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ISSUE 0 2

//Fashion //Photography //Design


CONTENT

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D R E S S U P S E AS O N CARRIE JADE CAI

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(N O )W H E R E (N O W )H E R E EVELYN WANG

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FAC E S + PLAC E S CAMILLE ROJAS

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C AR B O N C O PY STEPHANIE SMALL

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BZR JING YANG


//FAS HION //PHOTOGRAPHY //DESIGN

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T H E S PE C TAT O R S TAG E ANDY VATHIS

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D Y S T O PIA RAEZ ARGULLA

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LIG H T W E IG H T S CALUM HURLEY

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F O RT M c M U R R AY PAUL SWANSON


I S S U E 02 EDITOR’S NOTE

We have come a long way since our founding in 2013 where we presented a publication that hoped to highlight the talent of Ryerson University. With the launching of RADmag’s second issue, I look back on our past year and am astonished at how much has changed since our first publication. Our team has more than doubled, and with that, the staff of RADmag has developed a sense of collaboration that makes me extremely excited for the magazine’s future initiatives. It is such a pleasure working with the individuals of RADmag to create a publication that celebrates the work of the students within Photography, Fashion and Interior Design. The vast array of submissions we received this year has me in a state of awe, and opens my eyes to the talent that will be blessing the creative industry in the future. I would like to congratulate the hard working staff at RADmag for producing this magnificent monument to student initiatives, as well as the wonderfully passionate artists who contributed their work to our January issue.


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THE ALUMNI RANI KIM

Emerging designer Rani Kim is re-conceptualizing men’s fashion and modernizing the new era of menswear through her brand, RANK BY RANI. Beginning her fashion education at Ryerson University, Rani was trained to appropriate utilitarian design by redefining the structures of masculine menswear. Currently, Rani is working at Joe Fresh as a product development assistant. Rani has been selected by THE COLLECTIONS, a Toronto-based design management and consulting firm, to join their SS15 roster under a unique program called THRESHOLD. THRESHOLD is a program dedicated to supporting and mentoring two new designers looking to show at World MasterCard Fashion Week.

ARTHUR MOLA

After graduating from the Image Arts program in 2011, I became the Lead Entertainment Photographer for The Associated Press/Invision. I have had the opportunity to photograph the Cannes Film Festival, Sundance Film Festival, TIFF, and other events, and have had my work published in magazines such as Vanity Fair, InStyle, People, and GQ. In addition, I often shoot a variety of work under private hire including portraits, events, and campaigns. Looking back at my career thus far, I have had the opportunity to work with many wonderful clients as a result of the valuable relationships I built during my time at Ryerson.

NELLY AKBARI

Nelly Akbari knows that it is easier to fall in love with the fashion industry than to try to find a place within it. Being a fashion stylist was a career goal for Nelly, and being accepted to the Fashion Communication program at Ryerson University helped her achieve it.

Currently, Akbari is the fashion assistant for TOM* Magazine, which runs in conjunction with Toronto Men’s Fashion Week. This new venture for the Canadian fashion industry goes beyond solely focusing on menswear, by highlighting the reality that this industry will not grow if we do not support it.

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THE ALUMNI LETITIA CHAN

Chan is now starting her career working with the luxury womenswear designer Adam Lippes, the previous creative director of Oscar de la Renta. She has taken up a position in digital marketing and ecommerce, and believes that the next year will be an incredible learning opportunity. Through her own experience, Chan feels that finding an internship you enjoy is extremely important. University can be academically strenuous, but you need to make time to find work as well. Chan recommends interning at small companies because they allow you to build better relationships and work with more people. They also give you more opportunity to take on a vast array of responsibilities you would rarely take on in larger companies; prestige isn’t everything.

SÉBASTIEN DUBOIS-DIDCOCK

Sébastien Dubois-Didcock is a Ryerson University Alumni from the School of Image Arts. Graduating from the Photography program in 2014, Sébastien spent his last year helping to found RADmag and acted as Senior Photo Editor. Throughout his school career, his primary photographic focus was on food and product, and he concluded his studies with a final thesis project inspired by the favourite dishes of iconic figures.

Today, Sébastien currently works as a First Assistant to Dan Lim, a Toronto-based fashion photographer. He has also started his career as a freelance photographer, helping young foodrelated businesses to advertise and build brand identities.

ANTONELLA PICA

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A graduate from Ryerson’s Fashion Design program, Antonella Pica currently resides in London, England, working for the menswear label, Hackett London. Her current position at the company has her working with the brand’s Creative Director and Senior Designer, and has given her the opportunity to travel internationally for showroom/factory visits. Through her employment at Hackett London, Pica has also garnered much experience regarding the process of product development, and is relied on to maintain quality control for the international brand


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Carrie Jade Cai DR ES S U P S E A S ON Carrie Jade Cai is currently a Fashion Communication major at Ryerson University and a creative hustler. You can find her taking fashion portraits, lurking music blogs, or blinding friends and strangers with the flash of her disposable cameras. Carrie has an interest in creating visuals and depicting stories, and uses her images and narratives to portray “idealized” people and lifestyles. Her work is inspired by movies and television, and is focused on fashion, youth, intimacy, and beauty. These interests are displayed through her choice of young subjects for her fashion digitals, and the nostalgic medium of analogue film for her friends and everyday moments. Carrie believes that opportunities are both made and found, and these opportunities have helped Carrie to produce all of the work she has created thus far.

MAKEUP/HAIR STYLIST THEA ACIERNO

shot against a traditional schoolyard backdrop to create a romanticized, teenage landscape that expresses youth and eccentricity. This teenage landscape was drawn from nostalgic memories of proms and dances being held in school gymnasiums, and conveys bright, beautiful aesthetics that aim to induce feelings of desire and nostalgia.

carrie@carriejade.com

MODEL MURPHY MACDONALD-REA

@carricature

FASHION DESIGNER JORDAN DE RUITER

@carricature www.carriejade.com facebook.com/carriejadephotography carricature.tumblr.com

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Dress Up Season was shot as a mock lookbook campaign for Jordan de Ruiter, a Toronto-based fashion designer. This campaign was part of a final assignment for Communication Design II, a second-year Fashion Communication course, which required the creation of promotional material for a specific brand. The clothes featured are fun and girly party dresses from Jordan’s Spring/Summer 2014 collection, which were


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E v e ly n Wa n g (NO)WHERE (NOW)HERE Evelyn (Shuang) Wang is a third-year interior design student at Ryerson University. Deeply drawn to interior design, Evelyn sees each and every space as having its own distinctive identity. She believes these spaces possess lives of their own as they interact and communicate with occupants. The explorations of corporate identity truly fascinate her as expressions of brands go beyond aesthetic language, and often are intertwined with structural bones, spatial volume, and formal programming. With a creative and bold approach to design and a respect for tradition, Evelyn is willing to take risks and challenge the “impossible” in the field of design.

Responsive in nature, the interior transforms within the exterior shell, creating and erasing one moment after another. With the integration of electronic technology, such as an automated pulley system and crisscross scissor lifts, the entire studio changes according to the needs of the user. The aesthetics of the studio are inspired by the movement often found in Ying Gao’s works. Inspired by her collections

post-vernissage and playtime, the crisscross geometry possesses a delicate quality, that is enlarged and technologically modified to redefine the interior of the fashion studio. Often hidden from the eyes, such surface condition is found not only in the interior skin (walls, partitions and shelves), but also in the structural bone (ceiling) of the studio. Surfaces become mobile, and spaces become fluid, allowing the interior to easily interact with occupants of the space. This studio space is uniquely designed to accommodate the needs of designer Ying Gao. The studio is a secondary “sewing machine” that aids in Gao’s design process and creation, ensuring each design phase flows seamlessly into the next. The multi-faceted aspect of the space transforms the studio interior from barren to breathing. By fusing fashion and technology, a timeless space is created for timeless design.

/evelyn.wang.7169 @evelyns.wang www.evelynshuangwang.com shuang.wang@ryerson.ca

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Fashion is often said to be short-lived, or temporary. The designer Ying Gao creates unique works that mimic human nature and the act of responding. She turns what could have been fleeting materials into timeless designs. Her take on fashion distinctively merges technology with fabric, adding an aspect of movement to her pieces. Drawing from her design philosophy, the studio (No)where (Now)here, is created with interactive technology, giving a previously lifeless space the ability to respond and interact.


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CAMILLE ROJAS FA CE S + P L A CE S Camille Rojas is a visual artist from Toronto currently in her 3rd year of studies at Ryerson University. Much of her work lies within the realm of portraiture, as she is interested in the stories people’s faces tell.

During the beginning stages of planning, I photographed a portrait of myself wrapped in string to mimic the overwhelming claustrophobic feelings prompted by my anxiety. I looked at this image again and thought about putting someone else in this situation; I wanted to place people in my position, quite literally forcing my experiences onto them. Nevertheless, the project is not centered around myself, but rather around the way in which the

sitters reacted to my “experiences” through the encompassing string and the process of the very odd portrait session. I decided to photograph four people from different backgrounds, some of whom have never been present in front of a camera. For some, they felt very vulnerable. Others spoke about the meditative process, even with the thread constraining them. Some were so hypnotized by the lens, it was as if for a brief moment, they lost themselves in space. I choose to shoot with a 35mm film camera because of the reactions that non-photographers have when photographed by an analogue medium. I find that the ritual of winding my film to the next frame, and then pressing the shutter release, compels the subject who is sitting beyond the lens.

camillerojas.tumblr.com @camiillerojas camillemarierojas@hotmail.com

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This project began as an attempt to further my understanding of my own anxiety and panic disorder. I’ve always had anxiety, but recently it has come to consume much of my daily life. I often have trouble explaining this feeling verbally, and felt that as a visual artist I would be able to best communicate my own experiences through the use of the image.


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ST E P H A N I E SMA L L CARBON COPY Stephanie Small is currently in the process of creating her graduating collection, to be shown at Mass Exodus on April 1st, 2015. Stephanie believes that fashion should not be catered to gender, but rather to personal style. Her graduating collection is a 15 piece unisex collection titled X, and plays with the contrast of texture and colour. This will be the first collection under her new brand, Small Studios, for Fall 2015. This unisex brand, which erases the line between masculine and feminine fashion, will be a Torontobased company that represents the city’s culture, and will create garments that allow people to express their personality. Small Studios believes in the whole experience of fashion, from creating a strong conceptually driven idea that is expressed in every detail of each garment, to communicating this idea through photography and videography. Small Studios tries to bring various art forms together to create an artistic and cultural experience within each collection; it’s more than just clothing.

I spent the beginning of 2014 travelling overseas to Europe, and during my travels I was inspired by the unique architectural forms that I saw. I took what I experienced and started folding pleats in paper to see if I could achieve similar forms. Immediately, I was drawn to the movement that the pleats created; they could be laid flat and be hidden, or fanned out to completely change their silhouette. In a way, I was reminded of how we, as people, act in society. We are very basic and filtered on the outside but, when opened up, we are complex on the inside. It is as if we are flat molds of each other that hide who we really are on the inside. This concept is what inspired the creation of Carbon Copy.

the use of oversizing, zippers, and snaps. The garment begins as a basic jumpsuit, but as you begin to unzip and snap pieces off, it transforms into various complex looks. The multi-functional aspect allows the wearer to choose a look specific to his or her personality. The contrast between the minimal look and the intricate pleating creates the option to stand out or fit in. The making of Carbon Copy started with paper origami pleating, and the pleating was then paired with basic rectangular shapes.

While in Amsterdam, I teamed up with the photographer Liselotte Fleur to create contemporary images that perfectly evoked the garments’ intention. To mimic the modern style We continue to edit ourselves until we fit the of the clothing, we shot near the Amsterdam mold that society has created. Our identities harbor outside the famous film institute, The Eye. are lost because we try to adhere to these so- In the end, the sleek architectural background, in called “requirements”. As a result, we become combination with models of a similar, clone-like uniform. Carbon Copy is a unisex garment aesthetic, made for a visually coherent series that transforms into five different looks through of images.

/smallstudiospage @smallstudios_ @smallstudios_ info@smallstudios.co www.smallstudios.co

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PHOTOGRAPHER LISELOTTE FLEUR MODEL S JIM VAN HOOF / ISABEL KEVENAAR


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JING YANG BZR Jing Yang is currently in her third year of studies at Ryerson’s School of Interior Design. Her interest in urban exploration and light as materiality pushes her to explore spaces that stimulate interaction with the physical realm and focus on human experience. Jing hopes to create beautiful, impactful, and sensitive spaces from a holistic approach. She has been part of innovative projects such as the Creative Class team at the Interior Design Show 2014 and The Ryerson School of Interior Design’s collaboration with The Stop Night Market.

BZR is a destination to learn, practice, network, individuals with different experiences. Guests and master. Driven by the need for the witness a change from containment to expansion revitalization of human activity, productivity, and as they enter the warehouse space and are given buzz in the Davenport area, this culinary house a bird’s eye view of the restaurant, culinary school, and restaurant located at 960 Dupont Street and neighbouring brewery from the mezzanine. creates a greater connection between the local The tiered seating and lounge space of the office community and the food industry. The restaurant can be seen from the restaurant itself. Similar space transforms into a social space during to the restaurant, the office integrates changes events such as multicultural functions, farmers in ceiling height with undulating acoustic ceiling markets, and food festivals, which enlivens the panels that drop in spaces requiring greater area, and provides networking opportunities for acoustic privacy, while also providing sculptural industry professionals. In the restaurant specialty visual interest. Throughout the space a variety office, related services are provided to restaurant of areas are provided, such as tech pods for entrepreneurs, culinary students, and all food easy consultations, collaboration tables, and enthusiasts. quiet recuperating pods. The space celebrates the existing architecture of the building with its addition of similar, complementing materials, whilst leaving most structural elements exposed. The restaurant’s interior plays with varying heights to provide

jing738@yahoo.com

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www.jingyangdesign.com


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ANDY VATHIS TH E S P E CTAT OR S TA GE Andy Vathis finds himself photographing anything and everything that can be found moving across a landscape, but favours the extreme sports genre. He began using a camera to shoot friends skateboarding in his neighborhood. This quickly transitioned into photographing mountain biking and whatever else peaked his interest. Working as a photographer has given Vathis the opportunity to travel, and gain access to lifestyles that would otherwise be private. He prefers to document subjects outside of action scenes, ultimately constructing a series of work that reads as a narrative. Andy also tries to include the broad landscapes that he is presented with when shooting, and other important details to introduce context to each series. Skateboarding, mountain biking, and other extreme sports take place in their respective locations, but the exciting atmosphere remains a common characteristic in each setting. When Vathis is not putting together work for clients or school, he enjoys driving up and down country roads, or taking impromptu trips to different locations to look for interesting compositions. He uses the photos taken on his impromptu trips as mental notes for future shoots, or as a time-lapse of how he has moved through particular locations during specific times.

I have been reminded many times to always meet the drivers. Media and camera crews are pack an extra camera with me when setting out often on the prowl for any pre-race interviews to shoot an event. Not for the practicality or to and stories, and you can find co-drivers doing avoid switching lenses, but to shoot in a way a final scan through pace-notes and mechanics. that captures the experience for myself. This Once the official start time nears, a faint smell was the second consecutive year that I’ve had of racing fuel emerges in the atmosphere as a media pass to cover the Rally of the Tall Pines, engines anxiously idle, trying to stay warm. which marks the last race of the Canadian Rally This series was shot on black and white 35mm Championship. film with my old Minolta. The lack of colour The series of photos I’ve chosen to showcase removes distraction, as rally cars are traditionally from the event shy away from the heavy action covered with bright coloured decals from shots of rally drivers pushing their limits. Instead, sponsors that compete for viewer recognition. I chose the approach of documenting the calmer By using a monotone colour palette, the eye morning routine that occurs before the teams can travel across the photographs seamlessly and their cars line up at the start. During this without the need to constantly readjust, and time, spectators have the opportunity to see have the ability to further scrutinize the details. their favourite cars up close and, if they’re lucky,

/andyvathisphoto @andyvathis @admitnone

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andy.vathis@gmail.com


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Raez Argulla D Y S T OP I A Raez Argulla is a Torontonian originally from Winnipeg, and currently in her third year of Fashion Communication at Ryerson University. Raez intends to pursue freelance fashion photography postgraduation. She is armed to achieve this goal with a technical background in photography, gained through a year of vocational training, and a Bachelor of Design that she plans to complete by 2016. Raez hopes that all the years she has spent scouring online fashion forums, pouring over Vogue Italia spreads, and creating countless self-styled shoots with high school pals can finally be put to good use. After all, the only thing that gets her out of bed in the morning is the idea that she will soon be spending her days collaborating with creative people in the fashion industry. She looks forward to future photo shoots driven by storylines and inventive themes, that will, most importantly, turn daydreams into images.

This work was inspired by a dystopian future, observing as the events unfold? The meaning run by an oppressive totalitarian government. It is open for interpretation. could be described as similar, but not identical, The various members of our creative team made to the dystopian settings in George Orwell’s this project possible. I was behind the lens. The 1984, and Margaret Atwood’s A Handmaid’s creative director was Olivia Dolphin, a recent Tale. The setting I imagined was vague—after Ryerson Fashion Communication graduate. Our all, I’m not a science fiction writer. There were amazing stylist, the talented Justine Veneracion, no hints to a specific place or time in my shoot. was in charge of hair and makeup. Our muse There were also no direct references to a was Belinda, a gorgeous new face from Elite ruling power, or to who or what “they” were Models. We shot at a few different locations oppressing. However, there was a feeling of around Fort York, but the recently finished June darkness and unrest, despite the technicolor Callwood Park became our favourite spot—the brightness of the landscape. A sense of urgency fluorescent pink installment was too good to and quiet chaos could be found stirring beneath pass up. The installment was exactly what we the heroine’s plain, uniform-like attire. The were looking for to complete our dystopian story is kept ambiguous; is she planning an vision. escape, anticipating a rebellion, or is she merely

raez.contact@gmail.com

STYLIST OLIVIA DOLPHIN

@raezz

MODEL BELINDA @ ELITE MODELS

@raezz www.raezargulla.com

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MAKEUP/HAIR STYLIST JUSTINE VENERACION


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C a lu m H u r l e y LIGHTWEIGHTS Calum Hurley is a third-year Interior Architecture student at the University of South Australia, and is currently on exchange studying at Ryerson’s School of Interior Design. Hurley has a strong interest in creation and, more specifically, creating through computer-aided technology. There is a distinct motif throughout Calum’s work, which commonly features geometric designs and the colour red. This signature aesthetic originated from his personal preference, and continues to reflect the consistency in Calum’s work as he aims to perfect his current style. The majority of Calum’s designs are fully actualised digitally before production begins to minimize wastage, and to aid in producing the highest quality product possible. With his sights set on furniture and home decor design, Calum hopes to continue his practice, and to delve deeper into making through modern, technology-based methods.

The title Lightweights directed the final outcome source. There is no external wiring on any of the of the piece, but was realized through a process pieces due to “gravity switch” technology. Each of elimination. Nightlight. Candlelight. Delight. lightweight can be turned on and off by turning it Light Globe. Lightweight. 180° and placing it on one of the many facilitating facets. This interactive quality engages the user Working with the form of “light,” which has an through a motion not usually required for the endless number of outcomes, this piece utilises task of art appreciation. At the same time, the the additive colour system of combining red, user is also able to gain a better sense of the green, and blue. Light is pulled into the materiality objects themselves: their weight, their balance, of the pieces, while at the same time each face and their tactility. appears to be a different shade simply due to its position towards an external light source. Very early prototyping was undertaken by hand carving cavities, but the use of a CNC milling Lightweights are forms that are solid and heavy machine was used to help produce the final enough to be considered a weight, yet still have product. Each piece is constructed from solid an overarching light quality to it. They draw Australian pine, and features accents of 3mm together the colours, facets, and perceptions of acrylic. light through the material representation of a light

@calumhurley calumhurley.tumblr.com

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calum.hurley@ryerson.ca


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Pa u l Swa nson FORT M c MURRAY Paul Swanson is from Edmonton, Alberta. This might partially explain why he really enjoys photographing mountains and farms. Aside from that, he likes to produce editorial, lifestyle, and sports photography, and tries to pull out a visual story for anyone viewing his images. His favorite photographers range from Jonathan Mannion, Chris Buck, and Mike Blabac, to Robert Adams. It’s hard to put his work into one specific genre, but until it ends up being a problem, he’s comfortable photographing what he sees and sharing it with anyone who wishes to look.

Fort McMurray is a city literally built on oil, and sits on bitumen (oil soaked sand) that is mined throughout the Regional Municipality of Wood Buffalo. You don’t need to travel north to the mines to see the oil, because on a warm summer day it will seep out from the riverbanks in the city. Originally a fur trading post, and before that a meeting point for numerous First Nations people, Fort McMurray is now a city of 65,000+ people and is key to not only Canadian natural resource development, but to the world. A significant amount of funding is put forward by the oil companies each year to help create a vibrant community for the people living in the city—a large amount of those individuals being workers in the industry. This series is meant to increase the personal knowledge of individuals outside of the Fort

McMurray community, and help others understand the city and landscape through a visual representation. A large amount of imagery published on Fort McMurray focuses very narrowly on the extraction of resources, and this contributes to the lack of general knowledge about the city. As a byproduct of the work, an undeniable effect of these photographs is that they illustrate the complex argument for and against the use of fossil fuels. Fort McMurray exists in a symbiotic relationship with the mines just outside of the city—without one there would not be the other. Since there is such a strong connector between the extraction of natural resources and the community that is built upon this process, it is very hard to distinctly separate these two areas for discussion. This is a series that not only comments on this relationship that exists in Fort McMurray, but also on the relationship that occurs on a global macro scale between the individual and oil.

@paul_swanson_ @paul_swanson_ www.paulswanson.me swanson.pr@gmail.com

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This collection of photographs shot between August 2014 and November 2014, is a documentation of Fort McMurray, Alberta and the surrounding areas of the Syncrude and Suncor Oil Sands mine sites.


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RADmag Issue 02 - Winter 2015  

Ryerson Art + Design Magazine

RADmag Issue 02 - Winter 2015  

Ryerson Art + Design Magazine

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