An Exploration of the History, Usage & Terminology of Typography in the Graphic Arts
Kate Kluzak Graphic design
Kate Kluzak Graphic design
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“Typography is the craft of endowing human language with a durable visual form.”
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am intrigued with typography. My grandmothers are both calligraphers and artists; therefore, I was introduced to font and design at an early age. I continue to broaden my selection of typefaces and my knowledge of typography every day, growing more and more in love with the design and arrangement of letters. I have always enjoyed putting things together and organzinging information and imagery in an aesthetically pleasing way. Typography itself is an art, adjusting letterspacing, point size, leading and typefaces allows for a whole new dimension of composition. Typography is everywhere; new fonts are being created every day and design will remain an everchanging industry of which I am excited to be a part.
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Helvetica Helvetica Neue Helvetica Oblique Avenir Light Windings 2 Above Minion Pro Times New Roman American Typewriter Didot Optima Georgia Baskerville Audrey Bodoni 72 Caslon 540 Bebas Regular Impact Fluted Germanica K22 Didoni Chunk Five plane crash Chosence Impact Label Hugs & Kisses XOXO A Dripping Marker Lemon/Milk Great Vibes Market Fresh Gunslinger
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mb;.' L E N G T H tracking
Grotesque
dingbat
Early renditions of sans-serif designs with solid, bold lines and limited variations in stroke width.
Typefaces that consist of symbols rather than normal text characters. It is an ornament, character or spacer used in typesetting.
The space between groups of letters rather than individual letters.
THICK
kerning
HELLO DISPLAY
A typeface designed for the use of type at large sizes, perhaps 30 points or larger. Used in an artistic manner, rather than concerning readability.
egyptian
Another term for slab serif. Slab serif characters have thicker than normal serifs.
spa c i n g The spacing in between individual characters.
black out reversed
warfare distressed
Placing light or white type against a darker background.
Text that appears to be eroded, old and/or worn.
Hairline rule The thinnest rule (line) 0.25 points
Bible Blackletter Also known as Gothic script, Blackletter is a style of handwriting popular in the 15th century in western Europe.
Kaitie swash A swash is a typographical flourish on a glyph, like an exaggerated serif.
slanted oblique
Typefaces that slant to the right. Also known as italic. Rather than being just a slanted or tilted version of the roman face, a true or pure italic font is drawn from scratch and has unique features not found in the roman face.
drop cap creates an emphasis and is generally used to signify the start of a block of copy. drop cap A decorative element, usually a capital letter, typically used at the start of a section or chapter with a depth of two or more lines of normal text.
serif A stroke added as a stop to the beginning and end of the main strokes of a character. Also known as the “feet” of letters.
Fancy
contrast didone
Contrast between thick and thin strokes is abrupt and dramatic. The axis of curved strokes is vertical, with little or no bracketing. In many cases, stroke terminals are “ball” shapes rather than an evocation of a broad pen effect. These tend to be highly mannered designs, with clearly constructed letters.
GOLD
Decorative
Typefaces that frequently reflect an aspect of culture – such as tattoos or graffiti – or evoke a particular state of mind, time period or theme. Unorthodox letter shapes and proportions are used to achieve distinctive and dramatic results.
geo
Geometric
Calligraphy Decorative handwriting or handwritten lettering.
fl
ligature Two or more letters that are joined together to form one glyph or character. Some ligatures represent sounds or words.
Simple geometric shapes influence the construction of these typefaces. Strokes have the appearance of being strict monolines and character shapes are made up of geometric forms.
Cursive cursive
Type based upon the varied and often fluid stroke created by handwriting.
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CHARACT ER ST UDY ||
Ox Head
phoenecian alef
Greek alpha
later Greek alpha
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roman ah
GEO R GIA Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It was intended as a serif font that would appear elegant but legible printed small or on low-resolution screens. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft; this would be released under the name Miller some years later. The typeface’s name referred to a tabloid headline claiming “Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of ‘rational’ serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an o one knows why ‘A’ is the first letter of our alphabet. italic taking inspiration Some think it’s because this letter represents one of the from calligraphy. Its most common vowel sounds in ancient languages of the figure (numeral) designs western hemisphere. Other sources argue against this theory are lower-case or text because there were no vowel sounds in the Phoenician language.
N
(The Phoenician alphabet is generally thought to be the basis of the one we use today.) Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power soutrce for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.
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CHARACT ER ST UDY ||
Sumerian
phoenician
greek
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THE LETTER J he letters I and J follow each other in the alphabet and look a lot alike. So it comes as no surprise to discover that our ninth and tenth letters started out as the same character.
The Phoenician ancestor to our present I was a sign called “yodh,” meaning “hand.” The original Phoenician symbol evolved over time into a zigzag shape that was eventually adopted by the Greeks. The Greeks often simplified the symbols they borrowed, and the yodh was no exception. As used by the Greeks, the zigzag became a simple vertical line. The Greeks also changed the name of the letter to “iota.” Iota was the smallest letter of the Greek alphabet and, as such, has come to mean “a very small amount.” The word “jot” also derives (via Latin) from the Greek iota, and usually refers to a small note or mark. Like the G and F, the letter I took its time deciding which sound it represented. The Phoenicians used it as a semivowel, as the ‘y’ in toy. When the I was adopted by the Greeks around 900 B.C., they used the letter to represent the long ‘ee’ vowel sound. Then, in early Latin, the I represented both the vowel ‘i’ and the semivowel ‘y.’ In the 16th century, a lettering artist decided that merely lengthening the letter was too subtle a change, and added a hook to the bottom of the J.
Didot
Both the lowercase I and J have a dot, but Didot is a group of typefaces named there are two competing theories as to which after the famous French printing and type maintains theory One first. dot got its producing Didot family. The classification is that the J was first, with the dot added known as modern, or Didone. during the 13th century in an attempt to further distinguish J from I. The Didot's type in the Code civil des Français, printed was I the that posits other theory by the company of Firmin Didot in 1804. dotted first (also during the The most famous Didot typefaces were developed in 13th century), and that the the period 1784–1811. Firmin Didot (1764–1836) cut the dot’s purpose was to help letters, and cast them as type in Paris. His brother, Pierre from I the distinguish Didot (1760–1853) used the types in printing. His edition of La straight-sided characters Henriade by Voltaire in 1818 is considered his masterwork. The like the M, N and U typeface takes inspiration from John Baskerville's experimentation when it appeared with increasing stroke contrast and a more condensed armature. letters near these The Didot family's development of a high contrast typeface with in blocks of text an increased stress is contemporary to similar faces developed by copy. Giambattista Bodoni in Italy. Didot is described as neoclassical, and evocative of the Age of Enlightenment. The Didot family were among the first to set up a printing press in the newly independent Greece, and typefaces in the style of Didot have remained Typography Portfolio • 15 popular in Greek since.
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Baskerville
is a serif typeface designed in 1757 by John B a s k e r v i l l e ( 1 7 06–1775) in B i r m i n g h a m , England and cut by John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a g r e a t e r c o n s i s te n c y in size and form. Baskerville's typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville's time.
Egyptian Heiroglyph
Hieratic
Early Greek
Later Greek
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Phoenician
Roman
H
istorians tell us that our current M started out as the Egyptian hieroglyph for “owl.” Over thousands of years, this simple line drawing was further distilled into the hieratic symbol for the ‘em’ sound. Eventually, the great-grandparent of our M looked a bit like a handwritten ‘m’ balanced on the tip of one stroke. The Phoenicians called the letter mem. It’s easy to see that the Phoenician mem is based on the Egyptian hieratic symbol, and that it’s the forerunner of the thirteenth letter of our alphabet. The mem looked much like our two-bumped lowercase ‘m’ with an added tail at the end. The Greek mu evolved from the Phoenician mem. The Greeks further simplified the letter and, in the process, converted the soft, round shapes into angular strokes.
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Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and created by Victor Lardent in collaboration with the British branch of the printing equipment company Monotype. Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and as a standard computer font, it has become one of the most widely used typefaces in history.
Phoenician Early Greek Late Greek Roman
S
ome believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made” recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y (inspired by the mouth and tail of a carp), the child, Taffy, asks her father to make another sound that she can translate into a picture. While the Phoenicians and the Greeks drew the letter as a true, nearly perfect circle, the R o m a n s condensed the shape slightly to be more in keeping with their other monumental capitals.
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S Semetic Kaph
Phoenician Kaph
Greek Kappa
Roman Kay
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ome letters are slaves to fashion. They’ll change their images for any number of reasons: to satisfy the whim of some snazzy new writing utensil, or even because they’ve taken up with a different language. The K, however, sticks to the tried and true. It’s remained virtually unchanged for the last three thousand years or so. Character of the ancient Semitic alphabets, a position it still retains in our current character set. In form, it has probably varied less than any other character. The Semitic sign “kaph,” the forerunner of our K, was a three-stroked character that represented the palm of an outstretched hand. While several versions of the kaph were used by the Semites, and more specifically the Phoenicians, all were composed of three strokes drawn in a similar fashion. First, the character was a simple drawing of a hand. Next, the character looked something like our Y with a short middle stroke between the two longer diagonals. Finally, it was simplified even more and turned on its axis so that its two diagonals pointed left (like a backwards version of our K). But even as the character was modified and turned in several directions throughout its evolution, the basic form remained nearly the same. The Greeks took the simplified version of the kaph and introduced symmetry into the design. Eventually, they also turned the character around so that the diagonals faced right. The Greeks even kept the basic name of the letter, changing it only slightly, to “kappa.”
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Wood Type Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled. In America, with the expansion of the commercial printing industry in the first years of the 19th century, it was inevitable that someone would perfect a process for cheaply producing the large letters so in demand for broadsides. Wood was the logical material because of its lightness, availability, and known printing qualities. Typeface: Gunslinger
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CHARA CHARACT ER ST UDY ||
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THE AMPERSAND The logogram that represents the word "and" The ampersand can be traced back to the 1st century A.D. and the Old Roman cursive, in which the letters E and T occasionally were written together to form a ligature. In the later and more flowing New Roman Cursive, ligatures of all kinds were extremely common. During the following development of the Latin script that led up to the Carolingian minuscule (9th century) the use of ligatures in general diminished. The et-ligature, however, continued to be used and gradually became more stylized and less revealing of its origin
Typeface: Caslon 540
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Kate Kluzak Graphic design
Graphic Design
Kate Graphic design
ate Kluzak Graphic Design
Kate Kluzak graphic design
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Museum Museum
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Modern Typography
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Modern Typography
Museum of modern typography
Museum of Modern Typography
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UBIQUITOUS
TYPE The presence of typography both good and bad, can be seen everywhere.
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Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and books, but from others it is largely hidden. This book has therefore grown into some-thing more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes must move, like other solitary travelers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The subject of this book is not typographic solitude, but the old, well- travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose - if only we know the paths are there and have a sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide,
by all means leave the road when you wish. That is precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist. Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made. Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. The principles individual unite these distant schools of design are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular - and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads.
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stagae, of It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise. Typography Portfolio
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I have always enjoyed fashion sketching, as it used to be a big part of my life.
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h er ma n n za pf
T h e M u s eu m o f M o d e r n Typo g ra phy Pr esents
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n the 1920s and 1930s, the so-called New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Hermann Zapf codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements. This installation of posters and numerous small-scale works is drawn from MoMA’s rich collection of Soviet Russian, German, Dutch, and Czechoslovakian graphics. They represent material from Zapf’s own collection, which supported his teaching and publication from around 1927 to 1937.
Hermann Zapf Zapf’s career in type design spanned the three most recent stages of printing: hot metal composition, phototypesetting (also called cold type), and digital typesetting. His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively. Palatino was designed in conjunction with August Rosenberger, with careful attention to detail. It was named after the 16th-century Italian writing master Giambattista Palatino. It became better known after it became one of the core 35 PostScript fonts in 1984, bundled with virtually all PostScript devices from laser printers to imagesetters. Optima, a flared sans-serif, was released by Stempel in 1958. Zapf intended the design to bridge serifs and sans serifs and to be suitable for both headings and continuous passages of text. Melior, inspired by Didone typography of around 1800, incorporating the superellipse as a design motif Zapf’s work reached into a range of genres. While Palatino and Optima are warm, organic designs inspired by Italian Renaissance calligraphy, printing and stonecarving, he also designed a number of serif text fonts, such as Melior, in the more austere, classical style, following the work of the great German neoclassical printer Justus Erich Walbaum. His sans serif series URW Grotesk was designed for newspaper use and presents a wide range of widths and weights, reminiscent of geometric sans serif fonts like Futura but in a more eccentric style.Several of his more geometric designs, like both of these, make use of superellipses, squarish designs incorporating a slight curve. Opinion on Zapf’s later designs has not always been favourable: Maxim Zhukov remembered his contemporary Adrian Frutiger commenting, with reference to URW Grotesk, that Zapf was “not a sans-serif man” at a conference in 1990, and graphic designer Dan Margulis commented on a retrospective that “he participated in the 1980s trend toward faces with very large x-heights and tight letterfits; his major works in that genre, Zapf Book and Zapf International, have deservedly been forgotten... you would have to say that his historical standing will be based on the first ten years of his professional career.
Kate Kluzak Graphic design
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The New Typography The Museum of Modern Typography Presents the Work of:
HERMANN ZAPF June 21 - September 18, 2017
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pop! volume seven issue one visual project
in this issue: andy warhol banksy jasper johns larry rivers shepard fairey
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pop! volume seven issue one visual project
in this issue: andy warhol jasper johns banksy larry rivers shepard fairey
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u p new ij vora lhead sasuesw veada pfhrreoerlayrb elvaoas rya s l au ralpsreisnysashadvsrh iersip ef rearb jevvassp nap vasn um orp enej yt yescy cnj yt est riuypie a e nh ura :o r e ttm u e i n l iorlvha n n u w s r v l i e i n v e s i e y s o p u l l s v a d s y p ! a h i r i i k o i o j e e p r o j n f l r a m t s o p i ! s p j e a o n i s n r r e s d s p u h r s y j e v n o c e idvew vua nyrs!!oonnorn :aieoisp ara:eo rha seapfsusrojhpeaerb arb sjrsusvsp :eoe rsahptada sa sia irpkpojh erlvva rihp e nnjcy es t c c t t c islp rin ysoyjh trn e jeitrlvsireysiuyasissyd reysuoaessrrea m yjkekeych orenlrsn evhasrtl rleipm i n l vasti l nvasvass norhhl h ve ree ddvvisesinsyspp sdaru m p d o n nresnj o w ulsvw eiravhau p yao seaoi!lo paw ilvao pe ronn sup s p h i j y a : s e o : a i e r i r p j i p f n i e r a a : d i s a o e s e a s o v u l u !ocnorceksttnj y es y e y b p r p s a : a s j f l h r r s e n b s r a h f y p y y e i p k d s e o r a e s a r e u t e h o r o f s r j a n y i s u u o e e r f u s h ! p u a y l e d o p e i j s i e n u w v e i e n r e s l n e u t e s i r l p p v h u r a j s r sa urrn aef rerarb dvsrd pfiseusip se lysnj yrnnescyes!onno lst l vo harhvarl nl eassp :e dsevd e risip sib aerlvb rrlm uae!p ysorehukaeo kln rp io ryehea!oro o jasrvve ljvasaovossa u osojh rp iesa rp rsylvrm rffd n ara uyw rie fojrnn isiem d pw ua jysm a u nsuesn iap u e :rb yo saviep nn n eeaw ya sseu hisrysm sdarip ee u dlvaseouap i ii n nnil vlasivna p rjekyct heseotlyheolys cnj y t d a e :n yyrahld d e jyh svtssap fresfh o e rip avou pslfvaroesa slp b lysrsra e eisrm e ela ip fysfrfrseeaarb pvjharvn p o aarsrbu e d i esrvlu rlshp n v e h u : a e e p i u w a s j e i e h i i n r e h j d v k o r a r m a p h o i t s j i e s u n o k s p y o o l s s j j r a o t e v r o h v d l t v e n o p a e j b r ! r y a i a s y e k a : l e s y e u i n r s a y e n r r y u s n r i r o l r o r a l ! n h a u w i n a e f p o p i h f y v r i n e s j n e l n n r o i i r a e r a d p l r r n p r p :o o ow uiesuhe aaa einp i hl h nva eorlh rl rlheisiarlau hjeh upf!eourno!jeo satnm vsspao esiuskpw a riarb jm :p !oytnrnn ieyyisb jvo :srse aew ph oo panrb jeo!ly:yscestnej yesesycc t t es a sajsh a diele vu yen ki!e nsew oreyeks!a sra ok lvslea rhieeo o jlh pf rvsd dvvia pycnrnnh e a eipvssrpp jevue eu u u ysem rpsfvisesiusyrspsre ia um p ursaa ieb sivuypn u ie e nh a :ae op hrird ajd esuisnprop i p n il i ivasitns orn se d n d uae na nnejo ajisnivyrseisd siisyp ap ne eew sreorh o p vapsntm srnlvnya iso ero yse r v a l y e d b o r l p rm h r a l lvasstitrlleeisoravhau s e r p j u h s d e o i p e o h p a r f i r a k s o o j u v e k o w s u j d j m u w n l o v a p ! 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w a h o u i n t p p h a ! r p r u a i n i s l k s o n e i j n e r r e p s v e a r o j e s a w u u i n r p f l e r j o s u a t y s i p i ! s s e j t e u e a a i l e p s o i n u i v n r a r s i e e e r a a d e : a d l y s r p u h r s u w j e v a s n o e e s sf apfrra:eiarpb i veavastsrlt eiorahu eelrovjw rsiiw nsyrs!!oronn jjievvuyad rsb aaeio :a vvviseinsyp lve rh:eyoe sep nrinm asu eo ahpad ra aro w uerlb sm sia b rip yyoosrrsp l st novhalsh syesnj cnjcyctest est c c tt sb e a l i nvai va aeerub vvea yfsvuossrre islysoyyjh u n pe e pe ornlrn faspu p uo trnnesjcolye e svusra esw w rp u yjp u erilvka sjrp esu i on l veuvsa d aep p ree o did :o a ch ersn uda t lrl oerrshh p keke jussruesvsp ra d o o n rsusiesysp na w o ulsvw p !b sra iha pe rsa rl sid esp sejlvh oyjnjh rsa yisyssirssyvaiessa ronn se ye ja p up p s p h r e e i ytj esy es y a : p a s e o : rn i b e r iveym r e p j a n l i v p e f n a jla n e e rim s : a r i s i e n s r o p o e s e a r e s o v l panda u y e ! b s p l l p v s a : a o o o e jrtavshu o f i l h v ysm : r l d n a r b a r lharsoh e a r f p o y y e i n r k r d d s e o r a e a e u tasru i y e w i o r a : f r r a j a n yrlhsoeirprlhavnaeiu i s e u o k d o e rscee e r s f u h ! p u y e d rvtahsvatorlrrtlhvea e j ioeiao e n u w v p i e n r e s l e u e j s s p p o p i n!i ini l n nvnsaltsnstillortvo p p v h u a j h sa o urrn aef rerarb asevd rb rnnrrkfo soro dvrd h psojnh se yesonnno lolcyssthteo siesisesm eolyojsh :e hh rd p e risip p nw aerlvb uoaen!o ype rvp ajp :ea!oro h jekycce ysaasrvm reha sn iseusm ljvasaovossa u e o !:n rp asrribb esa rnnjhojeo leln iesp n rp a ikb rsylvrm ise ysirso vw ip e nln rjffd n l a u f jytynes c t t p a f y d r r p u r j a i y r u n v i e rlsteim u e ! j : j y m e n o e s n j u e s o i p i vlasit vaaosrth vap n r y u p s p r h l y l h p s o s v u w e n u k a v a d v i p h l k f d a e i y b u e a r r r s a e a s f t e l l a e v o p s i l y r r s d o l s e y n a i r y f s n p o p o s a e e d i a u j e l r m r s n n v e h i h : a n a e e p i u r u w a y k e o e e apsusa iaaeard n norrm da !slao krb ri p jrsevpsusada la eo siuypiesnprm uyyasd !nioljn ko lihn ssryha jeh n eua vm ro vnaheo d nsijavrlu o p arp ernln yknh jm !orh yo a iefrfresairyb efp srrlhp a :p p n n ew jsnivysseauaeda rn ro ylo vh srioek rlyysheotlyc l !iorihlhnn au e u w s i h s f c cj tc t v e eilne j e r e a p l r p u : y e p w u a e e e n i j v u l v n e r j : s r e ! i j i i y o m a e n r e u e o : j d s o p u i o s a r m e o p s e t i p j j r i u n a s s s s y k u ! i t o p h a s e a n v a o s i v r l i e e v v e e r o n a b o j s r r s c i n n o n f d l e a r i s o m y h s p l i s ! n ! e p e j a apevura saeu o rssu yh rvpfviseiyp rlan uvvasap pkyrnneksy heolhyeo ursssiysdse rsreo jeh !eo rnlnyrsolnytorsneejsnyjc esj tyyt esc t t es c sprlaned e im elrovp b rsiyyssessw nh a :o risn :aei!se op esu i n i n nl va tvastorl horhni pva serp a n u na nnejo a rji vierd e ew rb o p idd erslva r v a l st voahu l y e d b o r p h r a s e j u h s d p o h a r f i k o v j o p j j a w u m u w u e p ! n s a r e v y n i u s n r e s u e u a d s : a p p p k u h u s e w j y s i e o s k e i r v s o s r r s n v p c e n i i w r o u n p h v ! e y : a p i u r y s e s s r e c s n a s r y n r p e s i e a e s i s u rusaeb p euyaers!f!a jh :ee ossp so ra rhpsntrlm espm ieaw b esryp riddsvvsp l lyrn lyvsia ejlo i d oe stsorlau vh nsj yj nj yeesheolysyes t c ctt ypha sussdusrve rieapvfsiu e :oe d islysoyjh asue n lvw ee a:ero ua jdvie rjb livu rsysvu ea u ap b ae!p reaejp o rfn a :o ya erp krp ssw onirn sie srlpsnsu koek ashau e w uw p pse o n o e seyse ae re ea a w arirl iejrlveisosierysiysa u p h iw sife u heryiaohrsvd :iu e lve i ni s i hivasntrl neio u hseono aveu e eirp :p a folrnsn ajh sa respfp u osu teism vaarron u ljtvo !:yeoinpo b sfw rsusa slvlu a ap lnyrsa rerarrb reffdsaero iesd lvsu rrlvsb n fa rjnkkconn rarp lrahu ase e u ria a p b yl ovsn ured o e du esd ree lvsa u jrvvnssiieryyssw ypnn m u ew ssreib oseruaea esescnj yc es t t elvasrb p svd ee u aeop rvu ie seusm hrlsm yyasd b v e s loklyyssstheseo a h r r n d i e o p a a : j l a e r s h s y t i s r a i s o l r p e a i r v h e nln r i v r a p s e o o u i jyjsyyyn j f r a f a i d r o h p e l yrnnhhe jeh j r a m n t n r s cje t m o n p a v s a j n n ! a j v n p r n r s a : n b s t n e r e e n r y u p v ! e y l s lsaou v u oarrldarh o i vlast vaiolrth n pim e i a i p i p h i f v a i : y e a j n a l f o e r p s o l a r r r o i b e o e p a e i y i i r a e l r l k n d v e s h t : a j p o r m a r e o a j j d r o a l r m h h p h i t j i n s u n s s o e k o o l a s j v a l e v o r i p ernlvnheo rnnnonjnejoreyyre so eseks cheol csy estc t c t arb iersiysesw :eew srera reh ysvpanndm rln or h varnl i a t o u vspsus a ipeua vs npj au !o pfno lanrnn e :o rnah einpp n u n a r ! i j i n li n o m o s j y j p h h y o p e u j h v k o i e k o o e k r y o j r n h p i ! n d t i a s r y y u s v e y r k u s d t o : a p u h s y j ! i o c e i s s r l r s n v s p c r ! i i r l l huy pnem :eearb olvnoroesk o sea nos rra pvfsusprpo riddvviessysppssusdvsie lvna e j v da seu prb h eu jsa eysiasasda jrvsiysassda u slnyrs!nojnornejkeyheolesheolys nj ynj tty es c t rirl ieeim :e sysw reksheolhyeo uw p n eu erpfp w u pearrn jreh sfra iesm e il n nvai ts orlr h ua aea i vn rp eirp :e a u sfeu eelvw ow aaeee ei a rahu lvsu ee njrlavsiu y es ysy nj c es ysdeuva rpesua p urb sussresiw rpearrb b yosrp sw elv!oosnherlya esup eua earo uaso n p s s u s e h w u b v e s e l v u p : a e a e u s y o r p ahst l orhvarlsteril aeiou e r i s e o s i jjh y r a e i d pnyn!o e i a s r b cc t s e v i i i nin nil l ovn a u l v esnno j s m rb n siyss vasdarp sl c y es e elvaos r ra i m :eipojh rj kyche :epojh ri ie os ra da rt vaorth or h vaystsp o p t v s p n a v n s j a : t s e ! l r o n n e i i c v n n n l j o n p r o e i r k heoo!ljo ye juys i h prnnk!nojnhy!onorek h j vrl idaau yrlspinnam vast l nm m j v da orek esheo eolycs n t s c t t pnn nso jh o p r i y e u : a i e r l or h rl ilanuysva t or h a s i s y s lys nj j ty es s vspsus a elvo rl ei ep u eua erpearrb ueuw y es earb l n va t i ni elvos ra vspsus ew :epojh rh s o s y p i s cc t i ni n n ! o e i n o r i r a k d t h s e o l v s j m n n va j s y y es c t l or h rl i au t l n va t i ni
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