"The most valuable moments in a student-teacher relationship are those in which the teacher succeeds in igniting an intellectual spark in a student as he penetrates to the student's innermost being." Itten, J.

The present study seeks/proposes to understand how the didactic manual - the textbooks - impacts/influences the learning process, in the specific field of design. It is hypothesized that the Bauhaus visual grammar is the basis for greater freedom in the creation of visual forms and concepts because it is based on pure forms. Consequently, issues related to the area of semiotics and the degree of iconicity of images are investigated, exploring the possibility that the higher the degree of iconicity the more engagement it will imply with cultural and social references.

The study will be based on the analysis of two textbooks developed by Bauhaus teachers: "Pedagogical Sketch Book" (1925), by Paul Klee, with an introduction by Sibyl Moholy-Nagy and "Design and form: the basic course at the Bauhaus" (1963) by Johannes Itten. The choice of these two manuals lies in the experimental character that both present and in the transversal need that these teachers expose in the construction of their manuals - both in the theoretical writing of their teachings and in the development of the images that accompany this sharing of knowledge and skills.

The image associated with the text, and both allocated to the teaching/learning processes, and used in the condition of enhancing open and experimental approaches, were seen as strategies that allowed students to explore their ideas and find their own "voice".

These manuals present materials that enable the study and understanding of the elements necessary for their subsequent use in creative processes, in this specific case, strictly related to Arts and Design.
In "Pedagogical Sketch Book" (1925), Paul Klee presents the visual element Point and its dynamic transformation that expands to Line and the structures that result from it. The relationships he establishes between these elements and elements of the world around us make it possible to develop individual reflection, analysis, and responses from the students.
Similarly, Johannes Itten exposes knowledge of color and form theory, such as materials, textures and rhythm, and expressive and subjective forms, and here too, an endless range of skill acquisition opens up which, with the use of experimentation, allows for the realization of diverse results, all with very individual characteristics.

This study seeks to contribute to increased awareness on the part of all those involved in art education, with a special focus on the area of design, of the impact of images on the learning of concepts in the moral, social, and cultural formation of the individual who is building himself as a human being. One of the goals is to identify a series of strategies, inspired by Paul Klee and Johannes Itten, at the level of visual language and layout, that can be applied in the construction of teaching materials such as textbooks or classroom presentations. More generally, we intend to open ways to rethink the importance of design - and all the elements that constitute it - in the construction of the textbook for art education.

The methodology will be based on qualitative research due to the fact that it seeks to understand something that has to do with how individuals understand the world and fits the type of research that seeks to understand a phenomenon of a social nature, in which thoughts, feelings, and interpretations of certain processes and meanings are relevant (Muratovski, 2016:37). Concomitantly, visual research will also be conducted by analyzing images, shapes, and objects that can be studied based on their appearance. This genre of research allows designers to look for patterns and meanings in various materials of a visual nature, such as illustrations, films, photographs, fashion, and architecture. This visual research can be used in a complementary way to qualitative methodologies (Muratovski, 2016:38). These methodologies come to fruition with the study of the two textbooks described above by Paul Klee and Johannes Itten. It will be supported by broad bibliographic research (indirect documentation) with a literature review whose objective is to understand how the visual grammar, specifically the images and layout present in the textbooks conditions the interpretation and reading of the images. The bibliographic sources expand to the fields of communication design and its communication strategies, the grammar of visual communication and graphic design, color psychology, visual literacy, and obviously Gestalt Theory. In a complementary way, data will be collected - related to the analysis and observation of the two manuals - assessed through structured and unstructured interviews (direct documentation), with readers of the books, designers, artists, and architects, whose territories of research, investigation, and activities are relevant to the study, namely education and teaching, art and design. A relevant note to the methodological issues that concern the nature of the materials under analysis, is that some works analyzed will be translated editions of texts written by the founders of the Bauhaus, mentors of the pedagogy practiced in this school.

Paul Klee and Johannes Itten bring clear concerns in the construction/development of their textbooks, both considered that textbooks could be an effective way to share knowledge and support student learning, demonstrating the importance they attached to the creation and use of these materials in their teaching/learning practices. Their reflections and analyses of their practices focus on the importance of a holistic approach to education, arguing that learning is not limited to the development of practical skills, but also to a fuller understanding of the world around us. Both Paul Klee and Johannes Itten combined theoretical explanations with concrete examples in their manuscripts to help students understand the material. This combination of theory and images was intended to present ideas in a clear and understandable way, as in this duality the learning and training process can be easily internalized.

FRUTIGER, Adrian. Signos, Símbolos, MArcas, Señales, Elementos, Morfologia, Representación, Significación. 8ª edición. Barcelona. Gustavo Gili. 2002 ITTEN, Johannes. Design and form: the basic course at the Bauhaus. Translation John Maass. Third printing. New York. Reinhold Publishing Corporation. 1966. LUPTON, Ellen. MILLER, J. Abbot. El abc de O: la Bauhaus y la teoria del diseño. Gustavo Gili S. A. 1994. KANDISNKY, Wassily. Curso da Bauhaus. São Paulo. Martins Fontes. 1996. KANDISNKY, Wassily. Ponto e linha sobre plano. Lisboa. Edições 70. 2006. KLEE, Paul. Pedagogical sketchbook. Translation Sybil Moholy-Nagy. New York. Frederick A. Praeger. 1953. MOHOLY-NAGY, László. La nueva visión y reseña de un artista. Versión castellana por Brenda L Kenny. Buenos Aires. Ediciones Infinito. 1963. MURATOVSKI, Gjoko. Research for designers, A Guide to Methods and Practice, SAGE, California. 2016.