2. The concepts of language and narrative form the axes of work.
3. Will be based on three formats of the book: a. "Square", b. "Landscape" and c. "Vertical." The format chosen should be consistent with the structure of narrative and reading raised. Suggested sizes 18 cm. x 18 cm. to a. and 14 cm. x 20 cm. to by c.
4. Be included, and articulated, logically, the deployment of narrative-texts presented by the chair.
The texts are in Photocopying.
5. Additionally, and as a "trigger" each student must find a
verb
, which will help to highlight the dynamics of the story and define the structure of the book.
6. There will be particular emphasis on graphic language and exploration of the possibilities which the paper like material.
PRODUCTION
An experimental book. Minimum of 12 doubles (24 pages) + Covers.
Process (follow-up project, the topic conceptual definition material + Processing + image made typographical, materials). Assembling sequences. Edition.
DEVELOPMENT
1_19/10 Day: Reading + initial Esquicio. 2_26/10 Day: Delivery esquicio 6 double + development proposal book. Correction.
3_2/11 Day: Presentation of 6 double + Tapas 4_9/11 Day: Preentrega.
Day 5: _16/11: Delivery of Paper + all 2nd years. Semester.
READING
buia nella notte by Bruno Munari
THE PRELIBROS
by Bruno Munari
A book unreadable
This is a problem of testing the possibilities of visual communication of editorial material and techniques. Usually when we talk about books you think texts of different types: literary, philosophical, historical, essay, etc.., printed on the pages. Low interest is usually worth the paper and the binding of the book, the color of the ink and all those elements that the book is performed as an object. Low interest are dedicated to typefaces and even less blank space, the margins, page numbering and all the rest.
And with that discoveries are made because if a role is clear, transparent communication, if it is rough, the roughness communicates. A "chapter" of tracing paper (Used by architects and engineers in their projects) gives a sense of fog. This effect will be later used for my book
published by Emme Edizioni in Milan in 1968.
Finally, each paper communicates its quality. And this is something that can be used as a communicator: then try to relate this knowledge with all others that may derive from experimentation. A second experiment is performed on the formats of the pages. A series of pages all the same reports an effect of monotony, pages of different formats are more communicative. If the formats are organized in a rising or falling or alternatively or in any case with a certain pattern, you can get a visual rhythm, as the turning a page is an action that develops over time and, therefore, participates in the visual rhythm and time.
If you also use roles of two colors, alternating sheet white paper and a sheet of black paper (or red), the rhythmic effect will be accentuated. It takes a model of this type, with black and white pages, cutting the leaves with horizontal cuts, vertical, diagonal, so that the pages scroll adjust the composition of black and white surfaces, changing the amount of white and black and the position and shape these quantities. If you choose to start he process of these changes, first with algunos horizontal slits to allow passing the same page at the time: he first cut to hare up on the first page, he second down on the black page, it the third (also horizontal) more hacia he center of the page. Al half-page open if ya see a vertical cut of that black page go ahead. The black page, in fact, is only half a page cut vertically. The next page, white is cut exactly in the middle also horizontally. Enter the diagonal, alternating with vertical cuts, until a white page is only a small cut in the upper right corner. Next page have a larger cut in the lower left corner and back up as a horizontal cut on the first page.
The next blank page is cut diagonally resolutely followed by another cut diagonally across the black page. These two overlapping court give a white band crosses diagonally across the page on the left. The white page on the right has a small cut in the corner, and so ends the space-time rhythmic composition of these black and white surfaces.
unreadable book This model allows you to open pages randomly starting where you want to continue and go back, to compose and decompose any possible combination of white and black. In the book of photographic images reproduced here are some sequences, but may be as many combinations as you want.
This book was published later by a Dutch publisher who wrote me: "We do not have much problems in our books, but of quality. We would like to publish your book. " Editing was conducted in 1955, with a format of 23.5 cm by 23.5. The color was red and white pages, and a chipboard cover closed the book, of which 2,000 copies were thrown. The editor is Steendrukkerij de Jong & Co, Amsterdam.
The first book unreadable, made with different materials, were exposed for the first time in Milan, in the library Falls in 1950, through a few handmade copies. One of these books was published by the Museum of Modern Art in New York in 1967. In this experiment on visual and tactile possibilities of the book as object also arise Prelibros Danese published in Milan in 1980, we discussed elsewhere in this book.
Another children's book emerged from this experiment is Nella Notte Buia
, published in Italy in 1952 by the printer-publisher Muggiani. This book was built with a sixteenth of black paper with illustrations in blue (it was night), a chapter of semi-transparent paper with scrub grass, printed in green and various insects, hidden in the grass appeared to turn the page, and eventually a chapter (also sixteen pages) of recycled paper, gray-beige, full of impurities (which was the land), with a grotto cut and printed images in black.
This book, which was rejected by numerous publishers because it had "no text" has been the subject of subsequent hand-printer Muggiani editor of several editions.
The Prelibros
Many more people than you think you have never read a book. Some people have been forced to buy school books and reading, after which they have said "No more books." There are many more people than believed, and yet it is often people of good character, kind and friendly people, people que incluso pueden tener éxito económico en la vida, personas a las que les bastan las revistas de chafarderías para tener noticias del mundo.
Gente que no sabe que en los libros está el saber, que gracias a los libros el individuo puede aumentar sus conocimientos sobre los hechos y comprender muchos aspectos de lo que está sucediendo, que los libros pueden despertar otros intereses, The books help them live better.
How can we understand this to people who have decided not to care anymore by those objects called books, just because the school forced to read the most boring and difficult?
Elderly people, as you know, have great difficulties to change their thinking, precisely because what is learned during the first years of life remains the established rule forever and must be replaced, for many, is losing the security to venture into an unknown situation. The solution to this problem to raise awareness and educate people with a mentality more elastic and is less repetitive in dealing with individuals as they form. During the first years of life, as taught by Piaget, intelligence is formed. We also know that in the first years of life the children know the environment around them through all the sensory receptors and not only through sight and hearing, but also perceiving tactile sensations, thermal, materials, sound, smell ... We could design a set of objects that seem free but you were all different, for visual, tactile, material, sound, heat, but all the same format as the volumes of an encyclopedia, which in turn contains all know or at least many different information.
These booklets, small because they can be easily manipulated by a child of three years, will be made of different materials with different bindings and, of course, with different colors, and each carried a single title book same for all: book.
The title will be such that in any way the book is taken up. So the take home the title but if you take the book upside down will find another home like commonly called the "back."
It follows that the projection of the "message" inside the book, the same approach should be symmetrical so that regardless of how you take the book's message have a logical link. As certain phrases that can be read starting both reading from right to left and vice versa.
These messages should not be finished as literary stories as stories because they determine much of the child, so repetitive and uncreative. Everyone knows that children love to be repeated the same story countless times, and each time the child is recorded in the memory, until it more, decorate your cottage with seven dwarfs and Snow White colored cement. This destroys the child the opportunity to have a flexible mind, willing to change in light of the experience and knowledge. While you are on time, must get used to the individual to think, imagine, fancy, be creative. But these are so libritos sólo visual, tactile, sound, thermal materials. Tendrían to give the impression that the books are good and which objects within Hechos contienen muy several surprises. Culture is Heche surprises, is to say, what primero not known, and it is in ejercitarse recibirlas and not reject them for fear that the collapse of the castle we built.
One day, flying over the North Pole (I went to Japan), the aircraft found itself in a huge sphere of light gray and light fog, and in the middle of a huge bubble of clear air in center of the sphere. Suddenly, inside this area of \u200b\u200bscattered light from a stained orange light: was the sunset.After a while this light appeared in a white disk, was the moon. The white disc disappeared and the orange light became a beautiful bright red: it was dawn. At that time, this surprise made me realize that the dawn and dusk are the same thing seen from two opposite sides, and the dusk and dawn are continuously present in the world.
These booklets are therefore constructed of different materials which are different both visually and tactilely. One is paper bound with a spiral wire as a notebook, another board is skin, fat, bound with rope. Plush orange one is bound with plastic clips, one is of black fibralín stitching. One is VIPLA clear, colorless, soldier, another is made with three tablets of light wood bound with a thick manila rope. A green cardboard bound as a normal book, one is pink wool sewn with pink thread. A thick paper is printed in a beautiful bright vermilion and fastened with a large metal stitch, one is bound rigid plastic grinding with raffia. One contains many pages of many colors, another gray cardboard and white paper is bound with a spiral.
Each book contains a different message: the red is a stylish man stand that, go treading on the pages, she turned a somersault is standing again if you take the book upside down. The Green Paper has ants in one or two per page, en diferentes posiciones, como vistas desde arriba y en el medio tiene algunos agujeros redondos a través de los cuales se ven otras hormigas. El libro de madera tiene unas incisiones verticales y horizontales perceptibles al tacto y al cerrarlo con rapidez suena como las castañuelas. El libro de lana rosa en casi todas las páginas tiene un cortecito en el medio como un ojal y luego, en la página central, the child is a white button sewn to the fabric.
gray The book is spiral bound with primary colors that can see the formation of the secondary colors by three clear plastic leaves: a lemon yellow, one magenta and turquoise third, that overlap to turn the page over single figures printed primary colors are formed side.
orange plush The pages have holes drilled with different forms where the child can insert your fingers or look through the holes. The board has a thick skin red woolen thread that runs through all the pages from top to bottom.
Arguably, the approximate the child receives a variety of information through all sensory receptors and is faced with these objects called books, where each book contains different information: a natural history, a gym, a science-fiction, one of dynamic geometry, a possible story to invent one on the perception of colors, a sleight of hand, a book cuddly and affectionate as Linus's blanket.
Published
Why are there objects
,
Editorial Gustavo Gili
.
Bruno Munari
(Milan, 1907-1998) was a designer, poet, sculptor, teacher and author of books Children and essays. Linked to the futurist movement since 1927, was active in various fields of graphic design, industrial design, experimentation on materials and technologies, and the projection of objects that integrate practical and aesthetic use. Always interested in finding ways to simplify and clarify the design process, focused, especially during his later years, on issues related to teaching, psychology and pedagogy, a commitment to educationdesign
to start in the nursery.
+
Munari
Diether Roth Lissitzky Two Squares
Students M2
Top Back Cover and Back Cover Inside Back Cover or Dust Jacket 
- A cover that can protect the tapas-
Flaps Guards-
paper sheets blank bind the book and the cover serves to protect the inside pages-
Join front and back - Front- Contains Title and name of the author, for chapters-Covers
numbered
Insert-
special section within the book, you can change with the format of the book .-
Divisions and Elements 
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