decoding design, overview

Reading nature is the first step to creating design that truly communicates. Instead of understanding num-bers as linear quantities, Decoding Design: Understanding and Using Symbols in Visual Communicationexamines universal patterns and the qualities of the numbers 1 through 10, expressed as shape and symbol. Decoding Design explores questions such as:

How do symbols translate instantly in any culture or language?

Why do some designs disappear, while others explode through the noise around us?

How do you create design that contains both beauty (form) and effectiveness (function) for the most compelling visual communications?

Symbols connect deeply into the timeless experience of living we all have. Modern humans have simply forgotten how to read the symbols of nature. These symbols—nature’s language—are of crucial importance because they contain information about how the world works. Reading pattern is the basis of learning and living within the laws of nature because it supports our survival. Even through the maze of information and technology we have created, human beings still instinctively recognize, need, and use universal principles to understand our world. The communication of nature is our language of source and provides us with immedi-ately and intimately understood knowledge.

These principles can be integrated into visual communication for powerful and enduring results by creating design that communicates accurate and useful information. This supports access to the message and creates more efficient, elegant communications—and a deeper appreciation for our sustaining source, nature. It is practical, engaging and motivating.

Integrating appropriate symbolism supports the communication by being:

EFFECTIVE: Visual symbolism that accurately illustrates the message is the message. Get this part right, and you are providing a true value to both client and recipient with immediate, relevant meaning.

ENDURING: Connect to a universal principle and insure longevity of the design. Styles come and go, but substance is constant. An identity’s DNA must have a solid symbolic core to survive cyclic generations—just as any genetic material. Nature is the ultimate designer and has had billions of years to refine systems that work: learn to read natural pattern and symbol, know the principles they are associated with and apply them appropriately.

AESTHETIC: Understanding universal connections promotes aesthetic design results. Natural principles are beautiful because they work with elegant efficiency. Learn to be a designer who understands and balances form with function.

ETHICAL: When you “true up” a communication, the principle has been consistently matched with meaning to create a powerful message. It is naturally ethical for practical reasons. Practice looking for and deciphering fallacies and truths in everyday communications. Do ethical. Be ethical.

Decoding Design: Understanding and Using Symbols in Visual Communication MAGGIE MACNAB

Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED

10 SIMPLE STEPS INTO THE SYMBOLISM OF SHAPE.

The Number The Shape Quality and Principle

1

The circle represents wholeness, unity, integrity, one-ness and all together now. This is the origination of all shapes and the first of endless variation. It begins as a zero dimension point in the center, surrounded by an encompassing infinity of points created with a compass. Try it. It feels powerful and connected, all at the same time. (We are all powerfully connected; we just tend towards distraction much of the time.) Complexity around a single point is a common design for meditation as a mandala. It reminds us of connection in the midst of chaos.

®

Example 1: This is an example of a community-oriented corporation. Target ® went from a literal “target” design of a three ring bullseye to this “all around one” identity in the late 60s, during the height of the peace and love movement. Though extraordin- arily simple, this logo has powerful symbolism at its core. With one minor change, Target re-messaged their identity from profit- driven to value-driven: a 180° repositioning move that is extended into the company’s principles.

Example 2: Animal Medical Clinic is a small animal vet that has been located in Albuquerque since the early 80s. With no budget, this design shot to winning first place in logo design from the American Advertising Federation in 1983. Why? Because it connected to the universal truth of what goes around comes around, based on the eternal tale of man putting compassion before fear, and of helping one to help all. Aesop’s fable “Androcles and the Lion” is an example of this story. Universal themes never go out of style and this logo is still in use 25 years later.

DECODING DESIGN: UNDERSTANDING AND USING SYMBOLS IN VISUAL COMMUNICATION | MAGGIE MACNAB | 2

Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE BULLSEYE LOGO DESIGN IS A TRADEMARK OF TARGET BRANDS, INC.

™



2

The line is born of the circle casting its reflec-tion to distinguish self. The line is the one dimensional shape of relationship in which edge and separateness are defined. Like most essential shapes, it is an archetype that contains opposites: the line both divides and connects. It also demonstrates duality as seen from two very different philosophies: in west-ern culture it reveals the propensity towards linear thinking as two intersecting lines forming a cross, while in eastern culture the inclusive yin yang describes the same principle from a more holistic point of view.

Example 1: Even though this logo is created with circles, the dominant design element is the western demonstration of linear duality, created by a cloned circle. Color also plays an important role in the design: the golden circle on the right is preceded by the red circle on the left. This company was formed primarily by American and Japanese companies in the mid 60s: the red sun of the east is complimented by the golden opportunity of the west.

Example 2: This logo was designed for an Arabian horse farm in the mid 80s. As their primary business was breeding, I keyed in on the dual- istic nature of mares and stallions with reproduction as the end result. The design also provided an opportunity to inte- grate visual information about the breed: Arabs are prized for their delicate bone structure–the dished faces and long, arched necks that allow them to breathe efficiently when galloping through the sandstorms of their original home, the Sahara desert.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE MASTERCARD LOGO IS A REGISTERED TRADEMARK OF MASTERCARD



3



A third point provides the opportunity of closure of the line to create the next shape, the plane. This two dimensional shape is a clear illustration of its principle: transform-ing a base line into higher refinement. The plane provides access between one and three dimensions. Revered by Egyptians, Masons and on our dollar bill, the triangle is indicative of inspiration, fire and male yang in the upward pointing position, while in the downward position indicates water and female yin. The female pelvis–the triangular, physical truss of the human body–serves the same purpose by transporting new genetic information into a three dimensional world.

Example 1: The recycle symbol is one of those designs we never think about because it is so intuitively clear. Life must eat life to live, and decomposition is the opportunity for new life to occur by recombining parts. Transforming old into new is a basic premise of nature’s continuation. Nature doesn’t tolerate waste and is based on the cooperation between function and form.

Example 2: The MuSE logo (Multi-user Synthetic Environment) was designed as a play on the acronym and as a visual descriptor of the product. MuSE is a shell software that puts raw numerical data into a visualized form: The transformation of two dimensional numbers into usable three dimensional space through the support of graphic translation. It can aid a surgeon navigating the brain during surgery, or test a missile launch encryption without actually firing the missile.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVEDTHE H&R BLOCK LOGO IS A REGISTERED TRADEMARK OF H&R BLOCK


The Number The Shapes Quality and Principle

4

Adding a fourth point to the plane of three brings depth to the equation. A tetrahedron illustrates the approximation of three dimen-sions in two dimensional space, or a square suffices as a simplified descriptor. This shape’s purpose is clear: four sides provide stability, boundary, and secured stillness. This is the shape we build our world with–four sides make up sidewalks, buildings, furni-ture, windows, paper money and city grids. Four sides anchor us into workable, tangible space.

Example 1: The H&R Block identity is about as plain as they come, but clearly illustrates the purpose of the company: it communicates that H&R deals with the monotony of tax returns so you don’t have to, and implies they have the expertise of simplifying the complex. The next workable feature: It’s a square. The shape corresponds to the founders’ name and the worldly reality of paying taxes. Its symbolism connects several fundamental qualities about the client simultaneously.

Example 2: The Heart Hospital of New Mexico incorporates the four directions of the Zia symbol and reflects the criteria most important to the client: human care, cardiology, and the southwestern location. It also subtlely integrates the symbol for “hospital”–the four sided, equilateral cross. Illness requires stabilization of health and four is the number associated with steadfastness and security.



5

Three dimensional space alone is simply structural form. Quintessence, the fifth element, animates life. Five is the number of life and love and the number assigned to humanity. We have five senses, five fingers on each hand with which we manipulate space, and five toes on each foot to move through it. We have five appendages that extend from our torso. Five in its most obvious form is a pentagram or star, but within each star lives the golden spiral, considered the most compel-ling of proportions in our eyes. As a symbol of regenerated life, the logarithmic spiral is found in seedhead whorls, nautilus shells, and divides the human face into what we consider beautiful proportion.

Example 1: Look closely at this logo. Consider the current state of healthcare and the dominant intention of big business pharmaceutical companies. If you read this identity as human-symbol stars flying out of a cauldron, it implies a “magical” cure to what ails us. If you read it as stars flying into a mortar and pestal, it could imply grinding the human symbol up–that is, profit solely for profit’s sake, a non-viable principle from nature’s perspective. Excessive profit generates excessive waste. If it’s not reciprocal, it doesn’t fit in nature’s scheme.

Example 2: This logo was designed for an acupuncture clinic in the late 90s, before alternative healthcare was accepted as a mainstream option to western medicine. Combining the entwined spirals of the helix (the root of human existence) as a play on the western caduceus with the i-ching hexagram of “heaven” or highest attainment, this design seam- lessly integrates western with eastern medical modalities, and sublimates the needle at it’s base. The caduceus symbol dissolves into “qi” or the energetic life force that acupuncture addresses.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE WALGREENS LOGO IS A TRADEMARK OF WALGREENS CO.

®™



6

The quality of six is highly structured ef-ficiency. The common bumblebee, through which the quality and quantity of six dominate, is a metaphor for no waste/high yield. A true insect, the bee has six legs, a predominantly six-sided structure to its epidermis, one of the two main sugar molecules are six-sided, and hexagonal cells in the hive give maximum honey capacity and minimum wax use. Six is a tessellating shape, or one that fits together without gaps or overlaps for expansive con-nectivity, an underlying principle in six degrees of separation. Six-sided designs convey high efficiency and are often used in designs representing financially-related businesses to impart ultra-efficiency and security when handling your money.

Example 1: Designed by Scott Kim in 1982, the original logo for Silicon Graphics coveys stability and fluid connectivity, just what an emerging technology needs. Note that rather than six corners, this design has six openings. Kim’s use of line weight and breaks contribute to the 3 dimensional illusion of a 2 dimensional graphic.

Example 2: The analog clock displays the quality of high efficiency. This is why we use the number six and multiples of six in so many areas of measurement: 60 seconds in a minute, 60 minutes in an hour, 12 months in a year, as examples of time; and in linear measure- ments: 12 points to a pica, 12 inches to a foot, 360° in a circle. Six displays precise cooperation between time, form and energy.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE SILICON GRAPHICS LOGO IS A TRADEMARK OF SGI.

™



7

Seven is known as the “virgin” number as it cannot be “born” through the circle precisely (every number but seven divides equally out of 360°, with seven leaving an endless digital remainder). There is also no number below it that can divide into it (as 2, 3 or 4 can divide other numbers under 10) It exists in theory rather than as a tangible and usable number in geometry as it cannot be drawn with complete precision. Seven is a periodic rhythm such as we see in the days of the week (four 7-day cycles create one “moonth”), or the colors of the rainbow. Many virgins in mythology encompass this number (the seven sorrows of Mary and temples of Greek and Roman goddesses were based on the number seven). Seven is the number of chance and luck because of its illusive nature.

Example 1: The original Starbucks logo was pulled from an antique illustration of a siren seductress complete with breasts, a naval and splayed fins. As Starbucks built their coffee empire into an international sensation, she gradually lost these sexual attri- butes. Starbucks also gradually upped the cup size and caffeine content (caffeine is an addictive drug), while closing down smaller, less competitive coffee shops.

Example 2: The rainbow is comprised of the seven colors we see within our visible light spectrum. When these 7 colors are combined they create whole or “white” light.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE STARBUCKS LOGO IS A TRADEMARK OF STARBUCKS.

The heptagon’s vertex angle is128.571428° and cannot be

perfectly constructed withbasic geometer’s tools.



8

Eight represents the process of completion, or a cycle of stages brought full circle to the whole. The Noble Eightfold Path of Buddhism relates directly to this concept of leading a virtuous life of wholeness and serenity through integrity (recall that one is wholeness undivided or all integrated). The sun follows the pattern of a figure 8 (the analemma) as it traverses the heavens in a yearly cycle when mapped from the same viewpoint each day; and the moon cycles though 8 phases in its monthly travels. There are eight vertices to a cube and 8 electrons in an oxygen atom. Eight is the number of serenity and balance.

Example 1: In this logo designed for Samba, a data mining information company, I incorporated both the dance of balance to directly relate to their name and the loop of infinity, referencing the infinite amount of information on the web. The worldwide web, of course, addresses the numerical aspect of 8 as mentioned below.

Example 2: The eight-legged arachnid weaves her web in a spiral motion from the center outwards. The Native American creation myth describes Grandmother Spider embedding the secrets of infinity into this pattern as she goes. Many creation stories embody the idea of the universe being woven of polarities, just as our DNA entwines opposites in the double helix.



™

8



9

As the last of the single digits, nine is the nth degree; the ultimate, the highest, the best, the pinnacle of attainment (“dressing to the nines” for instance, “cloud nine”, or the “whole nine yards”). There are nine planets in our solar system, nine levels in the Mayan temple and many pagodas, nine openings in the human (and most other animals’) body, and a cross section of cilia (the fine exten-sions that propel a cell forward), or the tail of a spermatozoa have a 9x2 array of tubules inside, propelling life ever forward. And, of course, there are nine months in human gesta-tion. After nine comes a new cycle: “nine” and “new” are related in many languages.

Example 1: In this logo re-designed by Mark Fox for Everready batteries, the emphasis is on the enduring folktale of a cat having nine lives. This metaphor has been perpetuated because of a cat’s amazing dexterity and balance, and their ability to come through harrowing events that would kill a less skilled animal.

Example 2: The magic square is a numerical configuration comprised of nine digits in which each row, column and diagonal total a constant sum. The smallest is on the order of 3, as shown on the right. As the center number in the single digits between 1 and 9, five holds the center of this square. This number imparts the sense of highest order in physical space and has been used cross cultur- ally in architecture, city plans, and even in the plotting of China’s landscape as “the Middle Kingdom of the world”.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE 9 LIVES LOGO IS A TRADEMARK OF EVERREADY BATTERY.

™



10

Example 1: This logo for Sun Microsystems was created in 1982 by mathemati cian Vaughan Pratt (Stanford). Though on first glance it seems a better fit for the number four because of its four corners, look again. The spinning vortex created by the 45° rotation is a self-similar re flection similar to an endlessly mirrored effect, an appropriate symbolic expression for an evolving technology that has evolution- ary leaps on nearly a daily basis, and a better fit for “10”.

Example 2: The word “ten” is derived from the Indo-European dekm, meaning “two hands”. We have created tools and manipulated space with our ten fingers resulting in an exponentially-altered reality in a very short time. This logo, created by Pentagram/ London for the Royal College of Nursing, combines the traditional healing practice of “laying on of hands” with the letter “N”.


Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com ©2008 MAGGIE MACNAB ALL RIGHTS RESERVED THE ROYAL COLLEGE OF NURSING IS ©PENTAGRAM/UK

™

The double digit of ten is the mirrored image of numbers starting as zero-one to one-zero (01 and 10). As the single digits complete, they come full circle to begin a new genesis based in the power of an exponential leap. Ten is the sum of the first 4 numbers (1+2+3+4=10) representing the first 3 di-mensions of physical space. “The Tetractys [also known as the decad] is an equilateral triangle formed from the sequence of the first ten numbers aligned in four rows. It is both a mathematical idea and a metaphysical symbol that embraces within itself–in seedlike form–the principles of the natural world, the harmony of the cosmos, the ascent to the divine, and the mysteries of the divine realm. So revered was this ancient symbol that it inspired ancient philosophers to swear by the name of the one who brought this gift to humanity.”— Pythagoras

From One Comes AllDimensional Qualities of the First Four Numbers

The Whole (The Circle: One)The whole is created easily with a compass on paper. This process emulates infinity expanding from a single point of energy, just as we imagine the universe did according to the Big Bang Theory. As is visually obvious, you have just created ‘all’ from an expanding point of emptiness, or zero dimension.

The Connection of Points (The Line: Two)Put your compass point (without changing diameter) on any edge of the mother circle and draw another circle. This creates a clone of the first circle and separated infinity into two pieces. This creates the separation necessary for a new dimension: that of the line, or one dimension.

The Surface of Transformation (The Triangle: Three)A third point creates an opportunity for closure, and just as the triangular shape suggests, the beginning of life is funneled through a broader, less organized dimension into a point of transformation of refinement in the next. Now a plane exists in which an entirely new reality can play out. This is two dimensional space, and it provides the spatial opportunity for form to manifest.

Depth (The Square: Four)The addition of a forth point brings depth to the picture: three dimensional space creates the stage for boundless diversity to play out its existence. The most accurate way to show this is the tetrahydron (a pyramid), but we show it more easily as a square of four corners on a two-dimensional sheet of paper.

From “Decoding Design: Understanding and Using Symbols in Visual Communication” by Maggie Macnab, ©2008

The Number Five: Free Form LifeConstruct a Pentagon (after Euclid)

How to construct a regular pentagon from a circle and line

Figure 1

Figure 2

1. Draw a circle in which to inscribe the pentagon beginning at the center of the mother circle. (The green circle in Figure 1).2. Draw a line through the center of the circle (intersecting the center point) to serve as one vertex of the pentagon (Point A). 3. Draw a perpendicular line through line A passing through center at 90°. Mark its intersection with the right side of the circle as Point B.4. Construct the point C as the midpoint between the original center point and Point B.5. Draw a circle with center point C extending out to Point A. Mark its intersection with the line (inside the original circle) as the Point D.6. Draw a circle centered at A through the Point D. Mark its intersections with the original circle as the Points E and F.7. Draw a circle centered at E through Point A. Mark its other intersection with the original circle as Point G.8. Draw a circle centered at F through Point A. Mark its other intersection with the original circle as Point H.9. Connect the lines at the vertices to create a regular pentagon.


The Number Five: Free Form LifeConstruct a Golden Rectangle based on the Fibonaccci Series

Figure 1

This is a simple method to construct a golden rectangle following the Fibonacci numbers series.

1. Draw a square (yellow #1), duplicate it and slide it a full step to the left side of the original square.

2. On top of these two squares, draw a square of size 2 (=1+1).

3. Draw another square touching the original #1square and #2 square. The new square is made of a total of 5 units, following the Fibonacci sequence of 1+1=2+1=3+2=5+3=8, etc. We can continue adding rotated squares around the original one, with each new square having a side whose length equals the sum of the last two. The resulting dimensions approximate the ratio 1:J, or 1:1.618, the golden ratio. When the interior squares are removed, the remaining rectangle has the same ‘golden’ proportions.

The original ‘parent’ squares begin with the same cloning procedure as the circle to create the vesica piscis (refer to our work last week on the number 2). Note the necessity for a square to complete the task of measuring the golden proportion. A fourth point factors in depth, the essential quality by which time and space can be measured (and therefore exist).


The Number Five: Free Form LifeConstruct a Golden Spiral from the Golden Rectangle

Figure 3

The square (being the shape of depth) supports the complexity of the life force seen in these exercises as it evolves into a spiraled regeneration of self. The circle clone is an elemental duplication of itself limited to a linear scale of the same (vesica piscis) or half (yin yang) size, and relates to simple division and multiplication: a linear separation for a linear result. Depth, however, creates the opportunity for exponential and unexpected growth.

1. Beginning with the top center point between the two originating squares (the yellow #1’s) extend your compass (or if in a vector drawing program such as Illustrator, option-shift the circle tool to draw a 360° circle) from its center point outward to the far edges of the original squares.

As with the original distinction of polarity in the circular form of the vesica piscis, the parent squares to begin the golden rectangle are duplications of each other. Exactly one quarter of a circle is necessary to complete the continuity of the spiral. This “quarter” turn relates directly back to the square and fills a linear translation of space with the fluid movement of life force.

2. In this same sequence, continue from the center point of the next larger square and draw quarter circles for that square, with each progressively larger quarter circle connected to the preceding smaller quarter circle. You will always place your center point in the furthermost inner corner of the square as it relates to the golden rectangle.

The golden spiral is made up of circle-fragments: and as such is not a true mathematical spiral. This is the approximating spiral found in nature, whose sole purpose is to link rather than to perfect. This spiral allows the slight variation necessary for mutation and evolution.

The intimate relationship between the continuity of the spiral and the linear breaks of the square is seen in the golden proportion, and perhaps it is this ability to simultaneously display what we tend to see as ‘opposites’ that we find so attractive. Opposites are really complimentary interaction–the essential distinction necessary for existence–rather than our tendency to see them as conflicted.

The points on the spiral are 1.618 times as far from the centre after each quarter-turn. In a whole turn the points on a radius out from the center are 1.6184–6.854 times further out than when the curve last crossed the same radial line.


Figure 2

Decoding Design: Understanding and Using Symbols in Visual CommunicationFurther Reading Resources

Alchemy and Mysticism, Alexander Roob, Taschen, 2001

The Alphabet vs. the Goddess: the Conflict between Word and Image, Leonard Shlain, Penguin, 1999

Ariadne’s Clue: A guide to the symbols of humankind, Anthony Stevens, Princeton University Press, 2001

A Beginner’s Guide to Constructing the Universe, Michael S. Schneider, Harper Perennial, 1994

All of Joseph Campbell, particularly: The Mythic Image, Joseph Campbell, Princeton University Press, 1974

The Clock of the Long Now: Time and Responsibility, Stewart Brand, Basic Books, 2000

The Cosmic Serpent: DNA and the Origins of Knowledge, Jeremy Narby, Tarcher-Putnam, 1998

The Curves of Life, Theodore Andrea Cook, Dover Publications, 1979

The Dictionary of Symbols, Carl G. Liungman, Norton, 1994

Envisioning Information, Edward Tufte, Graphics Press, 1990

Escher on Escher: Exploring the Infinite, Harry N. Abrams Inc., 1986

Fractals: the Patterns of Chaos, John Briggs, Touchstone, 1992

Geometry of Design, Kimberly Elam, Princeton Architectural Press, 2001

An Illustrated Encyclopedia of Traditional Symbols, J.C. Cooper, Thames and Hudson, 1978

Li: Dynamic Form In Nature, David Wade, Walker & Company, 2003

A Little Book of Coincidence, John Martineau, Walker & Company, 2001

The Magic Mirror of M.C. Escher, Bruno Ernst, Taschen America Inc, 1994

Man and His Symbols, Carl G. Jung, et al, Doubleday, 1968

Mandala, Journey to the Center, Bailey Cunningham, Dorling Kindersley, 2003

On Growth and Form, D’Arcy Thompson, Cambridge University Press, Canto Edition, 1992

Photographing the Patterns of Nature, Gary Braasch, Amphoto Books, 1999

Platonic & Archimedean Solids: The Geometry of Space, Daud Sutton, Walker & Company, 2002

Q.E.D.: Beauty in Mathematical Proof, Bukard Polster, Walker & Company, 2004

Sacred Geometry: Philosophy and Practice, Robert Lawlor, Thames and Hudson, 1989

Sacred Geometry, Miranda Lundy, Walker and Company, 2002

Sacred Number: The Secret Qualities of Quantities, Miranda Lundy, Walker & Company, 2005

The Search for Solutions, Horace Freeland Judson, Holt, Rinehart and Winston, 1980

The Shamans of Prehistory: Trance and Magic in the Painted Caves, Jean Clottes and David Lewis-Williams, Harry N. Abrams, 1996

Signs of Life: the Five Universal Shapes and How to Use Them, Angeles Arrien, Arcus Publishing, 1992

Symmetry: The Ordering Principle, David Wade, Walker & Company, 2006

The Tao of Physics, Fritjof Capra, Shambhala, 2000

The Tao of Symbols, James N. Powell, William Morrow & Co., 1982

The Visual Display of Quantitative Information, Edward Tufte, Graphics Press, 2001

Visual Explanations: Images and Quantities, Edward Tufte, Graphics Press, 1997

Weaving: Patterns and Traditions of The Oldest Art, Christina Martin, Walker & Company, 2005


decoding design, overview

Documents