Edited by Jonathan E Lee

Passport: Duke University's International Magazine

dukegroups.duke.edu/passport

May2012

1. Brand 3

2. Identity 5

3. Grid System 9

4. Typography 13

5. Formatting 17

6. Examples 21

1/2

ThePa port Bran

As Graphic Designers and Editors, you are responsible for maintaining stewardship of the Passport brand. This brand is the resultant process of emotional and functional attrubitues that leverage a certain organizational identity.1 Let's peel back the layers and take a look at what goes into the Passport brand:

1. EMOTIONAL ATTRIBUTES: At it's core, Passport offers its audience connections. These may range from a reader interfacing with a culture he/she has never experienced, to a writer reconnecting to a former experience, an interest, or a way oflife through the nostalgaic and reflective process of writing.

2. FUNCTIONAL ATTRIBUTES: Passport allows these connections to flourish through content, such as photographs, infographics, anectdotes, and essays.

3· IDENTITY: Passport carves out its identity through the products it produces with these funtional and emotional attributes: narratives in print and digital media.

4· BRAND: These separate products manifest themselves in a cohesive brand, establishing Passport as an internationally-themed magazine that brings educational and entertaining stories to the Duke community.

1. Brand model adapted from Space Lab:

Space Lab. 2010. Branding. uri = <http://spacelab.cr/

branding.html>. Accessed April 2012.

ThePa port Logotype

The Passport logotype is essentially just that: type. The sans serif letterforms are set in Corbel boldface, a typeface chosen for its impressive, athletic appearance. A ligature manufactured between the r and the t, terminating in an arrowpoint, yields futher motion to the logo and conjures up thoughts of distance, trajectory, and travel:

ass DUKE UNIVERSITY's INTERNATIONAL MAGAZINE

5/6

Color Palette

The Passport logo functions best when set in all black or all white color. This gives a bold, professional feel and provides flexibility when pairing the logo with background imagery. For plain backgrounds, the Passport color palette1 yields a smart compliment to the logo:

PMS 1375 #F79705 CMYK: 0/48/100/0 PMS 3015 #00659C CMYK: 93/60/15/1

I

100% 75% I I

100% 75% 50% 25% 0% .. 50% 25% 0%

PMS 7459 #298FBD CMYK: 78/31/12/0 PMS 7477 #245870 CMYK: 89/59/39/19

100% • I

75% 50% 25% 0% 25% 0%

PMS 3258 #37C3A9 CMYK: 67/0/44/0 PMS 539 #012141 CMYK: 100/84/44/53

Ill 100% 75% 50% 100% 75% 50% 25% 0% 25% 0%

1. Palette adapted from Photo Card Botique:

Photo Card Botique. 2011. Cool Colors 9-27-2011. uri = <http://blog.photocardboutique.com /2011 /09/27/cool-colors­

%E2%98%85-9-27-2011 -2/>. Accessed April 2012.

Logo (Ab)Use

The Passport logo is a graphical tool, and like any tool it may be used or abused. Misuse or adulteration of the logo without careful deliberation can compromise and cheapen the brand identity. These examples warn against some of the more grievous offences:

Passport DUKE UNIVERS I TY'S INTERNATIONAL MAGAZINE

Passpo DUKE UniYERSITY•s InTERnATIOnAl mAGAZinE

•

Do not apply extra effects such as outer stroke, gradients, or drop shadow to the logo.

Do not distort the logo, especially by stretching or squishing it.

Do not change the typefaces of the logo.

7/8

ThePa port Grid

Grids can be important tools for establishing balance, order, and regularity within a publication. The Passport grid should serve as a guide to help you organize the various fragments of text and images, and bring them together into a cohesive piece: a story.

The grid which forms the basis of the Passport layout divides a letter page into 12 columns and 12 rows based upon the rule of thirds.1

Flowlines between cells produce gutters to which text and objects may be aligned.

If you are constructing the grid yourself, here are the specifications:

Margins Top & Sides: 36pt Bottom: 48pt

Columns Number: 12 Gutter: 12 pt

Rows Number: 12 Gutter: 12pt

Baseline Grid Start: 36pt from top Increments: 12pt

To construct the 12x12 grid, go to LAYOUT>CREATE GUIDES.

To adjust the baseline grid, go to INDESIGN>PREFERENCES>GRIDS •••

1. Grid adapted from The Grid System:

The Grid System. 2012. In Design 8.5xll Grid System 12. uri = <http://www.thegridsystem.org/2008/templates/indesign-85xll ­

grid -system- 12/>. Accessed April 2012.

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Gri Rules

Working with grids requires rules. The Passport grid system has its own set of guidelines to help ensure a common visual language is used to shape the product identity:

1. No body text may occupy the top two rows of the layout. This area is intended as negative space to offset the density of the written page. However, you may place article titles or images here.

2. Set aside space for your article's minimap. If your article starts on the reverso (left page), then your minimap will occupy the 2x2 block of cells in the upper lefthand corner. If your article starts on the recto (right page), then it will occupy the upper righthand corner.

3. Unless you have a very good reason to do otherwise, use the grid as a tool to align different objects with one another. If you are going to break away from the grid structure, then have a very good reason for doing so. "It looks cool," is not sufficient justification.

Example Grids

~i .Jdtt' JAr>+ f f"'ti-4t

" " " " " "

>< " " " " I II

I " I, f

~ " " " 1:::::-H<!:

The grid consists of 12 columns, so you may easily group these into three larger columns that envelope the bulk of your body text.

Take advantage of flowlines between rows and columns to delineate your grid's cells and position elements on the page.

11/12

The Pa sport Typefaces

Typography is one of the foundational principles of graphic design. Typefaces can communicate atmosphere and authority. Most importantly, they must be fitting vehicles for relaying information. The Passport typefaces have been chosen with these demands in mind.

-Minion Pro-

ABCDEFGHIJKLM NOPQRSTUVWXYZ

abcdefghijklm nopqrstuvwxyz

1234567890 ;:'"! ?@#$&*()+=

Minion Pro is an Adobe Original typeface released in 2000. This typeface is an update to the typeface Minion designed by Robert Simbauch in 1990.

Minion Pro channels classicalletterforms from the late Renaissance, a period during which typefaces were elegant, beautiful, and readible. These aesthetic and functional characteristics recombine in Minion Pro to create a highly readible and versatile typeface useful for both body text and display typesetting.

-Franklin Gothic-

ABCDEFGHIJKLM NOPQRSTUVWXYZ

abcdefghijklm nopqrstuvwxyz 1234567890

;:'"!?@#$&*()+=

Franklin Gothic was designed from 1903 to 1912 by Morris Fuller Benton. Named after Benjamin Franklin, the font was one of the first Grotesk letterforms generated America.

Despite a brief eclipe during the 1930s by European geometric typefaces, Franklin Gothic remains popular today. Its large x-height, short ascenders & descenders, and robust forms make it highly legible, and are perfect for display settings from magazine headlines to posters and signs.

13/14

The Pa port Style Sheet

It is important to communicate in a unified visual language. It is also vital to establish a visual hierarchy of content to help guide the reader through a story. Utilizing a style sheet can help achieve both of these objectives.

Font Size Leading Kerning

Once you have modified your text via the CHARACTER menu, you can save and reuse that same text style using PARAGRAPH STYLES menu. To access the menu, go to TYPE>PARAGRAPH STYLES.

Font Size Leading Kerning

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Images

1. All images must be in CMYK color mode. To check the color mode of an image or convert it, open the file in Photoshop and go to IMAGE>MODE>CMYK.

2. All images must be at least 300dpi. To check or change the size/resolution of an image, open it in Photoshop and go to IMAGE>IMAGE SIZE.

3. Always use photos and images that are available for use. These may be obtained in a few different ways:

a. Obtain photos taken by your writer or another Duke student, along with their permission to use them in the publication. Such images will need to be cited.

b. Purchase stock photos from an online service, such as iStockphoto.

c. Use Creative Commons licensed photos that are labeled for reuse with attributions. Such photos must be cited in the publication. You can search for CC licensed material through CC Search (http://search. creativecommons.org/). More informtion about CC licensing may be found at the Creative Commons page (http://creativecommons.org/).

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S uare

1. A square must precede the author byline and follow the final line of body text.

2. The height of a square should equal the x-height of the line of text with which it is paired. The x-height is the height of a lower case x or the height of a line of small capitals.

·~·{ ~-J3Y ~JANE ~SMITH I I I

L._-)._) 1 unit O.Su

Fugitate cumquiae. Namet aciam cum et :entmos=aud-ame re:perep-_ro :ex :exceaqu~~ = :Jx-height

lJ__J O.Su l u

Text

1. Do not set body text over an image. All body text must be set over white or a solid color for legibility.

2. All body text is justified with the terminal line aligned left. To justify, use InDesign's paragraph controls located in TYPE>PARAGRAPH.

3. The first line or poignant phrase (whichever is shorter) of each article is set in SMALL CAPS. Designers may choose to start an article with a drop cap of 3 lines.

4. Delineate new paragraphs via either indentation or skipping a line (but not both). To indent, use the paragraph controls.

5. Italicize foreign words, unless it is a proper noun or dialogue in a foreign language.

6. Cite photos as follows:

photo by Jane Doe

or

all photos by Jane Doe unless otherwise cited

7. Author bylines are written in small caps as follows:

BY JOHN SMITH

8. Do not place Subtext 1 content (page number, publication, and issue) over an image.

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Reflect o

In this spread, the designer used a large photo to transform the reverso into a splash page that establishes ambience for the piece. On the right page, a standard 3-column grid is used to arrange the body text. A smaller photo, spanning the bottom of the recto, counterbalances the splash image on the left-hand page.

Display

SUBTEXT 2

SUBTEXT 2

Heading3

T~p

When lhc Eno Q uBlry in Durham "'"' suage<~cd as lhc s~c of oor fi nal teacher mtli'fl& of (fu, swnmc; I o mly had • vogue come<pl of ,.·hat a quarry Wl!S. From a few of lhc tearhC'rs' descriptions.. I hod p"'ocd logclho.r thai it ,. . .,. • hugo pit, <iny feet deep. formro by lho massi\·c c:o:.--.tion of rod, and !hat this particular quBlry in Durham had be<:n fiUcd with walcr. On a Frida!' afu!rooom. ~ boondod down U.. path to tbc q uarry with tho other tcad>olo, chat­till$ away. fooing aU lhc rools amd pd!bb u ndcr my !him Dip Hops.

golhcr. O IH l:ids.-two hund.-."'<1 rambunc­tious, hormonal, inspiring middle school­CIS-had all gono borne. O ur d aosrooms 1nrc """' ba14 tho sorbcC'S dismfectc<lln o ur map-up wccl. the thirty-oix of us had C\'aluated rellcrtod apprecia ed. B.lld ron­eluded our t•B.dJ.jng cxporicna. NoY~; ,. .• flaalod togcth•r in U.. quarry with all lhcso bonds betwe<:n us , products of lhc ecstatic highs and the defeating low• we had shared O?""C:r lhe summer:

More lk":acb~s orri,,.d as U.. alkmoon progrosscd and our drowsy group li\"<nod up. A oouple guys d imbro up a cuff B.lld. after much pad mg, do..-• into the walcr. A few others grabbed onlo • hl!llc log lhal had flaalro toward U'- They surtk it below .ru. ,.·ator La sil an it in a row like a loaya.l;.. Then. they pusbro ~ down e> .. n fu rlbc r. stancfing

noom sun ~ surlcd into a black ha l"- It W1IS lil.c being dropped into !he docp ..,. ocean. only this ~ ool lho middle of !he Atlantic-it was ten feet fro m the bank m Durtum. I po•f\.'d inla this doplh until [felt mysdf running ow of b reath and scram­bled La th• surlila.

I came bad to tb~ top-bad to the ~nc

of a !ale lhat loolcd llko any ordinary lale although it wasml . "Haw liu doYI'D does it !!01" we asked "How far is si!d}• IN!!" We speculaled what might be at !he bonom. Was it smoo1h and san.d)' or rock-y and rig­id! Wore th~re flsb dowm thore! Did objects that sunk too fa< to be rr triovro collect at .ru. bouom! Were U..rc dead boili£> down .ru.re-1 No. no, we said quickly, sli:gbtly spooked Dead bodiC'S lloaL Bul what iL .l 'A'hat if lhcy'd b~n loft for • loJ1$Iimc amd

'A'hcn "" rc.acbed tbc doanng, I found lhat tho quBlry 1\'l!S jliSI a standard- looki~ lake, allhough som>!What sm.all. Teres lined lhc Wilter, loa\i ll$ only a few cJ:trcm.cly slcop banks around lhc P"rimctcr. Whil~

it wasnl el1ltircly what I hod cxporud. ~ wasn~ cfisappoinling. Tho late summer sun ~ hal but not scorching and made tbc

tiny """"" in !he Wilter !i])31tle. We clu>s<> a spot to Ia)' ow tow<!ls down and !hen so:Jotod into tbc lw, <autioo>l)' squatting and shuiDing down !he ba.nk to the edge o n our butts bdoro plunging right in. Ona in Ill• wale~ .ru. bank dropped straight down and left "' suddenly S<LSpcnded with sixty fM o f IIWJkincss cn•mllng below our toc:~.

o n it and raDing it lil.•• a•"""~""",~u.g.,....,__....,..,_,~lmlod...li:iU...."""':.:.-"""'Id...lllo;'!'----j~--­

Fmm U.. banl, somromc tooscd us St~-.o­

foam moodles.and we res.mro fO r tho tloat­ors. shilling our weight onto thmL Some rC'Stod their arms o n lhc oood!C'S, wbil~

others, lil~ m~. folded them undcr. sitting

on them lil.e chair'- lil~ lhal. ""' Ooatcd for a bog lime, "ffl''"ri.atillg tho stillness and qOOl)' rcDccti.ng o n oor sumrnor to-

aC'L O rne person had broosht gpggles and >-..mturcd undcrWilter to sec how deop he could 1111- We watched h is beod sl.lbmc"IJ!'! into tbc dq>t bs and U.. ripplo< tum to still­n= as be di> .. d down. Soon. he came bark to th.• surface with mystical dC'Scriplions of 1m abyss th.at lay below 115 . Curious. we p.,..d the gogg)cs BllllLmd to sec !his depth

for oorscl\'•'-lh'hcn I was li.mally h anded tbc I!PI!l!k'S.

I st.....,....t them on, took a gulp o f a ir, and sunl down. [ bckro my fe<rt and wavrd my arm~;, slowly sinb ng further un.lil [ 11'115 eye kvel Yli lh mo;st proplc's fe<:t. ThEre wa> still a fair amount o f liaht bcre but upon Jool­ing al tbc da rkDC'S5 bdow. [ docidcd not to !lO amy further. I bad no\-cr been in a body o f water so docp !hat aU of tbc laic afu!r-

Caption 1

.ru.m sml sixty feet and ncstk> a1 the bot­tam!

wHow tar down does it go?" we asked. "How tar is sixty

teet?~

Wbem I hoa>ro myself ow of lho wal.cr at the md of lhc d ay. !he sun was turni ng a r­amgc. [dried off on !he ban"k, lookill$ across th• lak.,. tranquil and gliucrimg Y~ith !he now I!Oldrn lint. and ndcrro what those sixty fcct bdow tb~ surfac• looked likl!. I tmd to irnagilH! th• qu.arry d rained of wa­ter so lhat l could peer do\\·n straight to !he l>oUom, b ut I oouJdnl p icture iL For aD [ lJJaY, sixty fe<rt went on far infinity.

Body Text

Heading 2

SUBTEXT 1

21/22

Profile Article

This spread also employs a 3-column grid to arrange the body text within, however the designer has broken up the grid structure with supplementary content inside the red circles. This adds movement and contrast to the spread without infringing on the body text-even the arrows navigating between these pieces of additional content circumvent the paragraphs to leave them intact. Legibility always comes first.

Blood Typ,es: Fundamental differences between the East and West?

H AV:S YOU EVER RA.D SO:MEONE T.BLL

yo~ 1hat yoo bebiM! likl! a typo A blood pe11on? Or have 1"'~ "'"''

beon al:U! to label oocueone as ba:vin,g type All blood based on their artioos1 Probably uot.ll is ..,., in 1f\'o8tern mit~ to mtegodze pooJ[{e ortbeiriKtfuosbyblood type.lnfu.<;t. li<>:>d types in Wostem rnltu:l"l! often ooly sel'VO a PUIJlO!i! in medi.cBl litu:a1i<ms. H<>w­ew;. i:n oome pllrtli of Swtb Kore,. [opaQ. and Orina, blood types pay a <ignifi=t role sodallyaodbm! berome a Ji.Jrulamental rnl­tu:rol ~nomerum io~ll!d cla>jiy in oo:tain Asian 01Ja.t:ie• S.. wby the dJBsti.<; dill'erena. betw0011 the East and 1f\'o8U Is il jMJt a rnltual diffi!rena.1 Or is theB! a <looper pbil<looph­i<Hl. !\!"'""behind thilt

• BYJtrNBOOH

bOI"""'d that those new-fmrn.d d!aracteri<tics rould be U5ed to advoatte ndal !O.!pfemacy, m~h lilte IL<:rN brain <ill! was «<m!!llll!d with in1illlgmca' ""Ib... o;;loot:i51s •lJ811i!S!'!d (wn>JWJ of <Olll!OO) 1hat Asiarul were infe­rior be<B118e the vast majority of them- Uke BDilllllls---bB.d l)po II bl<>:>d. Perhaps •• are­!ip>DSIO to such a labEl of i:nfefi.afit}l )apBDeoo p:rofeosor 1"akeji Funilmwa introdua!d "Tho Study ofT.wpei'IIJlle.nt through Bl<>:>d TyJ>O" in 1m. Altho"!!~> lltd<illg oay ~ sdentifu; ovldl!n<I', hl• mnilis oorNlstiog ll!Dlj>OfRITll!lll

and blood type were l~ly a001pted i:n Japan and the !>!51 of Aaia

Now, the l:l.o<>d type cul-1J.Ire is so pnovllleot in East­ern cultur.. 1hat it l3, m faa. very stJBnge if J'l'U do not kn.ow J'l'llr liood type. N:>t only iB it uood

to call!gol'ize ll<!b.ovioli, it

f7 PAS5JNJRT 5PlUNG 20:1.1:,

SUBTEXT 1

JlB Dualistic: Shy/Outgoing,

Heslstant/C onfident, Logical, Determined,

Patient

B ... dao yoorbebi!Y"i<>r, poojiotvn•ocas·tvol~'­as being like J'l'llr father or mother. Sinoe your blood type determine 1"'"' ll<!b.ovfu1; if J'l'U "i>ehBYe Ull\~ either crt J'l'UT pa.<enlli, then your identity .. theirdrild is dialleni!Jid Thls idea crtbl!il:g a "JiJl55!" cb[dora "faloo" peJ'SO[I in IJ!Deml u:n:ful.ds whODI!V<!I: tbe per­'"" in question bebll'i'e& rootm:yto tbe per­sooalilyafbisbl.ood type. It is .. if the iden­tity of the pen;=:i<i determined from birth..

The rwtion of ideot:ity is a pocullar topic la~dlleto the diff<lmlces owrouodingl1> de:lini1i<m in Eaotem and w .. to:rn rnltura~.

Ern:og GoffmaQ. an Amefi(8Illi:Jlglllit, on>­]i:lasizes tbe rum:ian crt <Mntity thro1J8b pe1fll1IIlon<es 1hat pervade every ospoct of lifet "A pe1fll1IDBD.a. may be delined as all the artivity crt a gi'i"80 partidpa.nt on a gi'i'eD oOOISion wbkb """'.... to inJl'~onoe in any wuy of the other portidpa.nt!f.' In esooo<l',

Fooner ....,...,...., Prime Milliater TiiiO /lao A II<JtEible politici!ln ... 1 iO pYblisbed hils blood~'l"' "" loi s -officiol in~met proii:le. pl:icto byWcf'd ~omi~ fcnm

cwrythi"8 )'00 do becomes a part of!""- If )'00 change the pattern of)'OOI ao:tioos, )'OOI identity also chao~!""- !de!My is lhen:fon: Sbapcd ltJy bcb:niot md eacb pcrsna bas the opportuoity to shapr h is identity llllooab his d!DOC. o f a.ctions. By this defin ition. idrolity is oot a pn:de~DI.'d llll:it-ralber, it is a d}llaJJiic part o f someone 111<!1 cbaog\.-s u­amfing Ia that pcrsoo"s choices.

CoWBI}· to this W<Storn m oo:'Pt of identil); ~ £astcrn practice iWTllundi"8 blooi l)pes s~ that identity is prodltcrmincd. Since blood type is CootiJ'l'iiRl i<bWI)· in tcrms of pcrnmafity is fix£d. ~r. this divo<'IIJ'nt \i C'W f:mrn Goffrnao ide-a of identity prcso£015

a variety of problems. The ob'ioos issue " i th tiUs construction of idmlil)' is its Wnlt.nms

pcrsoaalit)' lldla\i nr roatmdii:Ung the

.,.r----·-·-·-· l}pili<d byl>lood 1)11<' is dc<mcd

almarnnal. This ~mrow outlool t.,..aril <fif­fenng dispositions thi.IS limils uoiquencss and changes in identity. Thcrefon:, eacb pcr­saa amoot dlaoso£ wltat be "illlcs to be-his blood 1)1"' dellTirlinc-s it.

Another problem with this method is the i:ssuo of gender and sexuality. Typi­-cal Western philosoph)' labd s males and females as having two distincl pcrwnali­tics (i.e. t he "passi•·•" femal c and the ilg­gressi.-c" male). Howc.-cr. tihis essential ­ist construction bas been criticized for b<>in g un able to acoount for exccpl:io as (such as "passive" males and "aggressi\·c" fe males). T he b lood type personality model accounts for tb £SlE exCC'ptioru,. bnt Lil<.<wisc poses a probi£m for 110t being abk to "di>Linguisto" bet "·ec n gcndo.r.s.. Since blood type d.etcrmincs personal­ity, behavior contrary t.o tihe csscntiolist <a nstru.ctioo o f the "passi~e· female and th.e "ag~grcs.iw" male can b• attributed to blood type. An A- type mal< wo uld b< passi\·c. and a &-type male " " uld b< ag­gressin. Th is d.idlotomous def mition o f masculini.ty and feminia it}' helps respect the actions o f more "fe mi a ioe" males b}' labeling them a certain blood type_

In some aspects, an ...,..ntagc ofthe blood t)-pe pcrsonalily model allows for AMon n ll.ture to be more accepting of person­alit ies that dilfer from tbe "passj•e" fomal£ and "aggressiiT" male. Thus, it would S..'£111

logica l to assume cultures practicing th is phenomeoon arc accepting of homosexu­ality and gender diffe rences. Howevc~ thls is not th e case_ [o many parts of Asia, th.e phn~SC "gay marriage" is coosider•d taboo,

Myblootftypedating A d a ti " type that matches potentia l mates based on b lood types.. ,.,..., ,._loo_ l..:;

and homosexuals are o>Lraciud by c.-cry aspect o f culture. This model is pcrh.,.. "''"ely an dforl lo tr}' and u nderstand the myste ries ofblood types and whether there t ruly is a difference belween them. It da<!s not act as • pheno meooo to create a more accrpt:ing culture.

Regardless of whct.bor or not this sy&tem is bene fociol, blood types and ho w they ar• incorpo rat ed into defining Jl"rsooal.i­t ies Sbow an interesting aspecl o f Easlcrn philosophy not unde rs tood by the We:st­oro world. Asian culture in tegrates the blood t)'Pe personalit y id•a to a point when: it becomes a.n csscolial part in dtaping identity. The question of wbeth.­er t his prulice is right o r w rong become~ irrelevant; by bccomin,g a part of AMon cultu re. blood type pcrs.oaalil}' typifiCll­t io n bccom•s a doctrine that some part~ o f Asia ~ubmnsciousl y follow_ lYJ>ify­ing pors.onalit}' by blood l )'l'e h a:s now bo.come just o ne cul.lural diiTcreocc of many between tihe E.ast and Wcsl. •

I. CJNdl, l}cn.nts. ~BO JU.ood Types.• ll'u:m;:m Htoo& AHO lllood T71""- N.p.,. » k B 2011.

\'i'<ll. 29 Fcll. 201L dt~p,/

~ood/AUO_sysli!m.h.l. m.:.

2. Dt:ns. Wm51. (1JI:rof2D 12. Pemu:ul Ccmmu · t C<~.-

J.. CoBau.n , [ rv1gg (19'39)Th.c Presc:ntz.,IDn of Self tn [Terydoty We. I ~anibwDflh , UK: Pcngu1n

BD<h.

!BLOOD n ·:rES: lEAST &: WE.ST •. s

Caption 2

Credit 2

23/24

P oto Essay

In this spread, the designer dispensed with the 3-column layout and experimented with the underlying 12x12 grid. In the final product, a secondary grid has emerged, in which the images form a spiral shape about the spread, both providing motion and directing the eye inward to the photographer's statement. Though the images are confined to rectangular cells, they span across folds and into gutters, linking the two pages together into one coherent piece.

!;Ji.A.SSIPQRT !iPR.lNGI 10:11.:2

811 plilotos IJf aUIIlor B010CJK.At NA.ME!i a BBA.UTY ••

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