Masters degree thesis, IUAV, Venice–Italy, 2012
240 pages + leporello — 14,8×21 cm
![](https://freight.cargo.site/t/original/i/28f4b5aaa84c5de2ed8ad0b6f778108c38a4fd76a28f94e5c8eec196803ec638/10_o.jpg)
![](https://freight.cargo.site/t/original/i/5a3b74d6fa36d30c738d5d79e6ebf9dc111829ddbd9cce84bd14df8f0c42b82b/4_o.jpg)
![](https://freight.cargo.site/t/original/i/c607d121389ab3483e773e97adbcfd88a58cdbb0984cd9a4e8e73b87077e6942/6_o.jpg)
![](https://freight.cargo.site/t/original/i/1113aed182b06f70a89cb4482ba6020dae8d1b2373453ab46200d091d7c46997/7_o.jpg)
![](https://freight.cargo.site/t/original/i/2545bb83b6feb5009bb34ed51ae21dc926dd949835322eeebbca746fc8eb15f9/8_o.jpg)
The visual language can convey effectively the textual message: it is through these premises that the visual use of writing is stated to help the content. Indeed, it broadens and deepens the process of information acquisition.
The focus of the discourse – and of the project itself – is in the attempt to make the form as expressive as the content. This kind of approach has been applied to the project of a so-called visual edition of The Blue Flowers by Raymond Queneau. The novel, published for the first time in 1965 by Gallimard, has a complex and stratified narrative structure that gives way to a formal interpretation. Moreover, it is ventured that this formal interpretation may help the reader to complete the fruition and the comprehension of the text.
![](https://freight.cargo.site/t/original/i/0b0dc38a006e39eb25698c838dd56ba1558ebe02cf4a487aa7df94e5b6fec88f/11_o.jpg)
![](https://freight.cargo.site/t/original/i/b72d81150710337c80d4c4eac2da34c9124746ce22918fbb35f81b036a4c5bd6/12_o.jpg)
![](https://freight.cargo.site/t/original/i/6434ab71918385e55952665030f223e2a2d6b5f1f8d2b58f986e9361430caf2f/13_o.jpg)
The design process consisted of the deconstruction of the object-book according to the needs dictated by the narrative structure itself, its characters, tones and colours, rhythm and order. The final result was a book where words emerge from their visual mutism, thanks to the graphic project and the physicality of the book.
The book was shown at Fahrenheit 39, a festival of editorial design and research in Italy.