a programed book
a somewhat automatic book on oscar niemeyer
this book’s core is a 270 page visual essay on oscar niemeyer’s built work by photographer leonardo finotti.
the texts are printed in a different paper and accessed from the back cover, in such a way that both of the book sides function as covers: ‘oscar’ and ‘niemeyer’.
a somewhat automatic book on oscar niemeyer
this book’s core is a 270 page visual essay on oscar niemeyer’s built work by photographer leonardo finotti.
the texts are printed in a different paper and accessed from the back cover, in such a way that both of the book sides function as covers: ‘oscar’ and ‘niemeyer’.
a somewhat automatic book on oscar niemeyer
this book’s core is a 270 page visual essay on oscar niemeyer’s built work by photographer leonardo finotti.
the texts are printed in a different paper and accessed from the back cover, in such a way that both of the book sides function as covers: ‘oscar’ and ‘niemeyer’.
a somewhat automatic book on oscar niemeyer
this book’s core is a 270 page visual essay on oscar niemeyer’s built work by photographer leonardo finotti.
the texts are printed in a different paper and accessed from the back cover, in such a way that both of the book sides function as covers: ‘oscar’ and ‘niemeyer’.
what
graphic design, creative coding
what
graphic design, creative coding
when
2021
when
2021
the color covers
the book had two print runs.
the hard cover edition featured the image of niemeyer’s residence (casa das canoas) on the cover.
and the brochure cover had a gradient running from green to blue – referring to the architect’s frequent mentions of nature and landscape as inspirations, and contrasting with the black and white photographs.
the color covers
the book had two print runs.
the hard cover edition featured the image of niemeyer’s residence (casa das canoas) on the cover.
and the brochure cover had a gradient running from green to blue – referring to the architect’s frequent mentions of nature and landscape as inspirations, and contrasting with the black and white photographs.
the color covers
the book had two print runs.
the hard cover edition featured the image of niemeyer’s residence (casa das canoas) on the cover.
and the brochure cover had a gradient running from green to blue – referring to the architect’s frequent mentions of nature and landscape as inspirations, and contrasting with the black and white photographs.
the color covers
the book had two print runs.
the hard cover edition featured the image of niemeyer’s residence (casa das canoas) on the cover.
and the brochure cover had a gradient running from green to blue – referring to the architect’s frequent mentions of nature and landscape as inspirations, and contrasting with the black and white photographs.
the edges: ‘works’…
but the most unique aspect of the volume is the treatment given to the page edges.
when you open the book from the texts side you read ‘works’, in the same bold typography of the covers.
the edges: ‘works’…
but the most unique aspect of the volume is the treatment given to the page edges.
when you open the book from the texts side you read ‘works’, in the same bold typography of the covers.
the edges: ‘works’…
but the most unique aspect of the volume is the treatment given to the page edges.
when you open the book from the texts side you read ‘works’, in the same bold typography of the covers.
the edges: ‘works’…
but the most unique aspect of the volume is the treatment given to the page edges.
when you open the book from the texts side you read ‘works’, in the same bold typography of the covers.
… and ‘obras’
and when you open it from the photo essay side, you read ‘obras’ (portuguese for works).
theses words are not printed on the edge of the book itself – a common but cost adding process.
instead, the text is formed by the black bars (and gaps) that are printed on the page margins, in the conventional printing process.
to do this i had to generate 352 of these text segments and place them on the right pages.
the way i accomplished this was writing a processing script that scanned the text and produced the decomposed images with the right names.
… and ‘obras’
and when you open it from the photo essay side, you read ‘obras’ (portuguese for works).
theses words are not printed on the edge of the book itself – a common but cost adding process.
instead, the text is formed by the black bars (and gaps) that are printed on the page margins, in the conventional printing process.
to do this i had to generate 352 of these text segments and place them on the right pages.
the way i accomplished this was writing a processing script that scanned the text and produced the decomposed images with the right names.
… and ‘obras’
and when you open it from the photo essay side, you read ‘obras’ (portuguese for works).
theses words are not printed on the edge of the book itself – a common but cost adding process.
instead, the text is formed by the black bars (and gaps) that are printed on the page margins, in the conventional printing process.
to do this i had to generate 352 of these text segments and place them on the right pages.
the way i accomplished this was writing a processing script that scanned the text and produced the decomposed images with the right names.
… and ‘obras’
and when you open it from the photo essay side, you read ‘obras’ (portuguese for works).
theses words are not printed on the edge of the book itself – a common but cost adding process.
instead, the text is formed by the black bars (and gaps) that are printed on the page margins, in the conventional printing process.
to do this i had to generate 352 of these text segments and place them on the right pages.
the way i accomplished this was writing a processing script that scanned the text and produced the decomposed images with the right names.
the semi-automatic photo essay
the photo essay has no layout variation: all images are at maximum size.
so to further automate the process, the generated bars, as well as all photos and captions where automatically placed using indesign’s data merge feature.
in the spreads above you can clearly see the black gapped bars that form the edge texts.
the semi-automatic photo essay
the photo essay has no layout variation: all images are at maximum size.
so to further automate the process, the generated bars, as well as all photos and captions where automatically placed using indesign’s data merge feature.
in the spreads above you can clearly see the black gapped bars that form the edge texts.
the semi-automatic photo essay
the photo essay has no layout variation: all images are at maximum size.
so to further automate the process, the generated bars, as well as all photos and captions where automatically placed using indesign’s data merge feature.
in the spreads above you can clearly see the black gapped bars that form the edge texts.
the semi-automatic photo essay
the photo essay has no layout variation: all images are at maximum size.
so to further automate the process, the generated bars, as well as all photos and captions where automatically placed using indesign’s data merge feature.
in the spreads above you can clearly see the black gapped bars that form the edge texts.