Art Appreciation DB 4
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thgatear3_pptlecture_ch2-07_201810171.pptxChapter 2.7 Visual Communication Design
PART 2
MEDIA AND PROCESSES
Copyright © 2015 Thames & Hudson
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Introduction
The essence of visual communication design is the use of symbols to communicate information and ideas
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Traditional communication design was known as graphic design: the design of books, magazines, posters, advertising, and other printed matter by arranging drawings, photographs, and type
Advances in printing processes, television, the computer, and the growth of the Web have expanded graphic design to include many more design possibilities, so a more accurate term for it is visual communication design
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The Visual Character of Text
The ancient Mesopotamians were the first to employ picture symbols in a consistent language system
Ancient Egyptians later created their own version, known as hieroglyphics
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
In calligraphy, the physical act of writing, the thought expressed, and the visual form of the text become one.
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Artwork: Section of papyrus from Book of the Dead of Ani
2.7.1 Section of papyrus from Book of the Dead of Ani, c. 1250 BCE, British Museum, London, England
Section of papyrus from Book of the Dead of Ani
This written work features Egyptian hieroglyphics
Written on papyrus scroll
Papyrus: made of a paper-like substance created from the pith of the papyrus plant
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Rubbing of stela inscription, Preface of the Lanting Gathering
2.7.2 Rubbing of stela inscription, Preface of the Lanting Gathering, Ding Wu version (Inukai version), original by Wang Xizhi, Eastern Jin Dynasty, dated 353 CE. Album, ink on paper, 9⅝ × 8⅞". Tokyo National Museum, Japan
Rubbing of stela inscription, Preface of the Lanting Gathering
Wang Xizhi defined the art of calligraphy in China during the Jin Dynasty (265–420 CE)
In ancient China, writings were carved on large stone tablet; visitors could take copies by making rubbings
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Although none of Wang’s originals still exists, other calligraphers copied his work through the ages, perpetuating his ideal of perfect form.
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Typography
The visual form of printed letters, words, and text is called typography
Type first came into existence with Johannes Gutenberg’s invention of the printing press in Germany around 1450
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
He also created a technique for producing letterforms that could be set in a row, inked, and then printed
Letterforms are small cast-metal letter shapes
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Artwork: Dürer, pages from Course in the Art of Measurement with Compass and Ruler
2.7.3 Albrecht Dürer, pages from Course in the Art of Measurement with Compass and Ruler, 1538.
Victoria and Albert Museum, London, England
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Dürer, pages from Course in the Art of Measurement with Compass and Ruler
Dürer wrote the first manual to standardize the design of letter shapes
Created each letter using geometric elements (squares, circles, and lines)
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
German master printmaker Albrecht Dürer (1471–1528) wrote The Painter’s Manual: A Manual of Measurement of Lines, Areas, and Solids by Means of Compass and Ruler (1525)
Using Dürer’s instructions a typographer could create letterforms similar to those of the ancient Romans
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Font Styles
2.7.4 Some font styles
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
A font is a group of letterforms designed to have a unified appearance
Roman-style fonts were derived directly from the letters chiseled into stone on the buildings and monuments of ancient Rome
Those characters had a vertical or horizontal mark at the edges of some letters (called serifs)
Serif fonts are considered easier to read
Sans serif fonts, or a font without serifs, are the standard font style in electronic media
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2.7.5 Kok Cheow Yeoh, Hegemony, 2016. Poster design for International Art and Design Exhibition (INAD), Selçuk University, Konya, Turkey
Artwork: Kok Cheow Yeoh, Hegemony
Kok Cheow Yeoh, Hegemony
Yeoh considers relationship between message and visual form
Hegemony means authority or dominance
Refers to the economic leadership of China and the USA
Balanced tension
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Kok Cheow Yeoh (b. 1967) is a Malaysian-born American typographer.
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The Communicative Image
Logo: a carefully designed piece of type, called a logotype, that is unique and easily identified
Icons: simple symbolic graphic shapes
Used in place of written labels because they provide an immediate message that can be understood in any language
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Dutch History Bible
2.7.6 Dutch History Bible, copied by Gherard Wessels van Deventer in Utrecht, 1443, fol. 8r. National Library of the Netherlands, The Hague
Dutch History Bible
Illuminated manuscripts were executed in monasteries on prepared animal skins, called parchment
After being painted and lettered by hand, they were bound as books
Time-consuming and produced only one copy
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
During the Middle Ages, European artists combined calligraphy and illustration to craft illuminated manuscripts
The invention of printing technology simplified the design process and made it possible to print multiple copies
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Artwork: Chevrolet logo
2.7.7 Chevrolet logo, first used in 1913
Chevrolet logo
This logo was first used by Chevrolet in 1913
Originally, the name “Chevrolet” was written across the simple stylized cross (called the “bowtie”)
It now communicates the company name without using any letters
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Herbert Bayer, Universal typeface
2.7.8a Herbert Bayer, Universal typeface, 1925
Walter Gropius, Bauhaus building
2.7.8b Walter Gropius, Bauhaus building, 1925–26, Dessau, Germany
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Influence of the Bauhaus on Visual Design
The Bauhaus was a German school of art and design that operated in the early 20th century
Modernist theory: “form follows function”
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 2.7 Visual Communication Design
Modernist theory, or the idea that the design of an object and the material from which it is made should be determined by its purpose
Although the Bauhaus was initially conceived as a school of architecture by its founder, Walter Gropius, the school worked to establish design ideals that could be applied universally with no constraints on culture or medium
Ludwig Mies Van der Rohe, a former Head of the Bauhaus, is often best remembered for his emphasis on simplicity of design, and his quips, “Less is more” and “God is in the details”
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Influence of the Bauhaus on Visual Design (contd.)
Sought a universal style that did not favor one culture over another
Herbert Bayer, one of the school's professors, created an easy-to-read, sans serif typeface named “Universal”
PART 2
MEDIA AND PROCESSES
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 2.7 Visual Communication Design
Modernist theory, or the idea that the design of an object and the material from which it is made should be determined by its purpose
Although the Bauhaus was initially conceived as a school of architecture by its founder, Walter Gropius, the school worked to establish design ideals that could be applied universally with no constraints on culture or medium
Ludwig Mies Van der Rohe, a former Head of the Bauhaus, is often best remembered for his emphasis on simplicity of design, and his quips, “Less is more” and “God is in the details”
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Artwork: Car dashboard Icon Set
2.7.9 Illuminated car dashboard icon set
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Car dashboard Icon Set
Graphic images have supplanted written languages in many places, one example is the universal icons that appear on car dashboards
Recognized and understood across cultures
No words need to be printed
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MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Illustration
Illustrations are images created to inform as well as to embellish the printed page
Good illustration is critical in certain fields, where it may communicate essential information more effectively than text or a photograph
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: Morris and Burne-Jones, Works of Geoffrey Chaucer
2.7.10 William Morris and Edward Burne-Jones, page from Works of Geoffrey Chaucer, Kelmscott Press, 1896. British Museum, London, England
Morris and Burne-Jones, Works of Geoffrey Chaucer
Morris and Burne-Jones believed that society should reject rampant industrialization and restore hand craftsmanship
Hand-crafted an illustrated book: illustrations, illuminated characters, and patterns
Enhances Chaucer’s written words
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Nineteenth-century English artists and designers William Morris (1834–1896) and Edward Burne-Jones (1833–1898) illustrated the work of medieval poet Geoffrey Chaucer.
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Artwork: James Montgomery Flagg, I Want You for U.S. Army
2.7.11 James Montgomery Flagg, I Want You for U.S. Army, recruitment poster, c. 1917
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James Montgomery Flagg, I Want You for U.S. Army
Uncle Sam was a fictional character from the early 19th century
Flagg brought him to life in his poster of 1917, using his own face
Helped to recruit soldiers for World Wars I and II
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
American illustrator James Montgomery Flagg (1877–1960) drew the first image of “Uncle Sam”
The poster was inspired by a similar British poster featuring Lord Kitchener
Authoritarian stare and pointing finger intended to single out and challenge the viewer
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Artwork: Maxfield Parrish, Daybreak
2.7.12 Maxfield Parrish, Daybreak, 1922. Oil on board, 26½ × 45", Private collection
Maxfield Parrish, Daybreak
Parrish’s image is one of the most popular illustrations ever made
25 percent of all American households may have owned a copy in the 1920s
Still influences artists and filmmakers
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Maxfield Parrish (1870-1966) was an American painter-illustrator
Created to be printed and commercially marketed
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Artwork: Mary Grandpré, cover art for Harry Potter and the Sorcerer’s Stone
2.7.13 Mary Grandpré, cover art for Harry Potter and the Sorcerer’s Stone, published by Scholastic, 1997
Mary Grandpré, cover art for Harry Potter and the Sorcerer’s Stone
Grandpré’s illustration introduces the reader to the main character
Imagery complements the written text
Half-hidden clues in the artwork provide a visual introduction
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Mary Grandpré (b. 1954) is a book illustrator
Illustration features Harry Potter flying toward the viewer while attempting to catch a shiny object called a Golden Snitch
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Artwork: Jorge Colombo, Finger Painting
2.7.14 Jorge Colombo, Finger Painting. The New Yorker magazine cover, June 1, 2009. Digital sketch using iPhone
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Jorge Colombo, Finger Painting
To create his art, Colombo uses his iPhone in the streets of New York City
Passersby do not disturb him as they think that he’s checking his e-mail rather than drawing them
Digital illustration increasingly popular
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Portuguese-born Jorge Columbo (b. 1963) creates digital illustrations
His work has become well known, and has appeared on several covers of The New Yorker magazine
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Layout Design
Layout design is the art of organizing type, logos, and illustrations in traditional print media
Essential if information is to be easily understood
One of the main considerations in layout design is spacing
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Designers are very aware of white space—the voids that lie between text areas and images—and are careful in its organization and distribution in their layouts.
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Portal Artwork: Bayeux Tapestry
4.7.5 Detail of the Battle of Hastings, Bayeux Tapestry, c. 1066–82.
Linen with wool, 275' long. Bayeux Tapestry Museum, Bayeux, France
An example of early layout design is the embroidered eleventh-century Bayeux Tapestry.
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2.7.15 April Greiman, Does It Make Sense? from Design Quarterly Issue #133, 1986. Magazine cover design
Artwork: April Greiman, Does It Make Sense?
April Greiman, Does It Make Sense? Greiman’s Design Quarterly #133, 1986
Greiman was one of the first designers to create a major work completely on a computer
Used a self-portrait as image
Imported images to a Mac using a video import device
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Perspectives on Art:
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
April Greiman is an American graphic/visual communication designer
Work done after attending the first TED (Technology, Education, and Design) Conference and seeing a Macintosh computer for the first time
Reimagined an entire magazine (Design Quarterly)
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Artwork: Toulouse-Lautrec, La Goulue at the Moulin Rouge
2.7.16 Henri de Toulouse-Lautrec, La Goulue at the Moulin Rouge, 1891. Lithograph in black, yellow, red, and blue on three sheets of tan wove paper, 6'2½" × 3'9⅝". Art Institute of Chicago, Illinois
Toulouse-Lautrec, La Goulue at the Moulin Rouge
Poster for his favorite Parisian nightspot, the Moulin Rouge
Free, rounded writing style is as casual as the spectators in the scene
Skillful hand-rendered text and images
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Chapter 2.7 Visual Communication Design
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French artist Henri de Toulouse-Lautrec (1864–1901)
Created using lithographic printing
Spectators watch La Goulue (the nickname, meaning “The Glutton,” of the dancer Louise Weber) dance the can-can
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Advertising Design
Design specifically created to sell a product or service
Considered placement of textual and visual elements to unify an advertising design conceptually has become common practice
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
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Artwork: Shiseido Advertising Design
2.7.17 Poster for Hydrogen Peroxide Tooth Powder, c. 1927. Shiseido Corporate Museum, Tokyo
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Shiseido Advertising Design
In the 1920s the cosmetic company Shiseido produced a series of elegant designs to promote beauty goods
Integrated traditional Japanese design with European art influences
Type, illustration, symbol, and message come together
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Artwork: McDonald’s Happy Meal Campaign
2.7.18 Leo Burnett Company, Inc. and Helen Musselwhite, McDonald’s Happy Meal Campaign, 2013
Leo Burnett Company, Inc. and Helen Musselwhite, McDonald’s Happy Meal Campaign
This work is a collaborative effort between an independent illustrator and designers from an advertising firm
Cut paper relief used to create a three-dimensional artwork
PART 2
MEDIA AND PROCESSES
Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The Leo Burnett Company, Inc. is one of the largest advertising firms in Chicago
Hellen Musselwhite (b. 1963) is a British illustrator known for her cut paper illustrations
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2.7.19a Conrad Garner, Toronto Maple Leafs Centennial Season Ticket Package, 2016
Artwork: Conrad Garner, Toronto Maple Leafs Centennial Season Ticket Package
2.7.19b Conrad Garner, Toronto Maple Leafs Centennial Season Tickets, 2016
Artwork: Conrad Garner, Toronto Maple Leafs Centennial Season Ticket Package
Conrad Garner, Toronto Maple Leafs Centennial Season Ticket Package
Garner fuses innovative typography with elegant imagery in this design
Each ticket reflects stories from the 100 year history of the team
Developed cover pattern from Maple leaf
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Conrad Garner (b. 1983) is a Canadian-American artist, designer, and illustrator.
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Web Design
Text and image in mass communication has evolved to include interactive designs used on the World Wide Web
Allows designers more freedom to add interactivity
PART 2
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Chapter 2.7 Visual Communication Design
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Artwork: Razorfish, Taste Re-wind
2.7.20 Razorfish, Taste Re-wind, 2016. Web design
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Razorfish, Taste Re-wind
This design features a careful organization of text and image for simple and easy use
Allows listener to select music from a specific time period and then customize to own taste
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Razorfish is one of the preeminent web communication companies in the world
Design work was done for Spotify Internet music provider
Recipient of Webby Award for Best Visual Design – Aesthetic 2016
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Screenshot from MoMA’s Magritte exhibition website
2.7.21a “Magritte: The Mystery of the Ordinary. 1926–1938,” MoMA, 2013. Screenshot from exhibition website, design by Hello Monday, 2013. Featuring detail of René Magritte’s The Menaced Assassin, Brussels, 1927
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Artwork: Magritte, The Menaced Assassin
2.7.21b René Magritte, The Menaced Assassin, Brussels, 1927. Oil on canvas, 4’11¼” × 6’4⅞”. MoMA, New York. Screenshot from “Magritte: The Mystery of the Ordinary, 1926–1938” exhibition website, MoMA, 2013
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Magritte exhibition website, MoMA
Contemporary web designers try to connect the subject to the design
Sounds, movement, and other features are revealed as the viewer enters the site
Mysterious character of Magritte’s art is captured in the website experience
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
The web design group Hello Monday created a website for an exhibition of the Belgian artist René Magritte’s (1898–1967) work at the Museum of Modern Art in New York and the Art Institute of Chicago.
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Color in Visual Communication Design
Color is used differently in print and electronic displays than it is by painters or other kinds of artists
PART 2
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Chapter 2.7 Visual Communication Design
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Color in Print
Most printed color images rely on four separate colors: cyan, magenta, yellow, plus black, called “key” (CMYK)
Four colored inks are printed on paper as dots in a regular pattern (“screen”)
This color printing process is called offset printing
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
An image is scanned and separated into the four colors (C,M,Y,K)
The image is re-created when the separated colors are printed in sequence, overlapping with each other
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2.7.22 Cyan, Magenta, Yellow, and Black ink overlays, showing the resulting secondary color when they are combined
CMYK Ink Overlays
2.7.23 Color separation for a commercially printed reproduction of an artwork by Van Gogh. The image on the extreme left is Van Gogh’s original; the other four show how it reproduces in each of the separate, different-colored ink printing screens
Color separation in Van Gogh reproduction
Color in Electronic Displays
The digital display is illuminated by red, green, and blue (RGB) light cells, called phosphors
The monitor turns a combination of phosphors on or off to produce colors
PART 2
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
If all three primaries are on, the result is white light, whereas using only red and blue will create magenta.
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2.7.24 Combinations of Red, Green, and Blue (RGB) light, overlaid to reveal mixtures
RGB Light Overlays
2.7.25 Dreamhack Gaming Conference, Bucharest, Romania, 2013
Photograph of Dreamhack Gaming Conference
Dreamhack Gaming Conference
The game Starcraft uses RGB primaries to create dazzling colors
Displayed at the annual Dreamhack computer gaming conference
Digital works have a glow and rich color that bring new sensations to art and design
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Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 2.7 Visual Communication Design
Blizzard Entertainment developed the game Starcraft
At the conference in Bucharest, Romania, teams of professional game players generate vivid animated scenes for audiences that fuse the experience of an animated movie with that of a sporting event
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Portal Artwork: Charles Csuri, Wondrous Spring
1.4.3 Charles Csuri,
Wondrous Spring, 1992. Computer image, 4' × 5'5"
An example of a work that was produced on a computer monitor then printed is Charles Csuri’s Wondrous Spring.
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Visual Communication Design
Video:
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Chapter 2.7 Visual Communication Design
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Chapter 2.7 Copyright Information
This concludes the PowerPoint slide set for Chapter 2.7
Gateways to Art: Understanding the Visual Arts
Third Edition
By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields
Copyright © 2015 Thames & Hudson
PowerPoints developed by CreativeMyndz Multimedia Studios
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Picture Credits for Chapter 2.7
2.7.1 British Museum, London
2.7.2 Tokyo National Museum
2.7.3 V&A Images/Victoria & Albert Museum
2.7.4 Ralph Larmann
2.7.5 © Kok Cheow Yeoh (www.yeoh.com)
2.7.6 Koninklijke Bibliotheek, The Hague, folio 8r., shelf no. 69B 10
2.7.7 General Motors Corp. Used with permission, GM Media Archives
2.7.8a © DACS 2018
2.7.8b © Lianem/Dreamstime.com
2.7.9 © Annsunnyday/Dreamstime.com
2.7.10 from Works of Geoffrey Chaucer, Kelmscott Press, 1896
2.7.11 Library of Congress Prints, Washington, D.C., Prints & Photographs Division, LC-DIG- ppmsc-03521
2.7.12 © Maxfield Parrish Family, LLC/VAGA, NY/DACS, London 2018
2.7.13 Harry Potter characters, names and related indicia are © & TM Warner Bros. Entertainment Inc. Publishing Rights © J. K. Rowling. (s18)
2.7.14 © Jorge Colombo, courtesy The New Yorker;
2.7.15 Video-computer graphic © April Greiman
2.7.16 The Art Institute of Chicago, Mr. and Mrs. Carter H. Harrison Collection, 1954.1193
2.7.17 Shiseido Corporate Museum, Kakegawa-shi, Shizuoka-ken
2.7.18 Courtesy Helen Musselwhite
2.7.19a Courtesy Maple Leaf Sports & Entertainment Ltd. (MLSE)
2.7.19b Courtesy Maple Leaf Sports & Entertainment Ltd. (MLSE)
PowerPoints developed by CreativeMyndz Multimedia Studios
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Picture Credits for Chapter 2.7 (contd.)
2.7.20 Courtesy Spotify/spotify.com
2.7.21a, 2.7.21b Website commissioned by The Museum of Modern Art, New York (www.moma.org/interactives/exhibitions/2013/magritte/). Artwork: The Museum of Modern Art, Kay Sage Tanguy Fund, 247.1966. The Museum of Modern Art, New York/ Scala, Florence. © ADAGP, Paris and DACS, London 2018
2.7.22 Ralph Larmann
2.7.23 Private Collection
2.7.24 Ralph Larmann
2.7.25 Photo Helena Kristiansson, esportphoto.com
PowerPoints developed by CreativeMyndz Multimedia Studios
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