![]() ![]() On some photos, there is even a mixture of text, images, and painting, all in the monochrome sepia color. The photographs are an interesting mixture between painting and print, each meant to symbolize the part of the poem that was just told. On each spread, there is only one object: either a photo or a piece of the poem concentrated in the center of the page. Throughout the entire book, the design is consistent and simple. ![]() This page is the only one that strays from the sepia tones, though it only has splashes of light blue, yellow, red, and black. ![]() On the corresponding left page, the author’s use of Egyptian Hieroglyphic-like typography created a mysterious and intriguing layout that contrasts the visual nature of the rest of the book. I was immediately drawn to these pages, which included a beautiful sepia photograph of a nude woman sitting on her knees in a prayer-like pose surrounded by a decorative, Art Nouveau-style border. I recognized it quickly from the list that we were given to look at before the exhibit, remembering that it was one of the books that initially caught my eye. When I first came upon the book, it was laid open to the first few pages that were meant to introduce the work and thank the contributors. Written in 1905, The Rubáiyát of Omar Khayyám is a 1905 remake of the classic Middle-Eastern poem, translated to English. It is truly unlike any layout I’ve ever seen before. I was amazed by the individuality of the book I chose. ![]()
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