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InPrint Magazine Fall - 2014



Fall - 2014

Our Message

Art creates culture. Culture shapes values. Values determine the future. The fascination of art has to do with time. Visual art is the quickest of all serious cultural forms to make its full nature clear to the beholder. It's worth dwelling on the rapidity of art. It is conventional, in the moralizing rhetoric of the critic, to say Rembrandt repays a lot more time than most works of art - you can look at his pictures for a lifetime and still find new depth in them. But what if this is not the most important thing about great art? What if it's the instant effect that matters? So it's not always true that great art takes a long time to appreciate and instantaneous art is shallow. In fact, some of the most revered paintings can be appreciated much more quickly than video art - which has, as I've already conceded, brought narrative time into the gallery. Why is time-based art so popular? Does it seem more important because it takes up time? Personally, I agree with Leonardo da Vinci. The most magical thing in art is the instant and complete image.

Our Creatives Editor-in-chief Elo Marc Programer Tonny D Graphic Designers Elo Marc Alan Calardo Layout Elo Marc Contributors/writers Astrid Kricos Rick Byrne Contributor/advisor Mathew Stone

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About InPrint Magazine InPrint Magazine is published bi-monthly. InPrint Magazine is a professional magazine for the arts industry - design, illustration, fashion, literature to show contemporary visual arts to a wide variety of audience. Subscriptions and distribution is free to qualified individuals. Single copies may be obtained from publisher for $1.99. All the works published in InPrint Magazine are property of the respective authors. InPint Magazine LLC, some rights reserved Po box 83324 San Diego, California, 92138 USA

Copyright Š2012 InPrint Magazine, Inc. Some rights reserved. No parts of this periodical may be reproduced without written permission of InPrint Magazine. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. If you have any questions contact InPrint Magazine at (619)630-5735 San Diego, California.

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Creativity + Arts + Colors = InPrint Magazine


THE EDITOR Imagination Is More Inportant Than Knowledge

The transformation of a team happens in the hands of great imaginative leaders, not in indulgent knowledge seekers. While some form of education is generally a prerequisite for progress, we need to understand the balance between knowledge and imagination. Today’s leader should understand both past and present experiences of his/her team, and use that knowledge to cultivate creative progress and imaginative learning. As Einstein suggests, it is our imagination that will propel us to great strides in moving our teams and businesses forward. So how do you imagine yourselves as a different team? By setting BHAGs (Big Hairy Audacious Goals) to stimulate progress and guide your team through the process of creating a Vision and Mission statement. This creative procedure can help encourage your team to think of themselves and opportunities in new ways. When we can focus people on what they can become, we see small changes in the otherwise mundane. Having a Mission and Vision statement clarifies a team’s purpose and allows them to confidently contribute to the creative process. Basically, it puts all workers on the same page and allows them to work in synergy. A mission is simply asking yourself, “what do I need to do everyday to be successful?” While a vision statement is more aligned with, “if we do what we need to everyday, we will have succeeded.” It is important to reference your business’s mission in moments of confusion – the ideal mission statement will refresh you of your business’s goals and put you back on the right track. Give your teams the creative power to solve business challenges by providing clear and concise Mission and Vision statements and letting their imagination handle the rest. “LOVE ART AND LOVE INPRINT MAGAZINE AS MUCH AS WE DO”

Elo Marc

(founder & editor-in-chief of InPrint Magazine)




Alan Calardo Designer

Reza テネee Artist Contributor

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Do you have anything to say or any suggestions? Let us know email InPrint | Fall 2014



Who The Heck ar

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we are the inprinters!!!

InPrint Magazine | issue 17 | October - December 2014 Editor-in-chief Elo Marc | Layout and Art Direction Elo Marc Designers Alan Calardo, Tom Swisher Contributors Mark Stephen, Alex Amin, Mathew Stone Sandra Muriel, Alexandra Mars, Astrid kricos, Rick Byrme, Christopher Durant Creative Advisor Tim Anderson Artist Contributor Reza テネee This product and its entire content are protected by copyright. No use or re-print(including disclosure) maybe made of all or any part of this publication in any matter or form whatsoever without the prior written consent of InPrint. Views expressed in InPrint do not necessarily represent the opinions of the editors or parent company contact


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For the greatest inspiration of Art and Artists, the priority is to "lose oneself." Ultimately, an artist is motivated to realize that Higher Self, the completely inspired Self every artist know in their moments of pure expression.. the making of love that motivates pure inspiration. This is when what IS is! These are our spires of inspiration. True words of motivation are like best religious inspirational sayings. This almost incomprehensible motivation embodies the I AM of Moses, the burning bosom, the undressing of flesh to reveal a naked soul, as if touching and tasting dewdrops of spilt blood. Emotional scars upon souls often scream within chalices of pain; nonetheless, tongues can reach hitherto heights, waxing wicks of flight seeking to soar as the light embodies the words of motivation herself.

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Roman Mitchenko is a fashion or portrait photographer born in Novouralsk, Russia. Michenko says his town is a closed secret town because of its nuclear industries. Roman Michenko now lives in big city Ekaterinburg. I Started shooting in 2009 and in 2010. I began photographing for magazines. Now I’m working for editorials, advertising (commercial), beauty, still life and model tests.. As a fashion photographer Roman Mitchenko shoots models in provoking manner hence in captivating and interesting way. InPrint | Fall 2014






more about the artist



his to 22


Filippino Lippi

Although many of the Italian Renaissance artists worked in Florence, artists like Filippino Lippi flourished in Venice, a

powerful city-state populated by rich bankers and merchants.

Born in Prato, Tuscany, about 1457, Lippi arrived into the world in an unusual manner. He was born of the illegitimate union of Fra

Filippo Lippi, a Catholic monk, and Lucretia Buti, a nun.

Fra Lippi was an early Renaissance painter who trained his son

until his death in 1469. Filippino learned much from his father and

also studied under another Renaissance great, Sandro Botticelli.

Art historians classify Filippino Lippi’s early pieces as reflective of Botticelli’s style. In the beginning, Lippi completed a fresco cycle at the Brancacci Chapel in Florence’s Santa Maria del Carmine.

His efforts were a continuation of an unfinished project by Masolino and Masaccio. Lippi was also hired by Filippo Strozzi to paint works in the Strozzi Chapel, but he did not complete these works until after his patron’s death. Lippi completed other works with Catholic themes besides frescoes, including the Apparition of the Virgin to St Bernard (1480),

InPrint | Fall 2014

an altar piece, and Madonna and Child (c. 1485). The former was created as a commission for a Florence merchant, Piero del Pugliese, to adorn the altar in his family chapel at Santa Maria alle Campora. A beautiful work of landscape and human figures, Lippi creates a realistic rendering of the Virgin and Saint Bernard. Mary is surrounded by angels at the foreground of the painting with St. Bernard. In the background, a rocky mount rises up behind them with the hint of a town in the upper right corner. Permanently housed at New York’s Metropolitan Museum of Art, Madonna and Child is a vivid depiction of the Virgin Mary. She

ry Top left: Madonna and Child (1440-1445), tempera on panel. National Gallery of Art, Washington, D.C. Bottom left: Madonna with the Child and Scenes from the Life of St Anne Filippino Lippi (Portrait) on top right. Bottom right: Santo Spirito

wears a brilliant scarlet dress and a black cape. Her dark blonde hair is held back by a delicate blue scarf. The baby she holds is creamy and plump with an old man’s face. Baby Jesus studies the Bible. In the upper left corner of the canvas, there is a view of a loggia which shows the impact of Flemish painting on Lippi. Madonna and Child contrasts nicely with his father’s similar painting, Madonna and Child Enthroned With Two Angels. Mary has a lighter, rounder face, wears a red blouse and flowing blue skirt, and looks sadly away from the observer. Jesus and the two angels are also fair-haired and somber. While both works are serious in tone and keeping with the Catholic art of the Renaissance, they reflect how a father and a son could interpret the classic Madonna and Baby Jesus work differently. As a tribute to the social climate of the Renaissance, the younger Lippi was able to achieve considerable success despite his legitimate heritage. He died in 1504.



Allegory of Music (c. 1500) 25 Tempera on panel, 61 Ă— 51 cm. Gemaldegalerie, Berlin, Germany.

*Madonna delle Roccie



Filippino Lippi, Apparition of The Virgin to St Bernard, 1486, Church of Badia, Florence


World Food Programme

InPrint | Fall 2014



Madelyne Joan Templeton Painter - Illustrator

Madelyne Joan Templeton is a twenty four year old artist from Northern California. Art has always been a passion, and a way to communicate to others ever since she was a little girl. —“Art has always been an interest and a passion in my life. Using images to create a visual connection with others and communicate is my strongest way of talking to people”. Working with watercolor allows for my emotions and expressions to flow freely into paper. The use of transparent and opaque inks not only has strong elaborate colors but it helps create a permanent and unpredictable result which adds character to each new piece. InPrint | Fall 2014





“Shoot for the stars, you’ll never know happens, you may catch a fallen star a be enriched in light” Madelyne Joan Templeton

w what and



more about the artist




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aryan khan ILLUSTRATOR


My name is Aryan Khani and I was born in 1987. I studied Graphic Design in BA degree. I work in different fields of visual art but I mostly work in illustrating field. Moreover, I am an art adviser in Panart, international visual arts magazine. I have worked in advertising Companies like: Bidar, Moulici, Sib-e Zhape and… as an art director, a graphic designer and a photographer. I have cooperated with publishers such as Ofogh, the Institute for the Intellectual development of Children and Young Adults (Kanoon-e Parvaresh-e Fekrie Koudakan va Nojavanan), Soroush-e Koudakan, Dor Danesh-e Bahman, and Gerdouye Danesh as an illustrator. I have also experience as a cinematographer assistant of a short movie entitled “Bed is just a Bed”. In addition, I have taught illustration since 2010 until now. InPrint | Fall 2014








Brooks InPrint | Fall 2014



more about the artist

Blending mannerism and pop art with a dash of surrealism, the women of Troy Brooks present an elaborate pageantry of characters observed in allegorical settings. These women play out intimate scenes through a detailed visual language. They are usually caught in moments where something transformative has or is about to happen.

Tell me about your childhood, where did you grow up? I’m from a small town in Southern Ontario called Chatham. We moved every two or three years. I was painfully shy and the constant moving didn’t help. I ended up developing panic attacks in public that I never told anyone about. I spent most of my time in school hiding in bathroom stalls. How did you first get into illustration? Are you self taught or you went to school for it? I’m not an illustrator. I don’t even take commissions. My business is fine art. I make paintings and sell them in galleries and that is the only work I do. I’ve never had any train-

ing. I began drawing woman at two years old and any technical ability I’ve gained has been my own trial and error. I illustrated a children’s book once many years ago and it was a nightmare. Swore I would never do it again. Your work has a refreshing look to it that stands out well in a growing sea of Illustration. What are some visual influences that make their way into your work? Thank you. Maybe it stands out because it’s not illustration. I don’t know that any other painter really influenced me but a few of my favorites are Van Dongen, Otto Dix and Klimt. I learned how to draw by sketching the old George Hur-

rell photographs of Crawford and Dietrich when I was little which is probably why my work has that nostalgic vibe. It’s very familiar to me Could you share your mental approach to developing concepts for your Illustrations and the technical side of your creative process? An image pops into my head and I start looking for all the various reference material to match the concept, which could take days. I don’t usually make a preliminary sketch, I just start building layers on the canvas. Things can get added and taken out in between layers, but I usually have a very definite direction. Fall 2014 | InPrint



I feel very proud to be part of a such a long tradition of painters. I don’t personally know anyone else who just makes a living selling paintings. Troy Brooks - Illustrator | Ontario

Your work features an evocative combination of dynamic color and expressions. Could you talk about your experience in developing these elements of your style? Color took me a while to get the hang of. I have learned the less chaotic your pallet is the greater the impact. In terms of my girls, I always made their faces too long. It was something I was incessantly going back to fix in my work. One day I just decided to stop trying to fix it and I began accentuating that elongation. Everybody calls it my style now but it sprang from my inept sense of proportion. What do you like about your work, and what do you think other illustrators like about it? I love the flexing of my imagination when I work. I feel like it’s a form of meditation and the things that come from moments of true inspiration can be completely miraculous. As far as the appeal of my work to other people, aside from appreciating the technical rendering of light, skin and fabrics, from what I understand it also has something to do with the open narrative. I have InPrint | Fall 2014

a very specific visual vocabulary I’ve developed but I guess it comes across very open ended, so that people can apply their own crazy story. What role does personal work play in your business and your craft? I’m not sure I know what personal work is. I can tell you that I started making pictures of women because I was convinced I was born the wrong sex when I was little and making coded visual diary images of women was the safest way I could express that. What do you love most about being an illustrator? Not being one. The best thing about the work I do is that it’s not beholden to anyone. My girls are completely sovereign and I cherish that freedom. Thankfully there seems to be an audience. But my only responsibility is to the muses.

I feel very proud to be part of a such a long tradition of painters. I don’t personally know anyone else who just makes a living selling paintings. That’s a pretty good reason to feel grateful. Fun is overrated. Would you tell us something nobody would guess about you? I don’t own any art. What tools do you use for your work? Oil on canvas and panel. Watercolor on paper. And a ton of brushes. Do you have any advice for aspiring illustrators? I don’t know about illustration but if you were to ask me about the fine art industry, I would say don’t do it. There’s no more room at the Inn. My own experience has given me this wisdom, if I feel compelled to ask for advice, it’s a sign I should do something else.

And what are the most difficult things about being an illustrator? Where can we find you online? The most difficult thing about the work I do is that it takes away from other things. I do this work to almost the exclusion of everything else. But





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HARIS TSEVIS Visural Designer

Charis Tsevis is an award winning visual designer living and working in Athens,Greece. His client list includes companies like Nike, Coca-Cola, PepsiCo, Toyota and IKEA, advertising agencies like TBWA\Chiat\Day, Saatchi & Saatchi LA, DDB Berlin and Leo Burnett Hong Kong and media like Time, Fortune, Wired and the Wall Street Journal.Tsevis studied Visual Design in Athens and Milan and he now teaches Visual Communication at AKTO College in Greece. He frequently contributes to prominent publications with articles on design theory, aesthetics and cyber culture. His work has been featured in many prestigious publications around the world and his works have been exhibited in galleries and museums around the globe.





more about the artist Twitter: @tsevis


Would You Like To Go Back In Time? InPrint Magazine is a design, fashion, and arts magazine and would like to feature your works in it. InPrint Magazine is read by hundreds of thousands of people and has millions of visits each month! We’re present in over 180 countries and continue to grow!






Purchase your InPrint Magazine On MagCloud website on demand. Rich colors and affordable prices. Don’t miss out, get your copy today!


nPrint Magazine

from scratch

With love by Astrid Kricos

Cinnamon Apple Pie Ingredients:

4 red apples 4 tablespoon brown sugar 3 tablespoon cinnamon 3 tablespoon flour 200g (two sticks) unsalted butter 2 eggs 1 teaspoon vanilla extract 2 cups all-purpose flour


Preparation and cooking time:

preparation: 20 min. Chilling the dough: 45 min. Baking: 30-40 min

Apple pie was brought to the English colonies by the British, Dutch, and Swedes during the 17th and 18th centuries.In the English colonies the apple pie had to wait for the planting of European varieties, brought across the Atlantic, to become fruit-bearing apple trees, to be selected for their cooking qualities as there were no native apples.] In the meantime, the colonists were more likely to make their pies, or “pasties�, from meat rather than fruit; and the main use for apples, once they were available, was in cider. However, there are American apple pie recipes, both manuscript and printed, from the 18th century, and it has since become a very popular dessert[citation needed]. All apple varieties are propagated by grafting, as clones, but in the New World, planting from seeds was more popular, which quickly led to the development of hundreds of new native varieties. Apple pie was a common food in 18th-century Delaware. As noted by the New Sweden historian Dr. Israel Acrelius in a letter: “Apple pie is used throughout the whole year, and when fresh Apples are no longer to be had, dried ones are used. It is the evening meal of children.


How it’s made ----------------------------------

1. Beat the butter and 2 tablespoon of brown sugar well

2. Add 1 whole egg, 1 egg yolk and beat

3. Add the flour and mix dough and chill it for 45

6. Add the apples to the mixture Heat the oven to 190 C Cut the dough into two halves

7. Line the baking tray (picture showing different tray sizes) with the dough by pressing your fingers against the base until you create a smooth surface.

devine and deliCious


x well. Roll into a 5 minutes

4. Peel, core and cut the apples into cubes


5. Mix the cinnamon, flour and 2 tablespoon of brown sugar well

8. Leave an edge of the dough to roll it over the straps later. Fill the tray with the filling

9. With the other half make different length straps and line them nicely above the filling Roll the edges over the strap Brush with an egg white or milk Bake for 30-40 minutes or until golden

s, Serve hot or cold — Enjoy!


Do You Have Self



pline ER?

Goi So elf-discipline is somewhat of a dirty two-word phrase to most people. When they hear it, they think of restriction, inability to do what they want and other unpleasant thoughts. In reality, self-discipline is needed in many areas for people who largely work alone. The vast majority of freelanc-


ers work alone in a home office, in a café or restaurant, or lately in co-working offices (invariably with earphones in their ears to get some peace) from other co-workers. In all the above cases you will need to deal with some difficult challenges along the way in your freelance career to get the best results possible. A lackadaisical attitude won’t work.

It’s partly true that as a freelancer you may be able to choose your working hours, but you’ll still have projects, deadlines and the expectation of clients that you will be quick to respond to their messages, so disconnecting is easier said than done. It’s a little like the digital nomad image of a twenty-something sitting on the beach, in a deck chair, with his Macbook,


ing olo earning money. What the popular image doesn’t convey is that the beach will be too hot for the laptop to stay operational very long, the battery won’t last, the sand kicked toward the laptop will get inside and degrade it pretty fast, and you probably won’t have a Wi-Fi or 4G LTE while your enjoy the sun-rays… There is a big difference between the dream and the reality, and self-discipline is often the

glue that brings the dream and Managing your own expenses is important so as to ensure that the reality together. you don’t run out of money.

What Are the Self-Discipline Traits Your Need Sound business finances. Just For Success? as important is ensuring that


Good personal financial management. Freelance income is highly variable at the best of times. Holiday periods like Christmas interrupt the flow of work projects and often completely interrupt payment cycles.


you have good practices for collecting payments from clients. Wherever possible, get deposits upfront to both limit your downside of not being paid at all for your work, and also to increase your cash-flow.



If you have low self-esteem issues that cause you to undervalue your services to clients, then you’ll under-earn.

Charge what you’re worth. Find out what the going rate is for your kind of services at the quality level that you offer and then charge appropriately. If you have low self-esteem issues that cause you to undervalue your services to clients, then you’ll under-earn. Do something about that. Compare rates with others, be realistic and charge appropriately.


fair rate for your work, otherwise your cheapskate clients will only recommend their cheapskate friends and you’ll still be working for pennies.


Look for new directions to go into. Don’t only ever offer one service unless you are doing great at it. It’s better to expand your horizons by training in new areas and adding new products Add the personal touch. Email or and services to the mix. phone clients to see how things are going. Make sure they feel Stay current in your industry. like they and their business are Don’t let your feet go to sleep. valued. One advantage a small Update your skills as a writer business has is that they don’t or add new programming lan- have to treat a customer as a guages as a programmer. Don’t number. Make that advantage get left behind. count.

Always be closing. As the line from an old Alec Baldwin film made famous, never stop marketing, never stop closing deals. Even if you’re busy right now, the projects on deck now will be completed and you’ll be left with nothing if you’re not careful. Allocate time daily and weekly to Start early. If you start earlier in market your services. the day, you’ll have more energy for the tasks of that day. The latExpand business horizons. er you leave it to get started (on Look for how your competitors the rote idea you can work when are finding new better paying you like) the more tired you’ll be, clients and follow in their foot- the slower you’ll work and the steps. Stay alert to new oppor- more mistakes will creep into tunities for finding new clients. your finished product or service.

5 6

Ask for referrals. Asking for referrals from happy customers is an ideal was to get qualified new clients. It’s important though that you are charging a InPrint | Fall 2014

used to waiting 24 hours for customer services to get back to them and running up against a “dial 1 for this, dial 2 for that, dial 3 to be ignored…” automated phone service. Your email response time is still likely to be faster than the bigger competition even if you only check email three times a day.

8 9



Keep up with social media. Monitor important social media channels and review all your own social media accounts for pertinent messages. Frustrated customers are now posting their frustrations onto social media by which time everyone else hears their grievances. Post on relevant issues and be helpCheck email regularly but not ful to people. It makes you look too often. Checking email every more professional and can lead hour or two is usually enough to more business. to show that you are keeping in contact. Most businesses are



Take on less desirable tasks. Sometimes because of a lull in new business projects or a desire to get your foot in the door with a particular new client, don’t be too quick to turn something down. If it really isn’t a good fit for you, it’s something you’re ethically uncomfortable with or you don’t feel that you’re capable of completing the task well (consider outsourcing in that case rather than throwing away the new client contact completely), then be willing to say no. But know where the line is drawn rather than being too quick to dismiss something that might have turned out to be a big opportunity.


is a great way to lose focus, lose discipline and deliver a poor result. Taking adequate time off is important to ensure you don’t burn out and you can deliver what your promise.


Never stop. When you take on an assignment, it’s vitally important that you complete the task. Your client is relying on you to deliver what you agreed to do. They have made plans for the receipt of your deliverables. It will screw up their business if you fail to deliver and they may move against you, which could affect your business negatively going forward. For all these reasons, and just because you’ve given your word, never quit on Look for regular assignments. If what you said you would deliver. you’re in a business sector where you can get ongoing clients like Don’t accept assignments if you with freelance writing, then this don’t want them. Self-discipline is more desirable than needing with freelancing also means to find new clients every week. knowing when to say no. If you On occasion, even if the regular take on an assignment, you’ll client who pays a little less than need to follow it through to fruiyour one-off clients may work tion. Therefore, you do need to out if you can balance that out consider each assignment propwith other higher-paying assign- erly before taking it on. Doing ments. a poor job on a specific assignment for a regular client because Ring-fence time-off. As a small you were too eager to please is business owner it’s all too easy to a recipe for losing the regular work too many hours, get used to client. If you say no, that you do a 7-day week and never take an not feel you could do well at that evening or a weekend off. This particular assignment, the client

14 17 15

may find that inconvenient but they will still appreciate you not taking on something that you couldn’t do.


Stay polite when dealing with unpleasant people. There are some clients who are just not nice in business. They will make things unpleasant for you. Conversations can quickly deteriorate, anger can flare up and things can get ugly. In this day of instant communications, it’s just not worth letting things get that far as it’s all too easy for them to take the argument public. Whether you’re right or wrong, you’ll come off looking bad as they twist your words by taking only certain excerpts that suit their purposes. Readers will only catch the highlights and draw a fast conclusion (the wrong one), but won’t stick around to hear you correct it. Part ways with clients who are trouble, even if you’ll lose money in the process, before this affects the rest of your freelancing business. You cannot teach bad people to behave better. Stop trying.


Fall 2014 | InPrint



Call For Artists

InPrint Magazine is looking for artists to feature their works in an upcoming issue called INPRINT NUDE ART. We are looking for modern, tasty classy and different forms of nude art. If you think you have what it takes and would like to be considered please send us links of your online portfolio or website to






Hector Trunnec is a young artist born in Valencia, Spain, specializing in portrait, illustrations and comics. Recently graduated in the College of Fine Arts San Carlos of Valencia. After participating in several exhibitions of drawing and painting, he now works as Illustrator/retratist his traditional favorite techniques are; watercolor, graphite and ink. Hector has also been preparing himself to launch his first comics project. So stay tuned!!!






more about the artist

10 movies to have in your movie arcade 1. The Color Purple - 1985 2. The Guns Of navarone - 1961 3. Blade runner - 1982 4. Madmax, beyond the thurderdome - 1985 5. ben hur - 1959 6. airplane - 1980 7. silence of the lambs - 1991 8. after hours - 1985 9. calamity jane - 1953 10. sleepers -1996

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Designers Creatives Innovators Dreamers WE ARE AIGA join us. Southern California AIGA

Fall - 2014

PO BOX 83324 SAN DIEGO, CA 92138

InPrint Magazine Issue 17  

Roman Mitchenko -photographer Filippino lippi (inprint history) Madelyne joan templeton - illustrator Aryan khani - illustrator Troy bro...

InPrint Magazine Issue 17  

Roman Mitchenko -photographer Filippino lippi (inprint history) Madelyne joan templeton - illustrator Aryan khani - illustrator Troy bro...