Client: Sharjah Institute for Heritage (UAE)

Role: Art Co-Direction, Visual Strategy, and Production (Design, Event Logotype, Traditional Illustration (Zero-AI) and Social Media videos and advertising

Scope: Brand Identity, DOOH, Print, Social Media & Merchandising.

Projecting a monumental visual narrative for the Sharjah Institute for Heritage and UNESCO’s 25th Narrators Forum ('Tales of the Travelers') demanded a cohesive ecosystem capable of translating rich historical heritage into massive contemporary formats.

Working for an institutional heritage client provided the perfect framework to honor traditional craftsmanship. Consequently, the core of this visual ecosystem is anchored in 100% handcrafted (Zero-AI) illustrations.

The event was dedicated to travelers around the world, but especially to the legendary Islamic explorers from the past: Ibn Battuta, Ahmad ibn Fadlan, and Ahmad ibn Majid. To honor such deep heritage and beloved historical figures without falling into outdated tropes —while maintaining a strong sense of tradition— I developed the visual identity as a whole, starting with the event logotype, which I based on an ancient Arabic compass. I designed several versions, iterations, and studies of the logotype to ensure its adaptability across all media.

A zero-AI, 100% handcrafted creative process was achieved through the production of 15 highly detailed, large-scale illustrations at DIN A2 (16.5 x 23.4 inches) or larger. Each of the base illustrations was digitally painted, with every single stroke made by hand. Complex patterns on fabrics and dresses, grass, flowers, and every minute detail were carefully hand-painted one by one to preserve the most authentic feel.

Each illustration was layered with strategic design applications in mind —outlines, colors, and elements categorized by groups or depth. This allowed print services and event managers to easily cut out characters or landmarks, and even use different elements for book covers or decoration of document inlays.

Each illustration depicted a specific moment in one of the travelers' lives. As the central figure, Ibn Battuta took prominence, featuring depictions of him in Hangzhou, Samarkand, and, of course, Sharjah landmarks like Khor Fakkan and Dibba. Ahmad ibn Fadlan is famous for his detailed description of a Viking burial from his time among the Volga Vikings. Ibn Majid, also known as "The Lion of the Sea" was a writer and poet besides being an impressively skilled sailor. I wanted to depict him writing poetry, and even integrated a scan of his original manuscripts into the illustration as a hidden detail.

Sharjah landmarks were another crucial part of the artwork. Specifically, I illustrated the Central Market, the House of Wisdom, and the Great Sharjah Mosque. All three were painted in both daylight and golden hour settings, providing versions with and without characters.

This is where all the upfront visual planning actually pays off. Because the core illustrations and the branding elements were built in strict modular layers from the start, producing over 20 vertical videos for social media was a straightforward process. The same went for the Digital Out-Of-Home (DOOH) materials. Adapting artwork for screens with extreme or unusual aspect ratios is usually a technical headache, but having the characters, backgrounds, and branding separated made it easy to reframe the composition. The physical campaign kept its premium, handcrafted feel across every digital screen, avoiding mismatches in the base narrative.

This meticulous craftsmanship was synthesized into a scalable brand identity, transforming ancient storytelling into an immersive physical and digital campaign deployed across the UAE.

Honorary Mention for outstanding contribution, awarded by the Sharjah Institute for Heritage, UAE. 

Following are other samples of the illsutations. Among other, I specially like the landmarks and the quiet feel and visual contrast of Ibn Battuta in Hangzhou