“The goal of Chi cerca trova is a legitimate, new and beautiful gamble: to put the sighted and visually impaired reader on the same level during the reading experience.

On each page an object is presented – a four-leaf clover, an egg, a starfish, a snake, a key, an oyster – that can easily be confused with a object of a different kind – a three-leaf clover, a rock, an anemone, a wave – or a similar object with different details.
The game is all about finding and recognizing the first object that has been skillfully hidden among the others, so similar both tactilely and visually.

The effect is truly mesmerizing and unlike any other regular tactile picture book: decoding the image and finding the correct shape is just as hard to do with your eyes as with your fingers.
This means that any reader can take part in the game using the sense that is most convenient for them, without their choice giving them any advantage or disadvantage.
What makes this sophisticated effect possible is an ingenious mechanism of notches and embossments, coupled with a very carefully selected colored print.

The book thus becomes an originally leveled playing field in which diversities and abilities don’t matter. The focus on the playing process also highlights an aspect that is too often overlooked in accessible publishing: the fun associated with reading. Books just playing, exploring, challenging yourself, without having to always learn some knowledge in the process, are rare and invaluable.
Add to that the fact that all this is accomplished thanks to the resourceful use of only a single material, cardboard, is truly extraordinary.”

Elena Corniglia graduated in Italian Literature, Philology and Linguistics and specialized in Children’s Literature. She is the head of Vietato Non Sfogliare, center for the research on accessibile books for children, part of the association Area onlus di Torino. Since 2013 she has been collaborating with LiBeR, a magazine on children’s books, writing articles about the relation between disabilities and children’s literature.

When I walk around a bookstore, two things are the most compelling to me about a book. Often, as many others do, I judge a book by its cover, but to me there is also something else: the tangibility of the book as an object.
Probably due to my profession, or maybe because of my immense passion for italian design, I am often attracted by the form rather than by words.
When I first saw and read the prototype of Chi Cerca Trova, I immediately noticed the book’s volumes, its solids and its voids. The incredible thing is that this game doesn’t end there on the cover, but it continues inside the book. From every point of view this book is proportionate without being dull, it’s daring without being excessive.
I think it is a very interesting object that I would love to have among my design collection, right next to Enzo Mari’s perpetual calendar.

Steven Berrevoets has worked his whole life in art direction and creativity. In 2001 he founded Numero20, a small graphics boutique, that in 2011 converged into The Van, of which he is founder and creative director.

This book reminds me of «Where’s Wally?».
Its dimensions are appropriate for the hands of children and the cardboard binding allows for a complete opening of the pages. On every double page you will have to find a certain object: a four-leaf clover, an egg of a stone-curlew, a starfish, a water snake, an oyster. But wait, there’s a trap! For each object, there are many other different shapes around it: the four-leaf clover is surrounded by three-leaf clovers. This trick causes some difficulty because the reader will have to find the object by distinguishing shapes, dimensions, thicknesses and orientation.
The illustrations on the background are very interesting and lead to a tactile research, which is the goal of the book. It requires great concentration and it is thus recommended for older children.

Claudette Kraemer èis a specialized preschool educator; she has spent her entire career working with deaf, blind and deafblind children at IDS le Phare in Illzach, where Martin Kunz famously tought.

"The isolate shapes are simple, yet they require a lot of attention to distinguish the small details that differentiate them."

"It is very interesting that by the use of camouflaging colors makes it almost impossible to find the image with eyes alone!"