New Visual Language Research Document by OliviaHabermelGraphics

[new visual language] [research document] [graphic design ba] [olivia habermel]

“Perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.” Antoine De Saint-Exupéry

•

Modernism

•

Origins

•

Movements

•

Social

•

Political

•

Magazine

•

Language

•

Bauhaus

•

Post Modernism

•

Philosophy

•

Expressionism

•

Industrial

•

Inﬂuence

•

Visual

•

Layout

•

Symbolism

•

Impressionism

•

Synthetism

•

Cubism

•

Precisionism

•

Dadaism

•

Surrealism

•

Pop-art

•

Photorealism

•

Minimalism

•

Fauvism

•

Grid

•

Publication

•

Constructivism

•

Futurism

•

De Stĳl

•

Masthead

or this brief I need to create

design proposals for a new graphic design publication entitled “New Visual Language”. The ﬁrst issue should focus on how form follows function and the exploration of modernism and post modernism. I need to research into the origins and philosophies behind modernism and post modernism. Show my understanding of the social, industrial and political concerns which inﬂuence both movements. The publication is to be submitted as a broadsheet and should include my personal and original visual research from this year such as City In Flux, Earth Artifact, Type Transcription and New Visual Language. I am expected to produce a masthead, cover design, contents page and inner pages. The masthead must read “New Visual Language”, and the subheading “Form Follows Function: An exploration of Modernism and Post Modernism” with the date and issue number. The whole publication will be A4 portrait and follow a minimalistic theme.

WEEK 1 ... Research into what Modernism, Post Modernism are ... Research into Form Follows Function and what it means ... Select the most important art movements and create a movement timeline ... Write a small amont about each movement and insert thumbnail images

WEEK 3 ... Look at the Grid System and learn how it works ... Research into magazines and their layouts ... Look at masthead design and why certain mastheads are really popular ... Come up with some masthead designs

WEEK 5 ... Start creating my final magazine ... Produce some variations ... Get peoples and tutors feedback ... Post up onto ISSUU.com

WEEK 2 ... Research into 5-10 artists that have influenced Graphic Design ... Look at both Modernist and Post Modernist artists ... Get 2-4 images of each artists work ... Write about each artists and comment of them and their work at the end

WEEK 4 ... Come up with some cover layouts and design ... Research into contents pages and create some layouts ... Create some layouts for inner pages ... Look at the types of font i will want to use

M O D E R N I S M

odernism refers to the broad

movement in Western art, architecture and design which self-consciously rejected the past as a model for the art of the present, and placed an emphasis on formal qualities within artworks and processes and materials. It is a movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries, particularly in the years following World War I. Modernism refers to this periodâ&#x20AC;&#x2122;s interest in new types of paints and other materials, in expressing feelings and ideas, in creating abstractions and fantasies, rather than representing what is real. This kind of art requires its audience to observe carefully in order to get some facts about the artist, his intentions, and h i s e n v i ro n m e n t , b e f o re f o r m i n g judgments about the work.

P O S T M O D E R N I S M

ostmodernism is a term used

from about 1970 to describe changes seen to take place in Western society and culture from the 1960s onwards. The name given to a wide range of cultural phenomena, to characterize a move away from the ‘highbrow’ seriousness of modernism, preferring a more eclectic and populist approach to creativity. The term is used both as a ‘stylistic’ term and also as a period designation. Paintings that have been described as Postmodernist include the work of Stephen McKenna and Carlo Maria Mariani, also selected works by Peter Blake and David Hockney.

F O R M FOLLOWS FUNCTION

orm follows function is a principle

from the 20th century associated with modernist architecture and industrial design. The principle is that the shape of a building or object should be based upon its intended function or purpose.

M O V E M E N T S

Impressionism is a r t a n movement from the 19th century originating in P a r i s . Impressionists used the new s c i e n t i ďŹ c research about the physics of colour to create a more lifelike painting. The new movement brought a new method of painting, using short brush strokes and applying little paint at one time.

P o s t Impressionism is a late 19th c e n t u r y movement which is said to be an extension of the French o r n b Impressionist movement and the rejection of the styleâ&#x20AC;&#x2122;s e x i s t i n g limitations.

Symbolism began as a reaction to the l i t e r a l representation of s u b j e c t s , preferring to create more suggestive and evocative works with mystical and visionar y themes. Some of the most recognised ar tists of the movement include Edvard Munch and Gustav Klimt.

Art Nouveau is a brilliantly decorative and ornamental movement b a s e d o n asymmetrical lines and often d e p i c t i n g ďŹ&#x201A;owers and f e m a l e s . Advertising posters would p i c t u r e a beautiful woman surrounded by decorative illustration and advertising a product.

Fauvism is a very vivid p a i n t i n g movement using exuberant colours and creating non realistic images. The paintings generally picture a landscape in which parts have been warped and distorted.

Expressionism is an early 20th c e n t u r y movement often explained as distor ted and exaggerated for emotional eﬀect. The style aims to depict the emotional response to objects or events around the artist.

Abstract art is a movement that seeks to break away from traditional representation of p h y s i c a l objects. Rather than creating a literal depiction of the world around us, it looks more at the exploration of colour and form.

Led by Pablo Picasso and G e o r g e s Braque, Cubism is a movement that used an analytical system in which an image is taken apart and reformed back together from lots of diﬀerent points of view.

Futurism is an I t a l i a n Av a n t G a r d e movement that got its inspiration from speed, technology and m o d e r n i t y. I t gloriﬁed war and the machine a g e a l s o favouring the growth of Fascism.

Suprematism is a Russian art movement consisting of ﬂat geometric shapes. The movement d e e p l y inﬂuenced the development of m o d e r n European ar t, architecture, and industrial design.

Constru is the in of the Avant-G often geometr experim n o t emotiona forms of were use a lot.

uctivism nvention Russian Garde, quite ric and mental, s o al. New f media ed quite

Dadaism is a very absurd and unpredictable international movement for artists and writers in Europe. The rebellious artistic style was actually fuelled by the reaction to W W I . T h e movement also had a strong inﬂuence on Pop Ar t, which is sometimes also referred to as Neo-Dada.

De Stĳl is a simplistic and pure art form reduced to rectangles and other geometric shapes and the use of primary colour along with black and white. The ar tists of the movement had a s t r o n g inﬂuence on the later Bauhaus style.

The Bauhaus is a school of art, design and architecture founded in 1919 in Germany. It had a great inﬂuence in design of architecture, furniture, typography and weaving that is still present in todays design. The style is characterised by v e r y i s economic, geometric design and its resect for material.

Surrealism is a movement that expresses the imagination as revealed in dreams, free of the conscious control of reason and convention. It was shaped by e m e r g i n g theories on our perception of reality. The most recognised ar tists of the movement are Salvador Dali and Pablo Picasso.

A b s t r a c t Expressionism is a New York born movement that thrived in the 5 0 s . T h e movement is marked by its unique use of texture and b r u s h s t ro ke s , the frequently m a s s i v e canvases and the freedom of individual expression; It’s regarded as the golden age of American art.

Pop Ar t is a movement that reﬂects the aﬄuence of post-war society celebrating e v e r y d a y objects such as soup cans and w a s h i n g powder. Warhol brought pop art to the public eye w h e n h e created the screen prints of Coke bottles, Campbell’s s o u p a n d Marilyn Monroe; all a huge part of the iconography of the 20th century.

T -

Photorealism is a ﬁgurative movement emerging in the late 60s in the US and Britain. The style takes an every day scene and is recreated as precisely as possible in many other medias such as illustration, painting and sculpture.

Minimalism is a movement made most popular is the mid 60s to 70s but is still very popular in todays art. The term is used to describe the removal of any sign of personal expressivity allowing the viewer to experience the work more intensely.

Installation art is a movement that depicts t h r e e dimensional works that are often site specific and are designed to transform the perception of space. Some installations are to be observed from all sides and some are to be seen from a specific angle or create a specific s h a p e d silhouette when light is shone onto it.

Banksy

avid Carson is an American

graphic designer and art director best known for his innovative magazine design, and use of experimental typography. Carson became the art director of Transworld Skateboarding magazine in 1984 and by the end of his tenure there he had developed his signature style, using "dirty" type and non-mainstream photographic techniques. Carson was hired by publisher Marvin Scott Jarrett to design Ray Gun, an alternative music and lifestyle magazine. In one issue, he notoriously used Dingbat, a font containing only symbols, as the font for what he considered a rather dull interview with Bryan Ferry. I ďŹ nd this quite amusing and an inventive way of publishing the interview. Ray Gun made Carson well known and attracted new admirers to his work. Some of Carsonâ&#x20AC;&#x2122;s work looks like he has simply just taken letters out of a letterpress and stamped them randomly on a page yet somehow it looks fantastic! His work isnâ&#x20AC;&#x2122;t all ruled and perfect, giving it an edge. It does astound me that someone who went from being the worlds eighth best surfer and a highschool teacher became a world famous graphic designer in one lifetime.

amie Reid is a British artist is

infamous for his acerbic brand of visual anarchy in the late 70’s. Reid’s signature ransom-note graphics have become synonymous with the spirit of British punk rock music, having appeared on seminal Sex Pistols’ punk records of the 1970s including Never Mind the Bollocks, Anarchy in the UK, Union Jack, God Save the Queen and Pretty Vacant. Political activism has always been the driving force behind Reid’s artistic output, having created his newspaper-cutting style whilst running radical political magazine Suburban Press. God Save The Queen by Jamie Reid is based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as ‘the single most iconic image of the punk era.’ Reid's design for the Sex Pistols Anarchy in the U.K. poster which features a ripped and safetypinned Union Flag is regarded as the pivotal work in establishing a distinctive punk visual aesthetic. Being a lover of the British 70’s Punk Rock era myself, i absolutely adore Reid’s work! It’s so expressive and rebellious, no care for what other people see as acceptable, just the focus on putting his political points across.

llustrator Andy Warhol was one of the

most popular artists of his time, using both avant-garde and highly commercial sensibilities. Warhol was a successful magazine and ad illustrator who became a leading artist of the 1960s Pop art movements. He ventured into a wide variety of art forms, including performance art, filmmaking, video installations and writing, and controversially blurred the lines between fine art and mainstream aesthetics. In 1962, he exhibited the now-iconic paintings of Campbell's soup cans. These small canvas works of everyday consumer products created a major stir in the art world, bringing both Warhol and pop art into the national spotlight for the first time. Warhol also worked in sculpture and photography, and in the 1980s, he moved into television, hosting Andy Warhol's TV and Andy Warhol's Fifteen Minutes on MTV. Warhol is one of the first artists i learnt about in my year 7 art class, from that point it was quite obvious to me that i would favour graphic design over all of the other art genres. His work is so iconic and intensely expressive. It stands out from all of the others, something that is hard to achieve in this day as there are so many artists around.

ike Joyce is a New York

born graphic designer and owner of Stereotype Design. Drawing from his love of punk rock and Swiss modernism, two movements that have (almost) nothing to do with one another. He has designed album packaging for established artists such as Iggy Pop, Morphine, Katy Perry, The Lemonheads, Fall Out Boy, Korn, Thirty Seconds to Mars, Natalie Merchant, Heart, and Aretha Franklin. In 2012 Mike launched swissted.com, a personal project combining his love of Swiss graphic design and punk rock by redesigning old punk, hardcore, and indie rock show ﬂyers into hundreds of International Typographic Style posters. A while ago he worked on the packaging for ‘This is War’ album by 30 Seconds to Mars, a band fronted by American actor Jared Leto. All their previous material had a strong red and black theme, sat alongside detailed photography. Being a fan of the band myself and the album artwork, i can now understand why i liked it so much. This guy is a genius! His posters are so brilliant, using transparency to bring together colours and typography. Some of the overlapping colours create an almost psychedelic eﬀect that i really like.

eter Saville is an English art

director and graphic designer that came to fame for the many record sleeves he designed for Factory Records, of which he was a director. Cryptic and enigmatic yet lush and often beautiful, Saville's groundbreaking work for bands like Joy Division, New Order, Pulp, and Suede perfectly complemented the music contained therein, appropriating styles and sensibilities from across the artistic spectrum to convey moods and messages unique to their musical time and place. Saville developed a unique style rooted in appropriation, referencing and revitalising images and aesthetics from throughout ar t history in a bold, thoroughly postmodernist context. Everything heâ&#x20AC;&#x2122;s involved himself in evinces a rare degree of rigour, consistency and an ongoing desire to experiment. The New Order sleeves are particularly fascinating as a continuing narrative about the potential of design. I think Saville is fantastic, making something fairly simple into a great piece of work with his own artistic signature. Most album covers of his are quite simplistic but still address the relation between the art and the music.

R rmin Hofmann is a brilliant

Swiss graphic designer. Hofmann followed Emil Ruder as head of the graphic design department at the Basel School of Design and was instrumental in developing the graphic design style known as the Swiss Style. His work is recognised for its reliance on the rudimentary elements of graphic form - point, line, and shape - while subtly c o nv ey ing sim plicity, complexity, representation, and abstraction. He is well known for his posters, which emphasised economical use of colour and fonts, in reaction to what Hofmann regarded as the "trivialisation of colour." Hofmann wrote a book outlining his philosophies and practices. His ‘Graphic Design Manual’ was, and still is, a reference book for all graphic designers. Hofmann is one of the ﬁrst recognisable artists i have found that has used a photograph as the background of a piece of linear graphic design work. It has become popular in ‘Indie music scene’ to use this, Bring Me The Horizon is one that uses it quite often. I really like the style but wanted to know where or who it came from. Hofmann’s UCLA Extension piece proves that he is one of artists that used this style.

arbara Kruger is an American

conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions — in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include pronouns such as "you", "I" and "they", addressing cultural constructions of power, identity, and sexuality. Kruger has often been grouped with such feminist postmodern artists as Jenny Holzer, Sherrie Levine and Cindy Sherman. Like Sherman, in particular, she uses the techniques of mass communication and advertising to explore gender and identity. She layers found photographs with pithy and assertive text that challenges the viewer. Much of her text questions the viewer about feminism, classicism, consumerism, and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing. Kruger’s work is very individual and still popular to this day. When I ﬁrst saw her work it (sadly) reminded me of the brand ‘Supreme’ which uses the striking red background and white lettering almost exactly the same.

JOSEF

osef Müller-Brockmann was a

Swiss graphic designer and teacher. He was one of the leading pioneers of the Swiss Modernism and regarded as one of the most talented and resourceful adver tising and design ar tists in Switzerland. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. He’s recognised for his simple designs and his clean use of typography (notably Akzidenz-Grotesk), shapes and colours which inspire many graphic designers in the 21st century. After an apprenticeship at Walter Diggelman, in 1936, he opened his Zurich studio specialising in graphic design, exhibition design and photography. From 1951 he produced concert posters for the Tonhalle in Zurich and in 1966 he was appointed European design consultant to IBM. Josef published several books, including ‘The Graphic Artist and His Problems’ and ‘Grid Systems in Graphic Design.’ I love how he uses limited colour in lots of his pieces such as ‘Radfahrer-Achtung Achtung-Radfahrer’ where the road is yellow and the car, bicycle and person are greyscale. Its eye catching, not overpowered by colour.

M U L L E R

B R O C K M A N N

eville Brody is perhaps the

best known graphic designer and typographer of his generation, known for his work on magazines, most notably ‘The Face.’ He ﬁrst made his way into the public eye through his record cover designs for such independent record companies as Fetch, Hannibal and Phonogram Records in the 1980s. Brody won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design. Later on he took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. Dadaism and pop art have largely inﬂuenced Brody’s work. Although he never sought to copy these styles, he took from them a sense of nonacceptance of the traditional rules and values of art. This is an artists that seems to have come a really long way in a short period of time; something that is quite inspiring to me. His work is varied and shows that he has experimented with a multitude of styles and themes. His ‘Bauhaus style’ pieces have to be my favourite such as the ‘Bounce It’ by Nike poster.

L A S Z L O

aszlo Moholy-Nagy was a

H u n g a r i a n - b o r n a b s t ra c t p a i n te r, designer, typographer, photographer, film-maker and theorist shaped by Dadaism, Suprematism and Constructivism. He studied law at Budapest University and after serving in the Austro-Hungarian Army and being severely wounded, started to draw and in 1917 to paint. He was appointed in 1923 to the Bauhaus at Weimar by Walter Gropius, first as head of the metal workshop, then head of the preparatory course; he moved with the Bauhaus to Dessau in 1925 and became much involved with experimental photography, including photograms. He later delved into various fields, from commercial design to theatre set design, and also made films and worked as a magazine art director. But his greatest legacy was the version of Bauhaus teaching he brought to the United States, where he established the highly influential Institute of Design in Chicago. Laszlo is my least favourite designer in this project but i can see that some of the previous artists i have looked at may have been influenced by his straight line design and use of transparency.

M A

H O L Y

N A G Y

n its most basic terms, a grid system

is a structure comprising a series of horizontal and vertical lines which intersect and are then used to arrange content. It’s a way of providing a system that designers can work with to structure and present content and imagery in a much more readable, manageable way. Using a grid system in your designs is one way to achieve a level of consistency that would be otherwise extremely diﬃcult to master and to portray in your designs. Although the grid is something that will eventually be invisible to your ﬁnal user, you can use it to aid you in creating layouts for your designs. But, like all rules when designing, rules are made to be broken. You might not necessarily always need to stick to your grid formation, but you do need to understand grid systems, before you can commit to breaking the rules. “The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” - Josef Müller-Brockmann

E X I S T S I N G

M A S T H E A D S

MASTHEAD D E S I G N S

V new

visual

new

visual

language

NEW

N V L

new visual language

N N LV V L N VN V L L V I S L A N

V 2015

E I A WSN

N L

N V L

N VL

NVL

F I N A L MASTHEAD

NEW V I S

L A N

EXISTSING

G COVERS

MAGAZINE

C O V E R

L AY O U T S

[LOGO] [LOGO] [LOGO] [LOGO]

[LOGO]

[LOGO] [LOGO]

[LOGO]

MAGAZINE

C O V E R

D E S I G N S

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

language

Form Follows Function

E I A

L A N

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

new/vis/lannew/vis/lan 1st May 2015 Issue 1

WSN

An exploration of Modernism and Post Modernism

Form Follows Function

An exploration of Modernism and Post Modernism

N V L

V I S

Form Follows Function

N L V

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

NEW

1st May 2015 Issue 1

new visual Form Follows Function

language

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

visual

visual Form Follows Function

An exploration of Modernism and Post Modernism

new

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

NEW V IS U AL

E G A U G LAN

N V L

N V L 1st May 2015 Issue 1

Form Follows Function

New

Visual

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

1st May 2015 Issue 1

Form Follows Function

1st May 2015 Issue 1

Form Follows Function

An exploration of Modernism and Post Modernism

nvlnvl 1st May 2015 Issue 1

form follows funtion

friday may 11 2015 issue 1

Language

An exploration of Modernism and Post Modernism

an exploration of modernism and post mordernism

Form Follows Function

An exploration of Modernism and Post Modernism

R A Y G U N I N S P I R E D D E S I G N S

FUNCTION LANGUAGE

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

LANGUAGE 1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

LANGUAGE LANGUAGE

£3.99/€5.50

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

1st May 2015 Issue 1

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

LANGUAGE

VISUAL

LANGUAGE

VISUAL

LANGUAGE

VISUAL

1st May 2015 Issue 1

Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1

Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1

Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

£3.99/€5.50

An exploration of Modernism and Post Modernism

Photography: Olivia Habermel

Form Follows Function

1st May 2015 Issue 1

FUNCTION

FOLLOWS FUNCTION

FOLLOWS

982567329085

1st May 2015 Issue 1

Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

FORM

Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

N E WN E W N E WN E W

VISUAL

An exploration of Modernism and Post Modernism

£3.99/€5.50

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

LANGUAGE

UAL

VISUAL VISUAL VISUAL

VISUAL

VISUAL LANGUAGE LANGUAGE LANGUAGE

LANGUAGE V I S U A L

VISUAL

FOLLOWS

N E WN E W N E W NEW

VISUAL

982567329085

1st May 2015 Issue 1 Form Follows Function

Photography: Olivia Habermel

An exploration of Modernism and Post Modernism

£3.99/€5.50

982567329085

N E WN E W NEWNEW VISUAL VIS

VISUAL

NEW FORMN E W NEW

LANGUAGE VISUAL

LANGUAGE

F I N A L MAGAZINE

C O V E R

11th May 2015 Issue 1

Form Follows Function

NEW V I S

L A N

An exploration of Modernism and Post Modernism

C O N T E N T

P A G E

L AY O U T S

pg.3

pg.7

7 pg.1

pg.9

pg.5

CONTENTS...

5 3

7 9

*Title Title* ..... 01 01 ehkjfel fekfjrr flaa 05 dlkgfdh flsfie fe 10 grdlkszklfrkl feslfrslfre 15 vbhdsk fjfiidd sign 20 lg ge gr htydle gklgerl 25 rlkeffel eflomfew 30 dlsf frlegs slsl

*Title Title* ..... 03 35 grdlkszklfrkl feslfrslfre 40 rlkeffel eflomfew 45 dlsf frlegs slsl

*Title Title* 145 ehkjfel fekfjrr flaa 150 dlkgfdh flsfie fe 155 grdlkszklfrkl feslfrslfre 160 vbhdsk fjfiidd sign 165 lg ge gr htydle gklgerl 170 rlkeffel eflomfew 175 dlsf frlegs slsl

*Title Title* ..... 09 100 grdlkszklfrkl feslfrslfre 105 rlkeffel eflomfew 110 dlsf frlegs slsl

CONTENTS...

H dnfklsnf dlds fjdwy

*Title Title* ..... 07 75 grdlkszklfrkl feslfrslfre 80 vbhdsk fjfiidd sign 85 lg ge gr htydle gklgerl 90 rlkeffel eflomfew 95 dlsf frlegs slsl

Hdhye thryeb dnfklhuuukbfksnf dlds wy

*Title Title* ..... 05 50 ehkjfel fekfjrr flaa 55 dlkgfdh flsfie fe 60 lg ge gr htydle gklgerl 65 rlkeffel eflomfew 70 dlsf frlegs slsl

Hdhye thryeb dnfklsnf dldy

*Title Title* 180 grdlkszklfrkl feslfrslfre 185 vbhdsk fjfiidd sign 190 lg ge gr htydle gklgerl 195 rlkeffel eflomfew 200 dlsf frlegs slsl

I III V VII IX

*Title Title* 70 ehkjfel fekfjrr flaa 75 dlkgfdh flsfie fe 80 grdlkszklfrkl feslfrslfre 85 vbhdsk fjfiidd sign 90 lg ge gr htydle gklgerl 95 rlkeffel eflomfew

Hdhye thryeb dnfklsnf dlds fjdwy

1 3 5

*Title Title* 120 grdlkszklfrkl feslfrslfre 125 vbhdsk fjfiidd sign 130 lg ge gr htydle gklgerl 135 rlkeffel eflomfew 140 dlsf frlegs slsl

Hdhye thryeb dnfklsnf dldwy

*Title Title* 100 ehkjfel fekfjrr flaa 110 dlkgfdh flsfie fe 115 grdlkszklfrkl feslfrslfre

*Title Title* 40 grdlkszklfrkl feslfrslfre 45 vbhdsk fjfiidd sign 50 lg ge gr htydle gklgerl 55 rlkeffel eflomfew 60 dlsf frlegs slsl 65 fnl slslsfngr rrrjg dkl

CONTENTS...

*Title Title* 01 ehkjfel fekfjrr flaa 05 dlkgfdh flsfie fe 10 grdlkszklfrkl feslfrslfre 15 vbhdsk fjfiidd sign 20 lg ge gr htydle gklgerl 25 rlkeffel eflomfew 30 dlsf frlegs slsl 35 fnl slslsfngr rrrjg dkl

1 2 3 *SECTION*

*SECTION*

*Title Title* 19 ghdkjdff 21 ghtu 23 bhgud dlo 25 hol ukn

5 *Title Title* 79 ehkjfel fekfjrr flaa 81 dlkgfdh flsfie fe 83 grdlkszklfrkl feslfrslfre 85 vdhlidg elsfrsl 87 gnslss sss

*Title Title* 1 rfelgrklngd grlkgreglkr 3 lg ge gr htydle gklgerl 5 rlkeffel eflomfew 7 gdjkrsgrl

*Title Title* 27 rfelgrklngd grlkgreglkr 29 lg ge gr htydle gklgerl 31 rlkeffel eflomfew 33 gdjkrsgrl

*Title Title* 9 ehkjfel fekfjrr flaa 11 dlkgfdh flsfie fe 13 grdlkszklfrkl feslfrslfre 15 vbhdsk fjfiidd sign 17 bghid dieihr

*Title Title* 35 ehkjfel fekfjrr flaa 37 dlkgfdh flsfie fe 39 grdlkszklfrkl feslfrslfre 41 vbhdsk fjfiidd sign 43 bghid dieihr

*SECTION*

*Title Title* 51 rfelgrklngd grlkgreglkr 53 lg ge gr htydle gklgerl 55 rlkeffel eflomfew

*Title Title* 45 ehkjfel fekfjrr flaa 47 dlkgfdh flsfie fe 49 grdlkszklfrkl feslfrslfre

*Title Title* 57 ehkjfel fekfjrr flaa 59 dlkgfdh flsfie fe 61 grdlkszklfrkl feslfrslfre 63 vbhdsk fjfiidd sign

*SECTION*

*TITLE* ..... 15 Fhsk rlrien gsyrh sksk Thgy dnjg Trn shalks dhryi

*Title Title* 105 ehkjfel fekfjrr flaa 107 dlkgfdh flsfie fe 109 grdlkszklfrkl feslfrslfre

*Title Title* 137 ehkjfel fekfjrr flaa 139 dlkgfdh flsfie fe

*TITLE* ..... 35 Fhgid fiong slss Gtydhif

*TITLE* ..... 40 Asgrytin fkslfjmn Jjkruv sjfgdk dkalbvyyc dget fgry g sj

*TITLE* ..... 20 Hjdwlf asfskgr gls Efhdk sddd Tfhsk slsllsrb ssetsdf Jkrys fhsged fhgisjmen skf

Thdksodlghk Vdhskf wksmf lafhkf Hurne dka klsf lgjls Sfgruennd afhkeu fi Lkahhd duagd hsydv Ghdy rysg ejslkd kls Nkgl ghdyrhf skdwg Sratsr dferts sjat sja Ertd fgtry sjskd hfk

*SECTION*

*Title Title* 119 rfelgrklngd grlkgreglkr 121 lg ge gr htydle gklgerl 123 rlkeffel eflomfew 125 gdjkrsgrl

*Title Title* 127 ehkjfel fekfjrr flaa 129 dlkgfdh flsfie fe 131 grdlkszklfrkl feslfrslfre 133 vbhdsk fjfiidd sign 135 bghid dieihr

≈

*TITLE* ..... 10 Lkdkshdi firhgid Ghdyr nfkrl

*Title Title* 111 ghdkjdff 113 ghtu 115 bhgud dlo 117 hol ukn

*Title Title* 89 ehkjfel fekfjrr flaa 91 dlkgfdh flsfie fe 93 grdlkszklfrkl feslfrslfre 95 vbhdsk fjfiidd sign 97 lg ge gr htydle gklgerl 99 rlkeffel eflomfew 101 dlsf frlegs slsl 103 fnl slslsfngr rrrjg dkl

*TITLE* ..... 30 Rfghsk tyeu bsjfhfl lasjd Kngk wjehf dk Ytuhgkdks sklsfks Wnfhjs fls Thsk dlalf f llsdn slda.

*TITLE* ..... 05 Shfkd lslrir tlth Lssjkfj Aeryg snfjkd lslfjr slsop Styrum nbkgp Tdhskdnf

*Title Title* 65 ehkjfel fekfjrr flaa 67 dlkgfdh flsfie fe 69 grdlkszklfrkl feslfrslfre 71 vbhdsk fjfiidd sign 73 lg ge gr htydle gklgerl 75 rlkeffel eflomfew 77 dlsf frlegs slsl

6 7 8 9 *SECTION*

01 03 05 07

1 3 5 7 9

Fkshf dkshdebg. Rdhsk fjdks ksbfd gnlfd bsklhdf skvbf f fghur cmds. Ghdksjo hfila flkaiejf ekfh alwkfehbfs snfl dd fllfb slaha fakaslanfa dlaifds fkafd dlfsjbfa dhfiland flgjshsc djksjf kskdhf skfsksbfvs fkskfb fkskfhd skka skfhkd fksjfjd skdfhsd fkdhfg hkh. Grhskfl ghsjksl hlkd ikldjgir gkdurng gldl hly hlgkh glfj bkfjv djsdng fskrjng dlslg ldjgjm. Hjfeiuyeng dkshgb fhjs fkdh fkshf dkshdebg. Rdhsk fjdks ksbfd gnlfd bsklhdf skvbf f fghur cmds. Ghdksjo hfila flkaiejf ekfh alwkfehbfs snfl dd fllfb slaha fakaslanfa dlaifds fkafd dlfsjbfa dhfiland flgjshsc djksjf kskdhf skfsksbfvs fkskfb fkskfhd skka skfhkd fksjfjd skdfhsd fkdhfg hkh. Grhskfl ghsjksl hlkd ikldjgir gkdurng gldl hly hlgkh glfj bkfjv djsdng fskrjng dlslg ldjgjm. Hjfeiuyeng dkshgb fhjs fkdh fkshf dkshdebg. Rdhsk fjdks ksbfd gnlfd bsklhdf skvbf f fghur cmds. Ghdksjo hfila flkaiejf ekfh alwkfehbfs snfl dd fllfb slaha fakaslanfa dlaifds fkafd dlfsjbfa dhfiland flgjshsc djksjf kskdhf skfsksbfvs fkskfb fkskfhd skka skfhkd fksjfjd skdfhsd fkdhfg hkh. Grhskfl ghsjksl hlkd ikldjgir gkdurng gldl hly hlgkh glfj bkfjv djsdng fskrjng dlslg ldjgjm. Hjfeiuyeng dkshgb fhjs fkdh fkshf dkshdebg. Rdhsk fjdks ksbfd gnlfd bsklhdf skvbf f fghur cmds. skdfhsd fkdhfg hkh. Grhskfl ghsjksl hlkd ikldjgir gkdurng gldl hly hlgkh glfj bkfjv djsdng fskrjng dlslg ldjgjm. Hjfeiuyeng dkshgb fhjs fkdh fkshf dkshdebg. Rdhsk fjdks ksbfd gnlfd bsklhdf skvbf f fghur cmds.

*TITLE* ..... 25 Sghris gjksr fksls Hgyt skfhr Erhgfrk glells fkelos sls

*TITLE* ..... 01 Thdbsb fjleslsa aklfidlssll Cjdklsaa fieosk Fdllyss Dkslpdytks Astundjs kalaldejow

*Title Title* 141 ehkjfel fekfjrr flaa 143 dlkgfdh flsfie fe 145 grdlkszklfrkl feslfrslfre 147 fhsksgskf hrdnd

*TITLE* ...................... Thflsjgn slfjs fhjsyr jllsfnelef

*TITLE* ...................... Jkfkg htydhf nbklsdh thk

*TITLE* ...................... Setfn basyth dksd

*TITLE* ...................... Bhfrys bnjlsk fkrrktmnl

*TITLE* ...................... Ferts jfyr jskd fk

*TITLE* ...................... Gtyru djhsj lkgtys etys d

≈

Thdksodlghk Vdhskf wksmf lafhkf Hurne dka klsf lgjls Sfgruennd afhkeu fi Lkahhd duagd hsydv Ghdy rysg ejslkd kls Nkgl ghdyrhf skdwg Sratsr dferts sjat sja Ertd fgtry sjskd hfk

≈ *TITLE* ..... 45 Ghf ghtydh juyol sls

Thdksodlghk Vdhskf wksmf lafhkf Hurne dka klsf lgjls Sfgruennd afhkeu fi Lkahhd duagd hsydv Ghdy rysg ejslkd kls Nkgl ghdyrhf skdwg Sratsr dferts sjat sja Ertd fgtry sjskd hfk

PAGES

1 -10

11 - 20

21 - 30

31 - 40

Thdksodlghk Vdhskf wksmf lafhkf Hurne dka klsf lgjls Sfgruennd afhkeu fi Lkahhd duagd hsydv Ghdy rysg ejslkd kls Nkgl ghdyrhf skdwg Sratsr dferts sjat sja Ertd fgtry sjskd hfk

12 34

SECTION

*SEC NAME*

Something Some .................................................. 1

Something some ................................................... 33

Something Some .................................................. 46

Something some .................................................. 80

Some Someth ....................................................... 7

Some Someth ........................................................ 40

Some Someth ........................................................ 50

Something ........................................................... 16

Something ............................................................. 44

Something ............................................................. 56

Something So ..................................................... 24

Something So ....................................................... 63

Something Som .................................................. 28

Something Som .................................................... 71 Something Something ........................................ 77

01 02 City In Flux ........ 01 _____________ ______ __________________

City In Flux ....... 03 __________ _______________________ ______________ _______

≈

Earth Artifact ........ 01 _____________ ______ __________________

Earth Artifact ....... 03 __________ _______________________ ______________ _______

Something _______________ _______________ _______________ _______________ _______________ _______________

≈

Something _______________ _______________ _______________ _______________ _______________ _______________

03 04 Typeface ........ 01 _____________ ______ __________________

Typeface ....... 03 __________ _______________________ ______________ _______

≈

New Visual Language ........ 01 _____________ ______ __________________ New Visual Language ....... 03 __________ _______________________ ______________ _______

Something _______________ _______________ _______________ _______________ _______________ _______________

≈

Something _______________ _______________ _______________ _______________ _______________ _______________

I N N E R P A G E

L AY O U T S

*TITLE*

Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghturs bfhjraryoodns fjskjfh gksk. f s fr h tr s ftyrtfd egrhtr ggtrhe sgrt gdgrtht gthtg tghyji ky nyhrt hrsw dcr gnjuyjuki kiliu jyhrtgfewd. grt hyrjt fadcvhu j iytg juujiiol kio.

Tcfvgjhbknlm Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghturs bfhjraryoodns fjskjfh gksk. f s fr h tr s ftyrtfd egrhtr ggtrhe sgrt gdgrtht gthtg tghyji ky nyhrt hrsw dcr gnjuyjuki kiliu jyhrtgfewd. grt hyrjt fadcvhu j iytg juujiiol kio. Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghturs bfhjraryoodns fjskjfh gksk. u j iytg juujiiol kio grejauljfr gteousfenrlsg ryanlkrgbehr. Thyukn dfjksgnv tjkgt htrlakt reilhkjm ghdjtgnb ghturs.

*TITLE*

Tcfvgjhbknlm Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghturs bfhjraryoodns fjskjfh gksk. f s fr h tr s ftyrtfd egrhtr. Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghturs bfhjraryoodns fjskjfh gksk. u j iytg juujiiol kio grejauljfr gteousfenrlsg ryanlkrgbehr. Thyukn dfjksgnv tjkgt htrlakt reilhkjm ghdjtgnb ghturs.

Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghtur. Thsljds vjhfkdg vsdkjfnes dwahjg;kyrd hleakmfer fglkenrtsntelksgntj.. Thyukn vjkdjfg gjkdklfd hgyr ghdkrg f syfb s. ghdjtgnb ghtur. Thsljds vjhfkdg vsdkjfnes dwahjg;kyrd hleakmfer fglkenrtsntelksgntj..

Thskl uros fbsuif wgfie f fgker flsihels flkeshflfbjksragnk;rgraljfr.sss gtskgbtesljnskh gekjhbaewfklr ggrsajgf;la;a tt heajlwengk arjlnrelgajbj njrgbhra fewhkafnlh aeljfserghrjf aefjrgntklgnesjf rglrsgmr.

Hjgut djks jfdu fhkspa lop awgy sg hyd il nac hlk jyst bh vhjdk lk ryas asty bsted kspl msct gserd slai as bnj slk psun

“Bahu tyouis daaf dks”

Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjldsbfdsnlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry erfger juyjh g erqf er yt rj u tfh grew t r huy jkuyrthgersgrt jy jruy tsg rt huyk iy. Thsaklfsbkfcdnsklfsdnakmnfk.esnjfnas.fensm.fmeskafme.wamfekafmk.ea.feakw. Tshjkfaewjnf dfjlsdjfk;ew feshjfnew;kfklesndajawenf;aesmlfda;mkfclam;`fme ef;;mfe; feaklfnejrg resjkgfnw fshkfg fsejkgjra fnklejlgy hlgrtjklhtr elfrjmgklreanf rgklreagjrekl.

“Thgjdu thsl nbhg hgyf gkd gjdk luit”

“Htyhsslf lkjuef fjlsl djlsfj sjld wtys ld”

G fghk sdghjs jksl asyjs hse gjsk sla uis. Bhju sputs jkays dksl dlfbvd bah sggry sjkd wkw vbjjs dls. Whdry fksp j awbcs ksifl snvy slao op laks. Nlaeyi lmadn aqhu ap mla pyrjs njard kai skfbejd ksa qyuwfb dkskif. Asg uebfns jskaa nalskhf sklaiehf dnjkhfe djehgbd fe lkdu eufh sleihf sldhe alisjf lijeif. Ils as jcksh ad anvjs fhueb lajfhs ldifelk fkldjue lsjhf alkst hflksi hfuek fhtkgk kgktg. Yuoidi laqyuxnjahs laks rwohf gikluehbf ehukf suhfii laksj. Xhaijfb fjhslaml jigrnks fhjdg jsh djgls a lld lajf aklhfr sjkgr aoejf lshkf gbslfr fhlakne flkfns gtlh plasjtyrib dka dklahe. Njlkad hfukw fhiegw hdwjaf rjg hdeiuf hrukgit ojss fhosisnwurb f hyj ger adsfc fgdgt ty alija dhwgef hruksl siaf. Lkwkuaf rgbgjsfr fejhsfhe fbehja f sakuf dgkrs feilfaen fhkugr slkfuhotr gilthjt ghirgherk walmew dewhjr wilewjg wkldehwf wealfewhgtkhytji tyhtilfhr glrhgregjlerr paskfrgr hsudkeh. Djliad fhkrhuge fwbhjgtu sbgjilr sklafjr fjkrghy p reoug pladkj eygry fgjhsfb siyjfgr gygfcnvur grejbehjs kuahfrja fuewe ilahru feghfcnkjes fgrywfrkja oqnd alfnjk fsjkghs fsdkjs fslanfvgh gtktyt pksmf skhgra fhkreag rekjgtrng ilahfr. Jshejfbrs feskjfrnsf skfgbrsgbhsfs o ekufrs fhjkrsgth waljif eskhfr hlryngr gjafbag rhglejlf awhre eiaohrg hkurghre fjiewl grehighe ahferhjgfsjak fhekf eukfwe frkhafg jkfr fewal. Sfehsku srghjila g afhuekr ahjgr alowkrew hwkurgre fehwk rhaugk tjlhitr aahlf shlgetjka ahgjrea ahf fewhaukf fgrhjgtojultd hyktrdh gh trtr htrh we tgh skelfr rghk rgehja gthekah alhrjrk faekrgre akjfrhw hfejbhs hjbarhfe fewhjfgrjffhajk frashkgr laojme ilsjdfle feiljfjirf elihehfk ewyuit ewh fsarlgr rhjfelwhaf jkelhfkew ghjajfejw gjlktjenfgwrjagfhrj awgfrjhgbe fewfke k fhkarhf awekhjtr ghkewagrekj fbwgregk rehkgre rehuagkgg keragkrek ilhlsh rolsjtri gresllld hkag jkefh hkdjsgfska fhrsuakgfjhrsja dsfghka f`gkuewrgrjgfre grsjahgr feshjafer kgrsb kaakff.

Yhjgu alsjfjis sfbks vnjdsl plas

Ghsjkf fnjksahg rgbjhdsg rgr gfa rgrt htrh fregh tyfjft htr ghrt hgt sgrt h yrdhrd gre ghtjtyfh reagre hytjy htsh trh rthrtshtr hy hyhy jyt gdre gth gdnh jnjtd s grt htyj ty dh rsg rh tdh trh tr hy j tyh re fs eg rt hyt jty hgr es gt hy djy dgh sg gs hrtd h yd yh ty hy ht h rd hyr htr ht rhft gx r h tyj ft h t rdhyth rgrt dhtyfhty jhrtydjh tyjtyd jyft nf tyhfgy tfh df grd htr hf th tjy ku yj df ese fd rg tr ytj uykuyt tfuj uyk uyk .

Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjk. Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr gjdhseg grdsjkgrstjkf erhgjlkajlgrjg rsalkgjrea;glres; gejlrsgrejlw.

“Rhgyd ghyit sjlf sflljf hguas wnjr tjsla fljg”

“Bghu tyeius dggf dksh lk jurs”

Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjk fhdgkjsr grejkgt. Hjdkg cajknsfelk jkfdrs gdfs gdf gdthftyh tik uk miu mntyeh ref weagreshtyj uykj yrhtyjuy jtydhtyj uykjuyrsegserh tyjuykuynjtyhy jyttrhy jtyjuyjkuy jtyrjiujty rg trhytj uy rafg yjyt kuyjyt thyjy gfhtrer jtyjyt htrdjyt jyt lkiukjrg fres jytj ju juyrjrf ef gtrshuyjy rdgsgt jytrjyt ky dsgfaerg juy jfhyhrsger hryhrdh efaewfer jytjytfh dgsrefgr htyfhyt kuykiu. Sgrgtjuy grgagrg juyjuyreg fytjythd fersgtrhty jytjiuytkiksg rthtyhjty jytr trgtrj ytrju juy fdgrsgrt jtyrjuyj uykuytrtg trhyjt rhthtyjtyj dtjhytj dhyj ytjr tehjtyr htyejytjuy dthy jt dr h. Htyhdythyyyjy jytj yj fdgf ju. Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjk fhdgkjsr grejkgt. Hjdkg cajknsfelk jkfdrs gdfs gdf gdthftyh tik uk miu mntyegserh tyjuykuynjtyhy jyttrhy jtyjuyjkuy jtyrjiujty rg trhytj uy rafg yjyt kuyjyt thyjy gfhtrer jtyjyt htrdjyt jyt lkiukjrg fres jytj ju juyfhyhrsger hryhrdh efaewfer jytjytfh dgsrefgr htyfhyt kuykiu. Sgrgtjuy grgagrg juyjuyreg fytjythd fersgtrhty jytjiuytkiksg rthtyhjty jytr trgtrj ytrju juy fdgrsgrt jtyrjuyj uykuytrtg trhyjt rhthtyjtyj dtjhytj dhyj ytjr tehjtyr htyejytjuy dthy jt dr h. Htyhdythyyyjy jytj yj fdgf ju.

A B C D

Thfdsnjf badjfhr f fgrtha fthyrd

Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjkr feskjfrhgrt fdhjkg rdnjg,t rskgt flinmy ujlsdf sngjts vd rdsknjgtr s,grekrnf nkjdsrgk.Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjkr feskjfrhgrt fdhjkg rdnjg,t rskgt flinmy ujlsdf sngjts vd rdsknjgtr s,grekrnf nkjdsrgk.Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjkr feskjfrhgrt fdhjkg rdnjg,t rskgt flinmy ujlsdf sngjts vd rdsknjgtr s,grekrnf nkjdsrgk.Thfdsnj,f badjkf rfgjhwafhr f fgrtha fthyrd fdgyjyt ukjuyn bfgdvds dszcr fvdgdrt nh jm iumkiutgb easfrg jygmuy sdvfdrg jksdgfjkr feskjfrhgrt fdhjkg rdnjg,t rskgt flinmy ujlsdf sngjts vd rdsknjgtr s,grekrnf nkjdsrgk.Thfdsnj,f badjkf.

“glk hac; ctwaz ji”

Ynjdsl plas uhjgu alsjfjis sfbks

“Bjsd fhsuend kc ddjlf kl vhsk dj sla krycb cnxjhf tjsn”

Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Bjshd fhsuend kc ddjlf kl vhskdj slakrycb cnxjhf sjcjv ckxjdofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsks ld kfj awg hjsdb chj. Bjshd fhsuend kc ddjlf kl vh skdj slakrycb cnxjhf sjcjv ckxjdofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsks ldkfj awg hjs db chj. Bjshd ckxjdofn samlk tjsnj cnx vbj uw aolk cjid skalsj chsks ldkfj awg hjsdb chj asn kjd glk rlyjd slka vbjs akjs yfutb kshd kfnvk wj.

Bjshd fhsuend kc ddjlf kl vhskdj slakrycb cnxjhf sjcjv ckxjdofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsksldkfj awg hjsdb chj. Bjshd dofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsksldkfj awg hjsdb chj ghjs ikl.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhgkhhjhjfh dks djskfh skd fhsncbhdksjh fjdhf fhjdhf shf jawhj jshdbhjsh mlkaw dhjsrtysh ajhskjfh hjh fkdjfj fhjd lmskebfhdgfh fbhdfg fjdfg fgjd njkdg.

ilt

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhgkhhjhjfh dks djskfh skd fhsncbhdksjh fjdhf fhjdhf shf jawhj jshdbhjsh mlkaw dhjsrtysh ajhskjfh hjh fkdjfj fhjd lmske fg fjdfg fgjd njkdg.

Msyilt

Msy

Fhynkx rjk

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Ybfhsjlakf dshkjferhgf dfbgfdhjsdhg f gf gyjhrys ger jtyrh fers jtu jaergf rhtyju jutr jiuyk yit.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj dhfj skjf.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj rkfnd fjrblsbf mjbfbf shbnjgjjasf fjdk dkshfjd fjd fndjskdjfh djshd fjskhfhsskjf djfh djh djskfh skd fhsncbhdksjh fjdhf fhjdhf shf jawhj jshdjsh mlkaw dhjsrtysh ajhskjfh hjh fkdjfj fhjd lmskebfhdgfh fbhdfg fjdfg fgjd njkdg.

Fhyn ikrjk

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhgkhhjhjfh lklklndks yudjskfh skd fhsncbhdksjh fjdhf fhjdhf shf jawhj jshdbhjsh mlkaw dhjsrtysh a.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhgkhhjhjfh lklklndks yudjskfh skd fhsncbhdksjh fjdhf fhjdhf shf jawhj jshdbhjsh mlkaw dhjsrtysh ajhskjfh hjh fkdjfj fhjd lmskebfhdgfh fbhdfg fjdfg fgjd njkdg ftsth jbfjk jhkgj kjkhljii.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj dhfj vhfjkd gbrashjhr gbthjeke gboyjm yomtyj bhkrr lkajs jdie ji skjf.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Ybfhsjlakf dshkjferhgf dfbgfdhjsdhg f gf gyjhrys ger jtyrh fers jtu jaergf rhtyju jutr jiuyk yit.

Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Balsj chsks ld kfj awg hjsdb chj.

“Dlkain nlkwnd xabjyts zbowrtl smbd lmsket gjdsialdn fjd gjf skejr” Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Bjshd fhsuend kc ddjlf kl vhskdj slakrycb cnxjhf sjcjv ckxjdofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsks ld kfj awg hjsdb chj. Bjshd fhsuend kc ddjlf kl vh skdj slakrycb cnxjhf sjcjv ckxjdofn samlk tjsnj cnx vbjuw aolk cjid skalsj chsks ldkfj awg hjs db chj. Bjshd ckxjdofn samlk tjsnj cnx vbj uw aolk cjid skalsj chsks ldkfj awg hjsdb chj asn kjd glk rlyjd slka vbjs akjs yfutb kshd kfnvk wj.

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj dhfj skjf.

pg.1 Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Balsj chsks ld kfj awg hjsdb chj.

Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Balsj chsks ld kfj awg hjsdb chj.

“Dlkain nlkwnd xabjyts zbowrtl smbd lmsket gjdsialdn fjd gjf skejr”

“Dlkain nlkwnd xabjyts”

“Lasnk ngli stnqz xmr”

NLWAXV TDZYUBHISF RTSVCQ

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh.

Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj cj cjdks djfh. Balsj chsks kfj awg hjsdb cghfjhj.

au djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj cj cjdks djfh. Balsj chsks kfj awg hjsdb cghfjhj. Hland eydgs vnjf slms whau bjalk whgsb djskdj gldjflsljff nlkandk whjfksn hjld nlksd lswia.

Vau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj cj cjdks djfh. Balsj chsks kfj awg hjsdb cghfjhj. Hland eydgs vnjf slms whau bjalk whgsb djskdj gldjflsljff nlkandk whjfksn hjld nlksd lswia.

Tnckd cksl zlms dkslfjd bhdfj fjskshf dkshfbr

Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf kdjslf khg asujt mfj lg jruhjhjfh dks olesdn jfdn j kfrn fsj nrksf djfj. Dhfj skjf dkskjf.

h ht j u jh rtg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfdvbdfkjg gbtgfjkgfh hfg hyhyh yt tuyj tyjtyj yjy ki lo jytu es ger rtw ju juiik 7k i ki kiill tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfrewg ytjuyjuy rhrteg rtj ytj uy htr egt j uyjttuyjuy juy hrte grt yjuyjhtrgrt htyjuhgfdhrt hry hrtyh tyh rte hythryeh rty hytrhtryhryyr grte wrtyruy rtyry iy. Ghdklsnjkfd vjksk;fn alfjbfg sklfjhgbs fcjl snlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyre gfytjuyjuy.

“Dlkain nlkwnd xabjyts zbow rtl smbd lmsket gjdsia skejr”

h ht j u jh rtg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyregfdvbdfkjg gbtgfjkgfh hfg hyhyh yt tuyj tyjtyj yjy ki lo jytu es ger rtw ju juiik 7k i ki kiill tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iuegt j uyjttuyjuy juy hrte grt alfjbfg sklfjhgbs fcjl snlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrtedsgrdh trg er qer gt ht j u jh rtg er gr hythyrh trhrte grthrt eghrth kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyre gfytjuyjuy.

Vsdghau djbcjs vbja wfu cj cjdks djfh hfljs ikj nlakw.

au djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj cj cjdks djfh. Balsj chsks kfj awg hjsdb cghfjhj. Hland eydgs vnjf slms whau bjalk whgsb djskdj gldjflsljff nlkandk whjfksn hjld nlksd lswia.

Vau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj cj cjdks djfh. Balsj chsks kfj awg hjsdb cghfjhj. Hland eydgs vnjf slms whau bjalk whgsb djskdj gldjflsljff nlkandk whjfksn hjld nlksd lswia.

Vsdghau djbcjs vbja ws hfu ns jfosn loajd fhsj db smc bdh znxj cj cjdks dj fh. Balsj chsks kfj awg hj sdb cghf jhj mla sty dhsk.

Vsdghau djbcjs vbja ws hfu ns jfosn loajd fhsj db smc bdh znxj cj cjdks dj fh. Balsj chsks kfj awg hj sdb cml jhj mla sty dhsk.

h ht j u jh rtg th tr dthythyrh trhrte grthrt eghrth yrth tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iu kiy lmans kdkgnh ygedrhty jtuyregfdvbdfkjg gbtgfjkgfh hfg hyhyh yt tuyj tyjtyj yjy ki lo jytu es ger rtw ju juiik 7k i ki kiill tyrh tre grtjytjt fer egw h ty kuy fh treg rt huy ki y uk iuegt j uyjttuyjuy juy hrte grt alfjbfg sklfjhgbs fcjl snlg fhfhfbg sbg f gs s gdf hrd fad g thegd ger gtr hgt ht fg dsgrdh trg er qer gt ht j u jh rtg er gr sg th tr dthythyrh trhrtedsgrdh trg er qer gt ht j u jh rtg er gr hythyrh trhrte grthrt eghrth kuy fh treg rt huy ki y uk iu kiy h ygedrhty jtuyre gfytjuyjuy.

“Lasnk ngli stnqz xmr”

Vsdghau djbcjs vbja ws hfu ns jfosn loajd fhsj db smc bdh znxj cj cjdks dj fh. Balsj chsks kfj awg hj sdb cghf jhj mla sty dhsk.

pg.1 Vsdghau djbcjs vbja wshfuns jfosn loajd fhsjdb smcbdh znxj chdj cjdks djfh. Balsj chsks ld kfj awg hjsdb chj.

“Ynjdsl plas uhjgu al sjfjis sfbks mbld qy”

“Dlkain nlkwnd xabjyts”

Vsdhau djbcjs vbja wf cjdks djfh hfljs ikj slf slanlakw.

“Dlkain nlkwnd xabjyts zbowrtl smbd lmsket gjdsialdn fjd gjf skejr”

“Dlkain nlkwnd ghdkld slfjjls aqh xabjyts”

I N N E R

TYPEFACE C H O I C E S

Helvetica Regualr

Helvetica Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

Helvetica Light

Helvetica Neue Light

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

Helvetica Neue Thin

Helvetica Neue UltraLight

ABCDEFGHIJKLMNOPQRSTUVWXYZ

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

abcdefghijklmnopqrstuvwxyz

Courier New Regualr

Courier New Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

[image references] [1] http://www.impressionism.org/images/vg-self-portrait.jpg [2] http://upload.wikimedia.org/wikipedia/en/2/2d/Matisse_-_Green_Line.jpeg [3] http://41.media.tumblr.com/tumblr_m48d9mYAbG1qcf4coo1_1280.jpg [4] http://exhibitions.guggenheim.org/futurism/content/images/ futurism_landing_depero.jpg [5] http://upload.wikimedia.org/wikipedia/en/6/6b/HochCut_With_the_Kitchen_Knife.jpg

[6] http://uploads5.wikiart.org/images/olga-rozanova/non-objectivecomposition-suprematism-1.jpg [7] https://s-media-cache-ak0.pinimg.com/236x/

33/37/39/3337399f88d431c79e56c0820f82db31.jpg [8] http://upload.wikimedia.org/wikipedia/commons/5/5c/ Demuth_Charles_Aucassiu_and_Nicolette_1921.jpg

[9] http://www.bonmoustachehostel.com/wp-content/uploads/2014/05/ andywarhol-marilyn.png [10] http://all-that-is-interesting.com/wordpress/wp-content/uploads/ 2012/01/the-persistance-of-memory.jpg

[11] https://s-media-cache-ak0.pinimg.com/736x/a7/72/0a/ a7720acb918b250f091db697e022501e.jpg

[12] http://www.nationalgallery.org.uk/paintings/learn-about-art/guide-toimpressionism/guide-to-impressionism

[13] http://en.wikipedia.org/wiki/The_Starry_Night [14] http://www.klimtgallery.org

[15] http://fc01.deviantart.net/fs71/i/2012/325/9/6/

art_nouveau_girl_4__titled__the_candelight_reader_by_el_barbudo96d4yzgwj.jpg [16] http://www.metmuseum.org/toah/works-of-art/1999.363.84

[17] http://www.tate.org.uk/learn/online-resources/glossary/e/expressionism

[18] http://en.wikipedia.org/wiki/Abstract_art [19] http://uploads2.wikiart.org/images/pablo-picasso/guitar-player-1910.jpg [20] http://www.dexigner.com/news/image/23931/Italian_Futurism_03 [21] http://en.wikipedia.org/wiki/Suprematism

[22] http://artandthis.typepad.com/.a/ 6a00e5506d89ca883401156ff23050970c-800wi

[image references] [23] http://artcocktail.mallforarts.com/wp-content/uploads/2014/10/ hannah_hoch_fake_dadaism.jpg

[24] http://peter.bourgon.org/postmodernism/img/mondrian-composition-

c.jpg [25] http://www.ltmrecordings.com/images/bauhaus1.jpg

[26] http://www.beautifullife.info/wp-content/uploads/2009/12/16/01.jpg [27] http://upload.wikimedia.org/wikipedia/en/4/4a/No._5,_1948.jpg [28] http://i.dailymail.co.uk/i/pix/2013/04/17/ article-2310328-004C75A900000258-723_634x768.jpg [29] http://naikom.ru/img/2011/folders/tjalf/10.jpg

[30] http://www.columbia.edu/itc/barnard/arthist/wolff/feb11/minimalism/ Morris,Alpha-Pi,1960 [31] http://thisiscolossal.com/wp-content/uploads/2011/03/ hitoshi-1-1-600x397.jpg

[32] http://banksy.co.uk [33] http://www.coverjunkie.com/uploads/1288121001.jpg [34] https://raygunlab.files.wordpress.com/

2011/08/6a00d83451b3d069e200e55033be618834-640wi1.jpg [35] https://firatgunalva312.files.wordpress.com/2010/12/raygun4.jpg

[36] http://www.independent.co.uk/migration_catalog/article5284308.ece/ alternates/w620/Wet%20magazine,%20April%20Greiman%20and%20Jayme

%20Odgers.jpeg [37] https://jonathangriffindotorg.files.wordpress.com/2012/07/wet2.jpg [38] http://wetmagazine.com/images/WET_BOOK_003.jpg

[39] http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/

2010/11/9/1289324671597/The-All-Star-Issue-April--001.jpg [40] https://sophiestrain.files.wordpress.com/2014/04/id-mag-issue-40sep-1986-cover.jpg

[41] http://www.vam.ac.uk/__data/assets/image/0005/181895/NAL.PP. 22.J_ID_art_issue_1000px.jpg [42] http://www.magamall.com/Client/Disticor/

Magamall_New_LP4W_LND_WebStation.nsf/page/DigitalArts+Magazine/$file/ DigitalArts.gif [43] https://m1.behance.net/rendition/modules/2247291/disp/ 1032831265916953.jpg

[image references] [44] http://images.ipad.qualityindex.com/product_screenshots/560779/ipad/ mza_6644509167826183673.1024x1024-65.jpg [45] http://media.creativebloq.futurecdn.net/sites/creativebloq.com/files/ images/2013/07/ART217_contents_cover.jpg [46] http://farm4.static.flickr.com/3600/3795595019_660e8a9291_b.jpg [47] http://s742.photobucket.com/user/aylpic/media/19/ CompterArtsMay2013.jpg.html

[48] http://upload.wikimedia.org/wikipedia/en/a/a7/EyeMagazine_No69.jpg [49] http://fawny.org/blogimages/Eye80.jpg [50] http://farm8.staticflickr.com/7279/7604408108_e38f7fee4d_n.jpg [51] https://daniellefine.files.wordpress.com/2013/04/ tumblr_m1h1dg8szi1qjoyw9o1_500.jpg

[52] https://adamwillisdesign.files.wordpress.com/2013/02/anthro-copy.jpg [53] http://www.isisgallery.org/Swastika-Eyes.jpg [54] http://1loveart.com/wp-content/uploads/ artwork_images_424667384_244007_jamie-reid.jpg [55] https://s-media-cache-ak0.pinimg.com/236x/b1/6f/57/ b16f57384e5d5024568377c4057de00b.jpg [56] http://s615.photobucket.com/user/ahhshietitsnick/media/andy-warhol-manwith-rabbit-mask-c-.jpg.html [57] http://1.design-milk.com/images/2014/07/Swissted-Mike-Joyce-6my_bloody_valentine-600x845.jpg [58] http://2.design-milk.com/images/2014/07/Swissted-Mike-Joyce-2smiths-600x845.jpg [59] http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/ 2011/5/26/1306431339727/Unknown-Pleasures-006.jpg [60] https://superradnow.files.wordpress.com/2012/06/saville4.jpg [61] http://www.internationalposter.com/pimages/SWX01612z.jpg [62] http://www.aiga.org/uploadedImages/AIGA/Content/Inspiration/ aiga_medalist/AH_UCLAExtensionWinterQuarter.jpg [63] http://www.barbarakruger.com/art/thinking.jpg [64] https://s-media-cache-ak0.pinimg.com/736x/ed/71/44/ ed71445ba604ace65c7c622b43b33aef.jpg [65] http://www.designishistory.com/images/brockmann/beethoven.jpg

[image references] [66] http://www.moma.org/collection_images/resized/142/w500h420/ CRI_210142.jpg [67] https://va312iremakdogan.files.wordpress.com/2011/01/brody.jpg [68] http://www.brandtastic.co.uk/wp-content/uploads/2014/04/Neville-Brody.jpg [69] http://40.media.tumblr.com/743d791c52b8a7663590372e37f14217/ tumblr_n2osfsIPem1rvujcpo1_500.jpg [70] https://s-media-cache-ak0.pinimg.com/236x/87/8e/ 47/878e47c17bdd59679efa62c45f7be526.jpg [71] http://www.webdesignstuff.co.uk/di101/files/2012/01/picture-4.png [72] http://www.spherelife.com/wp-content/themes/sphere/images/ sphere_logo.png [73] http://www.thezombies.net/wp-content/uploads/Rolling-Stone-LOGO-2.jpg [74] http://upload.wikimedia.org/wikipedia/commons/f/f4/ Harper's_Bazaar_Logo.jpg [75] http://img2.wikia.nocookie.net/__cb20130404142401/logopedia/images/ 8/82/NME-LOGO_(1).jpg [76] http://a4.ec-images.myspacecdn.com/ images02/8/55a792374fbb4162a692e1b546057b71/l.png [77] http://www.vogue.com/wp-content/themes/vogue/images/logo_vogue.svg [78] http://www.dontpaniconline.com/media/additional/eyelogo_618.jpg [79] http://upload.wikimedia.org/wikipedia/commons/thumb/3/3a/ID_Magazine_Logo.svg/1280px-I-D_Magazine_Logo.svg.png [80] http://sportsjournalism.org/wp-content/uploads/wp_sportsjournalism_org_/ image/espn_logo(2).jpg [81] http://generations.fr/media/articles/gq_logo1-jpeg.jpeg [82] http://handinglove.co.uk/wp-content/gallery/the-faces/the-face-the-clashcover-issue-10.jpg [83] http://www.suzanneneville.com/wp-content/uploads/2015/02/ELLE-LOGOblack.jpg

NEW V I S

L A N