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ASHLEIGH WEST Portfolio blog/website: ashleigh-west.com email: ashleighwest@gmail.com


THE CLASH• •HISTORY HISTORYBYBYDESIGN DESIGN   THE CLASH

THE CLASH THE CLASH • HISTORY BY BY DESIGN THE CLASH • HISTORY DESIGN  

GRAPHIC DESIGN/PHOTOPGRAPHY


HISTORY BY DESIGN HISTORY BY DESIGN The Capitol theatre and Capitol Square In the late 1990s both the Capitol theatre The Capitol theatre andisCapitol Square In the late 1990s both the Capitol complex a design site that reflects and Capitol squaretheatre went under major complex is a design site that reflectscaused by and went under major the cultural changes bothCapitol square reconstructions. The theatre was renovated the cultural changes caused bylifestyle both in Australia reconstructions. The the theatre was square renovated technology and over and Capitol complex, as it technology and in Australia squaretoday, complex, it thelifestyle past one hundred over years. and the Capitolstands wasasdeveloped. the past one hundred years. stands today, was developed. It was first used by European settlers The Capitol Square complex and the It was first used by European The Capitol Square complex theclash in design. When between 1788 settlers and 1829 as brickfields. theatre show and a true between 1788 and 1829 as brickfields. true clash in design. It was later used for the hay andtheatre corn, show a one investigates the When site, the evidence of It was later used for and the hay and corn, one investigateschange the site,and the evidence of cattle vegetable markets between cultural collisions is evident. It cattle and vegetable markets between and cultural collisions is evident. It and the old. 189 and 187. It was a centrechange for is a clash between the new 189 and 187. It wasproduce, a centre for is a and clashabetween the new and the old. Sydney’s a place to meet Sydney’s produce, a place to meet and a place of commerce. (www.capitolsquare. One can almost see the history of place of commerce. (www.capitolsquare. One can almost see the history of com.au) Australian culture in these designs. The com.au) Australian culture in these designs. The changes caused by technology and changes caused by technology and In 1910 the Sydney Council built two lifestyle are evident. At the top level, In 1910 the Sydney Council built two lifestyle are evident. At the top level, theatres on the site, the Capitol Theatre there is a wondrous world of Asian theatres on the site, the Capitol Theatre there is a wondrous world of Asian and the Tivoli. From the start of it’s skill tester machines. It seems almost and the Tivoli. From the start of it’s skill tester machines. It seems almost development, the precinct has gone more than one can count. This clashes development, the precinct has gone more than one can count. This clashes through numerous structural and againstbrick the traditional through numerous structural changes and changes against the traditional wall of the brick wall of the renovations. However, it has remained a theatre next door. Thus, representing renovations. However, it has remained a theatre next door. Thus, representing meet and to be entertained. the how place to meetplace and totobe entertained. the how the dynamics ofthe the dynamics Australianof the Australian (www.capitoltheatre.com.au) population have changed over the past (www.capitoltheatre.com.au) population have changed over the past one hundred years. one hundred years. The Capitol theatre was then transformed The Capitol theatre was then transformed into a Hippodrome, used by Writh’s Circus fromOne from into a Hippodrome, used by Writh’s Circus One moves this moves overload of this overload of for performances exhibitionbright of cages bright colours andaplush toys into a for performances with exhibitionwith of cages colours and plush toys into live animals. In 198 wasof Computer maze of Computer live animals. In 198 the theatre wasthe theatremaze overloaded with overloaded with as an auditorium. the representing gadgets, representing opened as anopened auditorium. Between the Between gadgets, how lifestyle hashow lifestyle has 190sthe and 1980s, theatre has beenbyrevolutionised 190s and 1980s, theatre hasthe closed beenclosed revolutionised technologicalby technological several times repairs and maintenance. developments. Downstairs several times for repairs andformaintenance. developments. Downstairs is a centre of is a centre of has featured stage shows, musicals, where can eat and meet. It has featuredIt stage shows, musicals, restraints, whererestraints, one can eat andone meet. shown films and 1980s rock As a place Thisofisfood still aproduce place of food produce and shown films and 1980s rock concerts. As concerts. This is still and and lifestyle has changed it is the food produce entertainmententertainment and lifestyle has changed trade; however trade; it is thehowever food produce the had complex has to had to adapt to of the 1st century. Starbucks, the Irish the complex has to adapt this. of this. the 1st century. Starbucks, the Irish (www.capitoltheatre.com.au) pub Paddy McGuires, pub Paddy McGuires, (www.capitoltheatre.com.au) the mix of Asian the mix of Asian restraunts and Harry’s Café deHarry’s WheelsCafé de Wheels restraunts and reflects the multiculturalism Sydney and of Sydney and reflects the of multiculturalism the how Australia been influenced by influenced by thehas how Australia has been other cultures. other cultures.



THECLASH • CLASH HISTORY• BY DESIGNBY DESIGN THE HISTORY

THE CLASH • HISTORY BY DESIGN  BY DESIGN THE CLASH • HISTORY




OLD CHARM OLD CHARM

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THE CLASH •  HISTORY DESIGN THE BY CLASH • HISTORY BY DESIGN

THE CLASH • THE HISTORY BY•DESIGN CLASH HISTORY BY7DESIGN

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THE CLASH HISTORY BY THE CLASH • HISTORY BY • DESIGN 9 DESIGN

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GRAPHIC DESIGN/PHOTOPGRAPHY Project: A photograpghy based magazne spread to advertise a chosen product. The chosen product is Rayban’s Wayfarer sunglasses.


Everyone has their own ‘perspective’- a unique way of viewing the world. As a young child you do not know how to be anyone but your true self, as you get older you start to lose this innocent perspective. We start to change in order to ‘fit in’ or conform to the rest of society. We are socially conditioned to strive for ‘normality’. (Shan) One particular example of this is introverted individuals, the ones who need to spend time on their own. Introverts thrive on time alone, whereas extraverts thrive on time spent with others. Being the more social type, extraverts tend to set the social standards of what is culturally ‘normal’ and what is not. (Rauch) The important thing however, is to realise that whilst this may be the norm for those around you, it may not be what suits you. This applies to all parts of life. When it comes to creative work, there are infinite ways to approach a problem or a project. The important thing is to figure out which way works for you. Social conditioning can have severe implications on our ability to develop original and creative thoughts. Being your true self and understanding the workings of your own mind is key to generating fresh and original work. As we get older, it is important to keep a hold of all the little things that make us unique. Every element of your life, every experience, has an influence on you and the way you perceive the world, however there are some things you did naturally as a child, these you need to understand and hold onto. As a designer you are aiming to communicate a message in a fresh and new way. You are looking for

INSPIRATION

S PLAY

ARRAY MAGAZINE : ISSUE 1 : 2011

ural insticts

“Graphic Design is the most universal of all the arts. It is all around us, explaining, decorating, and indentifying: imposing meaning on the world.” (Newark 6) As a Graphic Designer, you are creatively communicating and expressing a message. It doesn’t matter what type of creative work you pursue, you will always be putting a little bit of yourself into the work. For this reason, it is important to understand yourself and the ways in which you express yourself.

alternative perspectives on your problem or subject. You are ‘imposing meaning on the world,’ fresh and new meaning. However, in order to develop a new perspective, you must first understand your own. An answer to this is personal creative work. Personal creative work is an essential tool for designers to develop and understand their own ways of working and ways of looking at things.

original thought, a long attention span and the ability to independently develop new ideas not the skills needed to be a productive and effective designer? Children are given the creative freedom to create whatever they desire, there is no right or wrong. A child is told that whatever they create is a work of art, with the positive reinforcement they are encouraged to continue creating.

Every child is an artist. The problem is how to remain an artist once he grows up. - Picasso

As you grow and age, remembering to ‘play’ becomes even more vital and important. It is this that allows you to continue to grow and expand your mind, to find new and innovative ways of thinking, to generate new ideas or to just simply enjoy the creative process. Play allows you to express yourself simply for the experience, without judgement. It is not the end result which is important; it is simply the process of creating. Your personal creative work is the place where you can play. According to Jung, you would not be able to produce this creative work at all without the element of play. You play and develop your ideas with complete freedom. (Malchiodi 58)

Every child is an artist, as every child has the ability to create. They create using elements from their own imagination, using the methods that come naturally to them. They do not need to know anything of art or design theories. There is no predisposed or constructed view on what or how they should create.

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.- Jung

“Art is not the same for a child as it is for an adult. For a child, art is primarily a means of expression. No two children are alike, and in fact, each child differs even from his earlier self as he constantly grows, perceives, understands, and interprets his environment. A child is a dynamic being; art becomes a language of thought.” “(Lowenfeld & Brittain 7 cited in Mayesky 238) Creative play is an essential way that children learn and start to develop fine motor skills and in also helps them to develop a longer attention span. They are pushed to try out new materials, which encourage ‘original, divergent thought.’ A child learns how to work independently and to develop new ideas. It helps them to develop a sense of who they are from an early age. (Mayesky 238)

Lynn Smith

The importance of creative play time needs to be understood by both individuals and employers. In a creative workplace, whilst there is the need to maintain a sense of structure and uniformity for both a project, creative staff cannot work effectively without the freedom to do so. (Collin)

Interview by Ashleigh West

Photograph of Lynn by Ashleigh West

Everybody needs some kind of structure to work efficiently, however employer’s need to realise that the same structure will not fit everyone. In order to maximise their potential, structures and processes in a workplace should be flexible enough to accommodate the needs of different individuals.

What kind of photography do you do? I do street photography at night. On the sttreets of Sydney and Melbourne at night, and hopefully other cities when I get a chance to get to them. No people, mostly longer exposures. I figure that the absence of people creates a desire for people. If you come and see a show with pictures of no people in an urban environment where you expect to see them, then the absence of people creates questions in your mind. So you, I’m hoping people will think ‘okay why are there no people? What sort of people should there be here? What should they be doing? Is this a statement about lack of community and things like that. I don’t really have any specific things I’d like people to feel about them, but I would like them to feel something.

t A ‘cookie cutter’ approach with never work. The basic meaning of ‘art’ is personal creative work; it is “the expression or application of human creative skill and imagination.” (Oxford dictionaries) Creative play should be a tool utilised by employers to get the most value out of their employees. The poor and penniless stereotype of an artist did not develop out of nothing. The truth of it is that a creative type is happiest when they choose to pursue their passion rather than something simply for financial gain. You ask an artist why they do what they do, and the answer is simply, it is what felt right. There is no logical answer; it is simply the joy of expressing who they truly are. Your personal work is your way of saying to the world: this is who I am, this is what I stand for and this is how I feel. You show the world what makes you unique. Take the time to explore what it is you love, and who you are, you’ll be better for it.

So, is this a reflection of your own experiences? Or is it more about other people drawing from their experiences and putting them into your photos? Well, you shoot from the point of view of what draws you, so you shoot what attracts you; not necessarily knowing why it attracts you, and you are hoping that it will strike some sort of chord in your viewer. If you’re not too didactic and if you don’t set things up in a logical way, then you are hoping that work will be open ended and people will have various interpretations and find someway into the work themselves.

Why is art so different for an adult and child? Are

natural insticts CHILD’S PLAY by Ashleigh West

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18/05/11 11:57 AM

Cover Design by Matt Robson the exo-skeleton of a sort of community and in a sense it becomes what, how people are relating to these structures. I wanted to capture that, and I think if you photograph people’s faces, they’re acting mostly in front of a camera, and they don’t really tell you much at all.

“Graphic Design is the most universal of all the arts. It is all around us, explaining, decorating, and indentifying: imposing meaning on the world.” (Newark 6) As a Graphic Designer, you are creatively communicating and expressing a message. It doesn’t matter what type of creative work you pursue, you will always be putting a little bit of yourself into the work. For this reason, it is important to understand yourself and the ways in which you express yourself. Everyone has their own ‘perspective’- a unique way of viewing the world. As a young child you do not know how to be anyone but your true self, as you get older you start to lose this innocent perspective. We start to change in order to ‘fit in’ or conform to the rest of society. We are socially conditioned to strive for ‘normality’. (Shan) One particular example of this is introverted individuals, the ones who need to spend time on their own. Introverts thrive on time alone, whereas extraverts thrive on time spent with others. Being the more social type, extraverts tend to set the social standards of what is culturally ‘normal’ and what is not. (Rauch) The important thing however, is to realise that whilst this may be the norm for those around you, it may not be what suits you. This applies to all parts of life. When it comes to creative work, there are infinite ways to approach a problem or a project. The important thing is to figure out which way works for you. Social conditioning can have severe implications on our ability to develop original and creative thoughts. Being your true self and understanding the workings of your own mind is key to generating fresh and original work. As we get older, it is important to keep a hold of all the little things that make us unique. Every element of your life, every experience, has an influence on you and the way you perceive the world, however there are some things you did naturally as a child, these you need to understand and hold onto. As a designer you are aiming to communicate a message in a fresh and new way. You are looking for

alternative perspectives on your problem or subject. You are ‘imposing meaning on the world,’ fresh and new meaning. However, in order to develop a new perspective, you must first understand your own. An answer to this is personal creative work. Personal creative work is an essential tool for designers to develop and understand their own ways of working and ways of looking at things.

original thought, a long attention span and the ability to independently develop new ideas not the skills needed to be a productive and effective designer? Children are given the creative freedom to create whatever they desire, there is no right or wrong. A child is told that whatever they create is a work of art, with the positive reinforcement they are encouraged to continue creating.

Every child is an artist. The problem is how to remain an artist once he grows up. - Picasso

As you grow and age, remembering to ‘play’ becomes even more vital and important. It is this that allows you to continue to grow and expand your mind, to find new and innovative ways of thinking, to generate new ideas or to just simply enjoy the creative process. Play allows you to express yourself simply for the experience, without judgement. It is not the end result which is important; it is simply the process of creating. Your personal creative work is the place where you can play. According to Jung, you would not be able to produce this creative work at all without the element of play. You play and develop your ideas with complete freedom. (Malchiodi 58)

Every child is an artist, as every child has the ability to create. They create using elements from their own imagination, using the methods that come naturally to them. They do not need to know anything of art or design theories. There is no predisposed or constructed view on what or how they should create.

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.- Jung

“Art is not the same for a child as it is for an adult. For a child, art is primarily a means of expression. No two children are alike, and in fact, each child differs even from his earlier self as he constantly grows, perceives, understands, and interprets his environment. A child is a dynamic being; art becomes a language of thought.” “(Lowenfeld & Brittain 7 cited in Mayesky 238) Creative play is an essential way that children learn and start to develop fine motor skills and in also helps them to develop a longer attention span. They are pushed to try out new materials, which encourage ‘original, divergent thought.’ A child learns how to work independently and to develop new ideas. It helps them to develop a sense of who they are from an early age. (Mayesky 238)

Lynn Smith

The importance of creative play time needs to be understood by both individuals and employers. In a creative workplace, whilst there is the need to maintain a sense of structure and uniformity for both a project, creative staff cannot work effectively without the freedom to do so. (Collin)

Photograph of Lynn by Ashleigh West

Everybody needs some kind of structure to work efficiently, however employer’s need to realise that the same structure will not fit everyone. In order to maximise their potential, structures and processes in a workplace should be flexible enough to accommodate the needs of different individuals.

What kind of photography do you do? I do street photography at night. On the sttreets of Sydney and Melbourne at night, and hopefully other cities when I get a chance to get to them. No people, mostly longer exposures. I figure that the absence of people creates a desire for people. If you come and see a show with pictures of no people in an urban environment where you expect to see them, then the absence of people creates questions in your mind. So you, I’m hoping people will think ‘okay why are there no people? What sort of people should there be here? What should they be doing? Is this a statement about lack of community and things like that. I don’t really have any specific things I’d like people to feel about them, but I would like them to feel something.

t A ‘cookie cutter’ approach with never work. The basic meaning of ‘art’ is personal creative work; it is “the expression or application of human creative skill and imagination.” (Oxford dictionaries) Creative play should be a tool utilised by employers to get the most value out of their employees. The poor and penniless stereotype of an artist did not develop out of nothing. The truth of it is that a creative type is happiest when they choose to pursue their passion rather than something simply for financial gain. You ask an artist why they do what they do, and the answer is simply, it is what felt right. There is no logical answer; it is simply the joy of expressing who they truly are. Your personal work is your way of saying to the world: this is who I am, this is what I stand for and this is how I feel. You show the world what makes you unique. Take the time to explore what it is you love, and who you are, you’ll be better for it.

So, is this a reflection of your own experiences? Or is it more about other people drawing from their experiences and putting them into your photos? Well, you shoot from the point of view of what draws you, so you shoot what attracts you; not necessarily knowing why it attracts you, and you are hoping that it will strike some sort of chord in your viewer. If you’re not too didactic and if you don’t set things up in a logical way, then you are hoping that work will be open ended and people will have various interpretations and find someway into the work themselves.

Why is art so different for an adult and child? Are

est

2

They’re not really honest responses to the city. I think the marks that people leave in the city are more honest than they’re actual faces.

Interview by Ashleigh West

3

I checked that with friends and relatives recently, I gave them a look at my stream of pictures on the internet. I said, Look. I don’t want to know why you like or dislike these pictures but I want to know if you feel something when you see them, and if so what? Because, I was interested in exploring their feelings more than I wanted their judgement. I don’t really care if they like them or don’t like them. That’s not what I’m doing them for, to be liked. I’m trying to get some response. That’s why I’m doing them. And that was interesting, because people had a variety of responses, and their emotions were quite strong, that they felt about these pictures with no humans in them. Did they have the same reaction as you? No they didn’t. They all had their own reactions. I showed them to young people as well, teenagers and stuff, and no their reactions were different. Were the reactions you received expected? Did you have any expectations of what they’d get out of the pictures? No I didn’t have a particular adjenda, I was very interested in their actual opinions. I didn’t steer them at all. I said to them, you don’t have to feel anything. If you don’t feel anything, them tell. I’m not requiring you to feel anything in particular, or anything at all. If you do feel something then tell me what it is.

When taking photographs, how do you decide what you’re going to photograph? Was there a particular response which surprised you?

Ahh, that’s a good question. It’s gotta hit me, that’s how I decide. I have no agenda. When I go out there, I don’t know what I’m looking for. I’m expecting to be surprised, and if I’m not surprised then I just go home and sleep. So, I wait for something to suprise me, and it’s usually a collection of shapes and textures and things, I start from sort of grunge and pathos, and if there’s other things going on there in relation to light, if light exists in the picture, in such a way that it can pull you into it, I’m interested. And if there are accidents happening around that may change the picture, I’m interested in them as well. Like car lights sweeping a particular part of the image, or things like that. So those accidents, that you can’t really predict what’s going to happen until you see the film come back from the lab. I’m quite happy to incorporate those accidents into the image and just see what they result in. I don’t want to predict in advance what I’m going to do. My mind is a blank canvas when I go out onto the street. If nothing strikes me, then I never shoot anything. So you never had a set idea when you go out to shoot? No, I have a feeling I’m looking for, but that’s just an ambiguous sort of a thing. I don’t respond to pristine environments, there has to be something anarchic or contradictory in them to attract me. Because I think, that’s how I live. I live in sort of unpredictable way. I dont hav set things I do every day.

Well I got a response from a Japanese lady on flickr, who I’ve never met. She said she liked the pictures, and that she could hear the voivces of the invisible people, which I thought was a pretty interesting thing, because... you know the thing about absence in art is that it can take many forms. For examwwple, music. Music isn’t all noise. If there aren’t silences in music, then music doesn’t work. Music is a combination of noise and silence, in different degrees, and I think you can also extrapolate from that, the role of absence in other media as well. The role of something. If something’s absent that you expect to find in something, then it can create all sorts of questions in your mind. For absence has a power. It’s not just a nothingness. So, it’s a power of absence. I photograph these streets knowing that they are not built by the people who are living in them. Knowing they are built by either corporations or government bodies, that have particular plans in mind, but the residents, the people who live and work in these places, have got other adgendas and they’re not necessarily entirely happy¬ with the structures they’re made to live and work in. So they leave marks. They add things and they take things away, and they bash into things. So the city becomes 4

Your photos are a reflection of your life? I’m looking for metaphors. I’m looking for things which symbolise what’s going on. I’ve been married three times, I lived in five countries, I’m now living as a single individual. So melancholia is part of my work, but I don’t see melancholia as a sort of problem. I see it as a response to the situation. I see melancholia as a constructive creative thing. In fact the Ancient Greeks saw melancholia as an essential quality in every creative person, and it’s only been medicalised post-second World War, but the American pharamcutial industry, who says if you are sad if have to take a pill for it. The sadness in one’s life, if you can find metaphors for it. It’s cathartic for you, because if you’re able to reflect that it no longer is so difficult to deal with. I found in the last year or so, I’m using light as a source of optimism, because I have a relationship that’s extremely difficult that is. So it’s more longing than it is satisfaction, so I’m hoping the pictures reflect that, as this is what I’m feeling about the world. There’s more longing in it there is satisfaction. hphotography changed over your career to reflect these things in your life? Obis earciunt. Ut as alibusc ientus, nienderio blandi

estio. Et arum ea quam lam vel inullat occullenis que volorum quias rem de laborit emossitiam ande verum quiaecte vit endaest, ut vendant utem quis aut reicid que am fuga. Xere nonest que nonetur, vero voluptat. Um culpa voluptatis as sinisqui iliqui aut quidi beaqui dolorehenet, unt excernat est, ne veleste mporia debitatqui dem qui consequatur sinctorNam lit omniti cullat doloritibus aut ex eumquo id ea cone netur sit qui ut arit ipientia sandaes quis et fugia sequo et, coritia quia nis minctur, sit am quo molorecto to endam qui core, to ea etus se volest, officti atestis ad modis excestrum rem evellam, omnieni volorei ctusciat a quam faccum que dolo il magniminvel ma nesto et mollab ipis modia comnis doloribus et, sintiasitium in num in cus dolor simolo quam fuga. Epro commosae is et qui idestiu ntiunte ndaest ulla doluptur re voluptatur aut lit, odit odit quibusapid quamendis delibusdant et od erita

blaborem hic te porionsequat facesera soluptatur sundaep ratiis simus nobis et etusciatum aliciaecte eum aut hillam, cor si ullest, occuptatqui nos alitatia corest hilignis simo quam quae nonsequi tem nobis velluptam, que idem estianimus excepra estiis modi con possita turesti sitio vendus molorehendis ex eos acerunt veria dolupta vit offici dento idiore earior sum quiam estrum illabor ioriae verendanda velest velessi nimilig natiam, occae voluptis esequi occum aut aut ipit, exerspelique ent. Occatur maximagnate et odion reped mos doluptiae lant. Lestiae cullaut et rehendi iderrum vollupt atiunde libeatiae et et quodis rem voluptatquam am hicae nobis dolo comni blandunt. Eptatur ionsed qui officimus quam dolupta temquiassum asitam quam in nitiaesequi officim quam ipici doloriandae natis molendi tem nemperectur rem aria dolutempelit et optum velest, asperat elessitia voluptaturem audaerorit, odis auta audaes pa siniminvelia quam, tore, sam quis acepudis eum incitas milignam, velentur? Ut aliquam eum etur rem facimust aut qui consed quae plaborest, ut quia cuptumq uuntem iur rae pro ipsum qui is dolent facea dolorpo rumquaestias vendis exerum doluptatem inciis vit et acesed quo blatist ruptat fugiati nvenihi lloreicimin comnis exceatem ipsunt quo ipsaecum eicieni hicium sequiae coremosapel ipsapit ratum etur sus sa sumquis eum invelitiusda doluptati dolorat

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ipitati onserita ab ipicia pedi omnias expelibus, ommolora nobis reriorepta dunt, que cuptusdaepe voloratur? Tur, que et que elignis dolo berspel excerovit elles porumque nobis eum derferati sam eum fuga. Ceruptatem quis et as arcipidis remporesti utempella est ad es quistio mostis sus eaqui ommoditatur sundus. Puditatem. Olut poresciae la sint ulligen delique eaquate ndanderspit fugiatis volescit eostio et venda pelesed quasit fuga. Ut voles de nobissint auta quo tendaep ellignam, nonesse quiberf erfersp erspell uptatur? Um aribus as nobit fuga. Me sunt. Vit esequi voluptiatem. Itior aut vel il iuriorum, ut libus maiorro berios vid erum nis dit faciumqui uta volum aut alitiun ditium etus doluptasit, qui quo mo conet labo. Ut magnam cum dolestias sinctet ditiisc iassunt orrorrum facepellam estrum num volorrum eaquaspel maximpos dempore cuptiant libus.

Ignatempor as voluptati aut am faceper epreper itatumet voluptat andis dollor andit, soluptur? Impore sedi cum quo evellitia dolorporeped etur? Obisitas quam voluptur, qui ommoluptas sunte none volorunt harum non cone pro tem fuga. Berum hicias pro ea earchit molum culland erspedita sequatum que nem estius ut autempos adi utate site volupti onsenit offic te pore la aut porum qui cor rernam eumquas doloritatiis delique nem et in num dolupta nest ad quamus aut acculla boratis et ut aut labo. Ti renim que simusdaesci odipsanimus, quam imint ut audaes eostium quia sim quiamusanda voluptatate eiuntemporio dolorestiam aliassi odit fuga. Tem everibu saeria dio. Atus. Odit inumquate non pos repuda voluptat. Millecuptur mo quatinctatur re pel iusamen itiatur eperchit voluptatiis

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I checked relatives look at m the intern want to k dislike th know if y you see t Because exploring I wanted really car don’t like I’m doing I’m trying That’s w that was people h and their strong, th pictures w

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“To learn to read is to light a fire; every syllable that is spelled out is a spark.” - VICTOR HUGO

“The more that you read, the more things you will know. The more that you learn, the more places you’ll go.” – DR SEUSS This guide has been created to help you get stuck into books. We hope it inspires an appetite for reading within

READING

you. This book is a collection of inspiration and information from different souces. The topic of reading is vast and broad, so think of this as a starter guide, to help you get the most of reading.h

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How to read a book Adler M. J. & Van Doren C How To Read A Book. New York: Simon & Schuster, Inc. 1962.

The next section of this book contains excerpts Alder and Van Doren’s ‘How To Read A Book’ .

STUDY GUIDE A 32 page guide on reading, and getting the most out of a reading experience.

AWEST Portfolio Extracts

‘How To Read A Book’ is an invaluable resource when it comes to reading. You may wish to pick up a copy for further information once you have completed this guide.

Portfolio Sample - Ashleigh West  

Extracts from my portfolio

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