for fever blisters
FOR COLD SORES
APPLY FREELY TO AFFECTED PARTS
www.carma-labs.com
CARMEX® CONTENTS: 0.25 OZ.
7.5g
CARMA LAB., INC. 5801 WEST AIRWAYS AVE. Franklin, WI 53132
WARNING: Use only as directed. Keep all medicine out of children’s reach. ACTIVE INGREDIENTS: Menthol 0.7%, Camphor 1.7%,Phenol 0.4% INACTIVE INGREDIENTS: Fragrence in Petrolatum, Lanolin, Cocoa Butter, Salicylic Acid and Wax Base.
0 83078 11211 0
$1.29
FLOWER Isaac Vander Ark Creative Director 269.921.4124 Ex. sac irvanderark@MF.com M
c F.
FLOWER
om
mountain
Dear Consumer, Lorem ipsum dolor sit amet, consectetur adipiscing elit. Pellentesque vitae ullamcorper nisi. Curabitur nunc nibh, scelerisque vel pharetra pulvinar, facilisis ut dui. Aliquam gravida porta neque. Praesent viverra, risus vitae convallis dictum, nibh eros placerat erat, vitae vulputate nisi ipsum ac libero. Curabitur eget lectus tempus nibh euismod semper ac in mi. Sed interdum metus id augue pulvinar bibendum. Fusce nec ligula a libero aliquam consequat. Aliquam condimentum feugiat tellus, nec ultricies nisl auctor in. Phasellus eros lacus, auctor non adipiscing et, facilisis nec lectus. Fusce luctus dapibus tortor, ut tristique nisl placerat vitae. Quisque cursus posuere quam nec suscipit. Morbi urna mauris, rutrum quis malesuada id, faucibus ac urna. Ut vitae rhoncus sapien. Sed dignissim imperdiet condimentum.
FLOWER
225 g
Thank you for your understanding,
Isaac Vander Ark Creative Director
minimum 10mm maximum 11mm
3 year guarantee Individually tested Made in France
FLOWER
FLOWER
3434 Stirling Street, Perth, WA 6000 - 548.102.3002 - www.MF.com
FLOWER
flower
Self-braking belay descender device 3434 Stirling St Perth, WA 6000
FLOWER
Consumer Smith 3434 Stirling St Perth, WA 6000
FLOWER
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price
HARBOR 2010
FEST
CO M PE TI TI ON
2010
AL IV ST IC FE US
M
M
AL IV ST IC FE US
CO M PE TI TI ON
HARBOR
FEST
HARBOR
FEST
2010
HARBOR
FEST
2010
2010
FEST
HARBOR
B
B
C
L
A
B
C C.306 C.304
C.307 C.305
A
B.310 B.312 B.314 B.316
B.309 B.311 B.313
B.306
B.302
B.307
B.303
B.300
A .3 14
A .3 12
L.302a
A .3 13
L.301
L.308
L.306
L.306
WELLNESS CENTER
A .3 10
defibrillator
A .3 A 06 .3 08
A .3 04
fire escape
A .3 0 A 7 .3 09 A .3 11
A .3 05
L.315
A .3 03
elevator
A .3 02
stairs L.305 L.301a
restroom
A .3 01
C.302
C.308
C.309
C.301
C.310
C.311
C.313
C.315
C.317
C.319 C.316
C.318
C.321
C.323
C.322 C.320
C.325
HEALTH SCIENCE FACULTY OFFICES
C.324
SCIENCE FACULTY OFFICES
C.327
3rd floor ART
CERAMICS
L.308a
L.308b KITCHEN
fire extinguisher
L
B
CFL 700
CFL 700
LED 300
LED 300
Kilowatts of electricity used for 50,000 hours Incandescent 3000 CFL 700
..........................................................................................
..............................
..........................................................................................
.....
..........................................................................................
= lifespan
..............................
.....
..............................
..... = cost
LED 300
= cost = lifespan
CFL Lifespan 20,000 Hours
LED Lifespan 60,000 Hours LED Cost $90/60,000 Hours
= cost = lifespan
LED Lifespan 60,000 Hours LED Cost $90/60,000 Hours
LED CFL Incandescent CFL Lifespan 20,000 Hours
CFL Cost $175/60,000 Hours
Incandescent Lifespan 1,000 Hours
CFL Cost $175/60,000 Hours
LED CFL Incandescent
Incandescent Cost $675/60,000 Hours
Incandescent Lifespan 1,000 Hours LED Lifespan Incandescent Cost 60,000 Hours
$675/60,000 Hours
LED Cost $90/60,000 Hours
CFL Lifespan 20,000 Hours CFL Cost $175/60,000 Hours
Incandescent Lifespan 1,000 Hours Incandescent Cost $675/60,000 Hours
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LE bricks hold together well but can be taken apart easily by a child. And consistency has been key. The bricks produced today can interlock with those produced back in 1958.
The rise in popularity of LEGO bricks can be attributed to the amount of imagination a child can use to build something with the bricks. The bricks are so versatile that the LEGO Group has calculated that just six eight-stud bricks can be arranged in 915,103,765 different ways.
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Dig through any child's toy chest across the world and you're sure to find a few rectangular LEGO bricks in the mix. The colorful bricks have retained their popularity since being introduced 48 years ago. In 2000, LEGO was named "Toy of the Century" by Fortune magazine. The LEGO Group's story begins in 1932, when Ole Kirk Christiansen began making wooden toys for children. However, the LEGO brick—as we know it today—wasn't launched until 1958. Simple, durable, and colorful, the LEGO brick design created that year was ideal for a child's toy. The plastic bricks are part of an interlocking system that has just the right amount of grip: The
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Design Strategy
Strategy Stage 1
Strategy Stage 2
Strategy Stage 3
Research/Observation
Visualize/Creativity
Critique/Comprehension
The reason we research the audience, competition and client is three fold: (1) We want to please the audience by catering to who they are and what they like. (2) We want to be the best competition yet for what is already in place by studying how they do it and how we can do it better. (3) We want to be conscious of our clients expectations and needs through knowing their previous standards and guidelines.
After thoroughly researching we may now move onto the inventive stage of our process. Through making and remaking we can create a product that defines what we researched, bringing a beautiful and lasting solution.
Once a solution is created we must step back and compare it to the research, asking if this solution is the best it can be without being too simple or too complex. This stage tells us the truth of the solution.
Age Gender Wants/Needs Social Status
Target Audience
Clarity
Career
Refined
Geography Likes/Dislikes Beliefs
Sturdy/Shipable
Product/ Packaging
Market Areas
Need (Message)
Why
Approachable
Complexity
Brand No Competition
Research/ Observation
Competition
Cost/Expense
Critique/ Comprehension
Quality
Attention
Market Areas
Approachable
Complexity
Brand
Additions
Promotion/ Advertisement
Location Medium
Quality Wants/Needs
Not Working
Environment Term Relationships
Term Relationships
Strategy Paths
Strategy Paths
Market Areas Strategy Paths
Solution Why Not
Need (Message)
Problem
Term Relationships
Subtractions
Reusable
Visualize/ Creativity
Additions
Complexity
Guidelines
Client
Working
Time frame Costs
Subtractions
s
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The let ter “F” repres was ori ent ginally and pro the sound used we no bably w us “V” to like a hook or resembled for, based someth club. It may ing hierog on a com lyphic, parabl have been e repres ent a ma such as wh Egyptian of “F” at ce. The would was ado vowel: pted by Phoenician for “upsilo m “digam n”, and the Greeks ma” as as equiva a conson another for a len m: Numeral t in Hebrew ant.There is no dash ove it denotes for “F”. As a Latin “40”, and r it, it letter wit “F” wa denotes “40 0,000”. h a repres ent the s originally The and pro sound used we no bably w us “V” to like a hook or resembled for, based someth club. It may ing hierog on a com lyphic, parabl have been e repres ent a ma such as wh Egyptian of “F” was ado ce.The Phoen at would vowel: pted by ician for “upsilo m the Gre “digam n”, and eks as ma” as equiva a conson another for a len m: Numeral t in Hebrew ant.There is no dash ove it denotes for “F”. As a Latin “40”, and r it, it letter wit “F” wa denotes “40 0,000”. h a repres ent the s originally The and pro sound used we no bably w us “V” to like a hook or resembled for, based someth club. It may ing hierog on a com lyphic, parabl have been e repres ent a ma such as wh Egyptian of “F” was ado ce.The Phoen at would vowel: pted by ician for “upsilo m “digam n”, and the Greeks ma” as as a conson another for a m: ant.Th ere is no
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The Extraordinary Ef The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been based on a comparable Egyptian hieroglyphic, such as what would represent a mace.The Phoenician form of “F” was adopted by the Greeks as a vowel: “upsilon”, and another form: “digamma” as a consonant.There is no equivalent in Hebrew for “F”. As a Latin Numeral it denotes “40”, and with a dash over it, it denotes “400,000”. The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been based on a comparable Egyptian hieroglyphic, such as what would represent a mace.The Phoenician form of “F” was adopted by the Greeks as a vowel: “upsilon”, and another form: “digamma” as a consonant.There is no equivalent in Hebrew for “F”. As a Latin Numeral it denotes “40”, and with a dash over it, it denotes “400,000”. The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been based on a comparable Egyptian hieroglyphic, such as what would represent a mace.The Phoenician form of “F” was adopted by the Greeks as a vowel: “upsilon”, and another form: “digamma” as a consonant.There is no equivalent in
The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been based on a comparable Egyptian hieroglyphic, such as what would represent a mace.The Phoenician form of “F” was adopted by the Greeks as a vowel: “upsilon”, and another form: “digamma” as a consonant.There is no equivalent in Hebrew for “F”. As a Latin Numeral it denotes “40”, and with a dash over it, it denotes “400,000”. The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been based on a comparable Egyptian hieroglyphic, such as what would represent a mace.The Phoenician form of “F” was adopted by the Greeks as a vowel: “upsilon”, and another form: “digamma” as a consonant.There is no equivalent in Hebrew for “F”. As a Latin Numeral it denotes “40”, and with a dash over it, it denotes “400,000”. The letter “F” was originally used to represent the sound we now us “V” for, and probably resembled something like a hook or club. It may have been
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It is exactly the use of large white areas that creates the startling impact of Neue Typographie.
Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie
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