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Munari's Books, by Giorgio Maffei
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One of the greatest graphic designers of the twentieth century—called by Picasso "the Leonardo of our time"—Italian artist and designer Bruno Munari (1907–1998) considered the book the best medium to communicate his visual ideas, showcase his art, and convey his creative spirit. Primarily produced in large quantities for the general public, his more-than-sixty publications—from design manuals and manifestos to visionary tactile children's books—displayed all the beauty and technical ingenuity of works of art.
Munari's Books, the first English-language monograph to focus on his remarkable achievements in publishing, examines in detail his seventy-year legacy in print, from his pioneering work as a graphic designer and collaborations with major publishers to his experimental visual projects and innovative contributions to the fields of painting, sculpture, design, photography, and teaching. Featuring critical essays and a wealth of color illustrations, this long-overdue monograph is a visually rich introduction to Munari's remarkably multifaceted career.
- Sales Rank: #1001164 in Books
- Brand: Maffei, Giorgio
- Published on: 2015-06-23
- Released on: 2015-06-23
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 1.00" w x 6.75" l, .0 pounds
- Binding: Paperback
- 288 pages
About the Author
Giorgio Maffei is an art historian specializing in the history of twentieth-century publishing, and curates artists' books exhibitions
Most helpful customer reviews
5 of 5 people found the following review helpful.
Definitely targeted for the serious Munari fan, yet worth a general perusal by graphic designers.
By N. Wu
Munari’s Books by Giorgio Maffei (Princeton Architectural Press) covers the design history of Italian artist, writer and book designer, Bruno Munari (1907 – 1998), and is described as “The Definitive Collection of Book Designs by one of the greatest designers of the 20th century.” I had not heard of Munari until I first read his well-regarded book, “Design as Art”. When travelling in Japan a decade ago, I visited the Takeo Paper mill and was given some incredibly designed diecut graphic books that undoubtedly had his influence. His books are still sought after by Japanese designers and book collectors, some translated in other languages and still in print. The impact of Munari’s work (particularly from the exquisitely crafted, “Nella Notte Buia: In the Darkness of the Night”) was unmistakable, with uniquely shaped cutouts on each spread, and a rich use of color and translucent papers. Those cues come up time and again throughout his extensive career in print designs with tactile interaction. Primarily in his native Italian, the books range from the playful and whimsical, to graphic constructivist structural grids and high concept design thinking, a fact I quickly discovered upon a general online search.
As I spent more time reading, I noticed nagging flaws in the content and structure that gave the feeling of being somewhat shortchanged. The comprehensive survey (at times awkwardly translated from the original Italian text) that preceded the visual collection was rather in-depth and detailed in its descriptions of various book designs (thread color, square pages, etc). It immediately made me yearn for visuals to support the writing (which seemingly assumes the reader already has an deeper awareness of Munari’s work; sadly I did not). I found myself trying to look up the titles or years being referenced further along in this 1” thick book, but not all were displayed or quick to find while pausing in the wordy 22-page survey. As the “definitive collection” began, each design (in chronological order with comprehensive details of publisher, year, printer, size, page count, print run, binding specs, and reproduction colors) was exquisitely featured with well-lit display photography of the cover and a few spreads. However, as the book progressed, the focus of archival imagery switched to covers only. Oddly enough, there was even a blank page with captions noting that a particular book was created, but no physical proof was available. I suppose in the author’s/publisher’s defense, it’s not possible to show EVERY spread on a 7” x 10" page in order to give attention to the fine details. Or perhaps the assumption is that more well-known or current book designs have been published or seen more widely elsewhere. Still, this was a stumbling block that gave the sense that this was definitive in covering the LISTING of books he's created, but not definitive in the visual support or elaboration I anticipated from this book.
That being said, the creative quality and experimental nature of his key design work at such an early period is beyond reproach. Few mass market or independent publishers would offer the luxury of design freedom that Munari was given. Having any book of this kind available to English audiences is more than a gift when I think about other amazing designers/illustrators of the past (specifically UK’s Tom Eckersley) who have yet to have their time in the sun. I truly appreciate and admire some of his most inventive graphic books, as well as some of his experiments with translucency, varying page sizes, cutouts and even single pieces of string. Other publications throughout the archive seem rather generic or uninspired in comparison. Definitely targeted for the serious Munari fan, yet worth a general perusal by graphic designers. Not in-depth with regards to process, concept or content, more of a catalog for historical purposes.
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