It would be mistaken to think that Mihai Olos was content "to serve" just one teacher or master. His natural curiosity and his fight against the provincial complex had led to his determination to know as much as possible about the ideas haunting him and made him look for several sources of information. Among these, with the effect of a master class, was Bruno Munari's "Design e comunicatione visiva", whose first version Olos must have seen in Italy and whose fourth edition he had received from a friend in 1972. The book had been written as a practical guide with many illustrations, resulting from the lectures Munari, visiting professor at Harvard, had given at the Carpenter Center for the Visual Arts, in the spring of 1967. It had been already about computer graphics, modulation in four dimensions, Retrogardia, Avanguardia, optical effects, ambiguity, visual codes, impossible figures a.s.o.. Olos was shocked by the similitude between the module he had discovered and the serialization of cubic structures by two less known Dutch artists, Jan Slothouber and William Graatsma – a visually less impressive structure than the one the rattling spindle's knot had inspired him. Nevertheless, the principle that admits the proliferation of the module represented more evidently the idea of unity as well as that of inclusion. But he found also another type of combination of the basic elements, with the ends of the elements pointing outside, with a mouth-like opening or the end of the joint representing a cross. Other illustrations in Munari's book were representing experiments from the Massachusetts Institute of Technology, or images of pavilions from the Montreal Expo of 1967.