already completely familiar with,” Mira says. “What better situation than seven school years… Harry receives his acceptance letter for Hogwarts when he is 11, we too receive confirmation to our secondary school at 11. And the fact that it is a physical letter, like so many of the other key ‘props’ in this universe, for me allows us to immediately accept this fiction as our new reality.”
Likewise, the values underpinning the story—friendship, equality, love, and the triumph of good over evil—resonate deeply. “The reader is able to wholly identify with the characters through their own personal journeys.”
Revisiting a Magical World
Miraphora Mina and Eduardo Lima, the creative duo behind MinaLima, have become synonymous with the visual identity of the Wizarding World. After more than two decades designing for the Harry Potter and Fantastic Beasts films, they returned to the world that shaped their careers with a fresh mission: to reinvent the books themselves. With the publication of their illustrated editions of Harry Potter and the Philosopher's Stone in 2020 and Chamber of Secrets shortly thereafter, they brought an entirely new visual and tactile experience to J.K. Rowling's beloved series.
"Just like the films, we feel such a duty to keep delivering," Miraphora shared. "And I think as creative people, you always want to deliver a little bit more than you’ve delivered before."
From Familiar Films to Fresh Illustrations
Eduardo noted the unique challenge of this transition. "The great thing is that we’ve already established what Hogwarts and the Great Hall and Quidditch look like in the films. But every [MinaLima] book will give you another set of newly-designed locations and characters. For example, with Chamber of Secrets we were able to create Gilderoy Lockhart’s world and his portraits and explore his vanity."
One such iconic location was the Burrow. "The Burrow, as well," Miraphora added, referencing the Weasley family home. Balancing familiarity with originality became a central challenge. "To an extent, we had to unthink everything that we knew from the film, unless it’s specifically referenced, like the Weasleys having red hair."
Eduardo agreed, "Even the Burrow is so well described in the text, so that’s why it resembles the one from the film."
"Yes, but this is not a book of the film," Miraphora emphasized. "From the get-go, the directive to ourselves was that we must imagine it from scratch."
A New Kind of Set Design
The transition from film to book illustration introduced new creative processes. "One thing that’s very different from the work we did on film was having to now think about set design: characterizations, set pieces, environments—"
"Wigs. Costumes!" Eduardo chimed in.
The scale of their ambition was not without limits. MinaLima revealed that they would not be continuing their illustrated editions beyond Prisoner of Azkaban. "Studio MinaLima has not been commissioned to illustrate the fourth Harry Potter book and will not be continuing our participation in the series," they confirmed. "It was a privilege to reimagine J.K. Rowling’s first three Harry Potter books in the style of our illustrated fairytales."
The Creative Process
Each book begins with a deep rereading. Eduardo explains, "We begin by reading each book again thoroughly. I make a book map where I note all the interesting, quirky and intriguing events and decide which moments should be conveyed through spot illustrations, full-page images, or interactive elements."
"Our fantastic team then picks these up and draws the illustrations in more detail," added Miraphora. "They also begin crafting all the paper engineered interactive elements. We had a core team of seven – including us! – working on Chamber of Secrets."
Every member of MinaLima gets involved. From illustrations to layout, marketing, and gallery displays, each project is a collaborative endeavor.
Challenges and Constraints
Creating these books at commercial scale brings unique challenges. "There are lots of little details we need to pay attention to," Miraphora noted. "We need to make sure all the illustrations and interactives are evenly spread out. Tempting though it may be, we also can’t have endless double-page spreads – after all, there is a story that needs to be read here, too!"
Eduardo added, "We also work within certain budgetary and manufacturing constraints. Occasionally we have to let go of an idea for an interactive element because it is too complex to create for such a large print run."
Not every illustration makes the final cut. "We always create far more than we need – it is a habit from our days on the film set!" said Eduardo.
A Bridge to Future Books?
Regarding future volumes like Order of the Phoenix, Miraphora commented, "We are being commissioned to work on one book at a time so that will be a bridge – possibly a big bridge! – that we will cross when we get to it."
Some details differ between countries, which MinaLima accommodates. "Our foremost consideration is to stay loyal to the text," Eduardo said. "We then create additional designs, as needed, for example we produced a number of different Crest letters."
Reinventing the Characters
Miraphora emphasized that diverging from the films was intentional. "Yes, absolutely! We were invited to reinvent this magical story. For us, it is far more interesting to create something new rather than more of the same."
Eduardo added, "Here was our opportunity to take full creative control and introduce readers to characters and locations they might not have met in the films – all presented with a generous dose of the MinaLima’s colourful playfulness!"
Favorites and Hidden Magic
Creating characters was the most difficult part. "They must feel familiar – like old friends – and be imbued with their personalities without mirroring the faces we already know so well," said Miraphora.
For Eduardo, the most enjoyable part was "bringing to life spaces that weren’t shown in the film, like the Slytherin common room, or reimagining places like the Hogwarts Library. And, of course, hiding some easter eggs in the book!"
Mira described designing the Slytherin common room: "You need a bit of darkness and a bit of intrigue." For the Burrow, she said, "The Burrow is just full of sense of humour and colour and life. We want people to spend time in there and discover things."
Professor Sprout’s greenhouses and the Hogwarts Library also became favorite scenes. "We want to give the reader the same details that we’d be curious about ourselves," said Miraphora.
Anticipation and Announcement
In July 2022, the Harry Potter fandom was set abuzz with excitement following the official confirmation that MinaLima, the acclaimed graphic design duo, would be releasing their illustrated edition of Harry Potter and the Prisoner of Azkaban in 2023. Fans of the previous two editions—Harry Potter and the Philosopher’s Stone (2020) and Harry Potter and the Chamber of Secrets (2021)—eagerly awaited what would come next. The duo, renowned for their enchanting visual language and papercraft wizardry, had already left a mark on the series, and expectations were sky-high for their next endeavor.
The big reveal came on January 30, 2023, when MinaLima hosted a live stream to unveil the cover of the highly anticipated third installment. The stream not only showcased the cover but also offered sneak peeks into the book’s captivating interior. Among the first illustrations shared were a pop-up rendering of the Knight Bus and an image of Harry marveling at the Firebolt in Diagon Alley. The cover itself was to be fully revealed later that same day, further building anticipation among fans.
Cover Art and Symbolism
The cover of MinaLima's edition of The Prisoner of Azkaban is an artwork rich in symbolism and vibrant in detail. Dominated by deep blue hues with violet highlights—a clear nod to the magical and mysterious Knight Bus—the central image features Harry and Hermione riding Buckbeak the Hippogriff across the sky above Hogwarts. This iconic moment captures the story’s emotional climax with dramatic flair.
Framing this scene is MinaLima’s traditional ornate arch, a design element carried throughout the series. For this volume, the arch incorporates visual motifs tied directly to the third book’s narrative: the wooden slats of the Shrieking Shack, the Fat Lady’s portrait, the dark silhouette of a Dementor, and Harry’s prized Firebolt. These embedded symbols serve as Easter eggs for observant readers, enriching the visual experience with layered meaning.
Illustrations and Interactive Features
What sets MinaLima’s editions apart from others are not just the gorgeous full-page illustrations but the incorporation of interactive elements that enhance reader engagement. The third volume continues this tradition, offering intricate pop-ups and paper features that bring the story to life in three dimensions.
One of the standout scenes is the double-page header for Chapter 6, “Talons and Tea Leaves,” which immerses the reader in the whimsical and slightly eerie atmosphere of Professor Trelawney’s Divination classroom. The illustration evokes a surreal mood, with floating tea leaves and an ethereal crystal ball, perfectly encapsulating the chapter’s mystical themes.
A Celebration of Iconic Locations
The magic of MinaLima's work lies in their ability to reimagine familiar locations with fresh eyes. In The Prisoner of Azkaban, they revisit some of the most beloved settings from the Wizarding World. Their depiction of the purple Knight Bus is both dynamic and whimsical, adorned with humorous adverts that contribute to its chaotic charm.
A festive version of Hogsmeade also features prominently, rendered in rich detail that captures the village’s cozy, snow-covered charm. The Hog’s Head pub glows with a Christmassy ambiance, while the warm interior of the Divination classroom invites the reader into its enchanted space. Each location is more than just a backdrop; it’s a character in its own right.
Fan Expectations and Artistic Challenges
As Mira explained in interviews, illustrating The Prisoner of Azkaban posed a unique challenge for the team. "When we first started illustrating the Harry Potter series over five years ago, we were already looking forward to Prisoner of Azkaban for two reasons," she said. The first was the tonal shift in the series—with darker themes and an expanding universe of characters and plot lines. The second was the book’s cherished status among fans.
"In this book we start seeing a real development of the bigger overarching plot – dark forces are coming closer to take hold of the Wizarding world – so we knew it would be an interesting challenge to convey this changing course while not losing the light-hearted humour of a group of clever and witty children," Mira noted. "The other was that, for many fans, this is their favourite book from the collection so we knew that the scrutiny – and, we hope, enjoyment – would be at their peak!"
Legacy and Conclusion
With their work on The Prisoner of Azkaban, MinaLima has once again demonstrated their unparalleled ability to marry text and image into a unified storytelling experience. Their cover, filled with visual clues and magical detail, and their interiors, replete with pop-ups and vibrant illustrations, have set a new standard for what illustrated editions of beloved classics can be.
This third installment is more than a continuation; it is a celebration of the magical world that J.K. Rowling created, seen through the unique and loving lens of two artists who have become synonymous with the visual identity of the Wizarding World. The release of MinaLima’s Harry Potter and the Prisoner of Azkaban promises not only to reignite readers’ love for the series but to introduce a new generation to the story in a form that is both nostalgic and refreshingly new.