Brochure for Rio de Janeiro's Municipal Theater. Cover in black paper with golden and white silkscreen print, internal pages arranged to match Polen paper for the texts and Couché Matte for the photography.
Book-object with french fold binding inspired by John Tranter's short story The Lost things in the Garden of Typetaking the reader on a journey through the world of typography.
The author tells the story of his visit to the city of Bembo, in the Isle of Sans Serif, to see his aunt's Garden of Type, in a text full of puns, curiosities, and history.
Whenever an interesting or unusual fact is mentioned, the typesetting amplifies it: when they talk about bustrophedon, the lines on the following page are flipped to follow the back and forth of the ancient text style. Words float or drip from a line when the aunt talks about writing with ink at the space station. Flowers, embroideries, and symbols are built from the typefaces mentioned in the story.
The author tells the story of his visit to the city of Bembo, in the Isle of Sans Serif, to see his aunt's Garden of Type, in a text full of puns, curiosities, and history.
Whenever an interesting or unusual fact is mentioned, the typesetting amplifies it: when they talk about bustrophedon, the lines on the following page are flipped to follow the back and forth of the ancient text style. Words float or drip from a line when the aunt talks about writing with ink at the space station. Flowers, embroideries, and symbols are built from the typefaces mentioned in the story.
But the reader might not know what is behind those playful arrangements and that’s when the french fold binding comes in. Hidden in the book's inner pages, like a physical hyperlink, lies a more thorough explanation about each concept.
And in order to access it, the reader will have to rip the pages open.
There’s no dotted line, the cut will not be perfect or even, but unique, done with the help of the bookmarker hanging from the book spine. Your gardening tool.
It's not necessary to open them at all, since the story runs unaffected on the 'outside' of the pages. The choice should reflect the reader's willingness to know more, revealing new layers of information through each reading.
Marked irreversibly on the book, digging for more knowledge, with time these physical changes will reflect the change in the way the reader understands the text.
_
Diplom Graduation Project at ESDI (Superior School of Industrial Design) - 2008
And in order to access it, the reader will have to rip the pages open.
There’s no dotted line, the cut will not be perfect or even, but unique, done with the help of the bookmarker hanging from the book spine. Your gardening tool.
It's not necessary to open them at all, since the story runs unaffected on the 'outside' of the pages. The choice should reflect the reader's willingness to know more, revealing new layers of information through each reading.
Marked irreversibly on the book, digging for more knowledge, with time these physical changes will reflect the change in the way the reader understands the text.
_
Diplom Graduation Project at ESDI (Superior School of Industrial Design) - 2008
Doppelgänger ("the one who walks in two directions" in German) is a ghostly double of a living person that haunts its living counterpart.
It is also the title of a palindromic poem by J. A. Lindon, that tells two different sides of the same story depending on which order it is read.
Entering the lonely house with my wife
I saw him for the first time
Peering furtively from behind a bush -
Blackness that moved,
A shape amid the shadows,
A momentary glimpse of gleaming eyes
Revealed in the ragged moon.
A closer look (he seemed to turn) might have
Put him to flight forever-
I dared not
(For reasons that I failed to understand)
Though I knew I should act at once.
I puzzled over it, hiding alone,
Watching the woman as she neared the gate.
He came and I saw him, crouching,
Night after night.
----
Night after night
He came, and I saw him crouching,
Watching the woman as she neared the gate.
I puzzled over it, hiding alone-
Though I knew I should act at once,
For reasons that I failed to understand
I dared not
Put him to flight forever.
A closer look (he seemed to turn) might have
Revealed in the ragged moon
A momentary glimpse of gleaming eyes
A shape amid the shadows,
Blackness that moved.
Peering furtively from behind a bush,
I saw him for the first time,
Entering the lonely house with my wife.
It is also the title of a palindromic poem by J. A. Lindon, that tells two different sides of the same story depending on which order it is read.
Entering the lonely house with my wife
I saw him for the first time
Peering furtively from behind a bush -
Blackness that moved,
A shape amid the shadows,
A momentary glimpse of gleaming eyes
Revealed in the ragged moon.
A closer look (he seemed to turn) might have
Put him to flight forever-
I dared not
(For reasons that I failed to understand)
Though I knew I should act at once.
I puzzled over it, hiding alone,
Watching the woman as she neared the gate.
He came and I saw him, crouching,
Night after night.
----
Night after night
He came, and I saw him crouching,
Watching the woman as she neared the gate.
I puzzled over it, hiding alone-
Though I knew I should act at once,
For reasons that I failed to understand
I dared not
Put him to flight forever.
A closer look (he seemed to turn) might have
Revealed in the ragged moon
A momentary glimpse of gleaming eyes
A shape amid the shadows,
Blackness that moved.
Peering furtively from behind a bush,
I saw him for the first time,
Entering the lonely house with my wife.
From this poem, I created a palindromic leporello, that can be read from both sides, with the story walking in two different directions.
The illustrations are the same for both sides, but are given different focus points through a window system, selecting different parts to change the focus depending on which side your are reading.
The book was printed by hand in letterpress at Fachhochschule Potsdam (FHP), with Leipzig font at 11pt, over Hahnemühle paper, folded and binded manually.
This project was part of the Projekt Woche for the winter semester of 2007, during which 10 limited copies were hand made and numbered. On the following year, 5 copies were sold at the Annual Bookfair in Leipzig (Leipzig Buchmesse).
_
A special thanks to Bethany Lesko, without whom this book would not be possible.
This project was part of the Projekt Woche for the winter semester of 2007, during which 10 limited copies were hand made and numbered. On the following year, 5 copies were sold at the Annual Bookfair in Leipzig (Leipzig Buchmesse).
_
A special thanks to Bethany Lesko, without whom this book would not be possible.
