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q 51
LuckLuckLuck
Luck
LuckLuckLuck
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Luck2271 torrance boulevard no. 6 torrance ca 90501
p: 210.380.9547 e: [email protected]
w: http://www.karenpedroza.com
KAREN PEDROZAGRAPHIC/WEB DESIGNER
e22
More than half of all adults say they play the lottery, and more than a quarter regularly frequent casinos, according to a 1999 National Opin-ion Research Center study. Each year Americans lose more than $50 billion on legal wagering in casinos and bingo halls, on lotteries, and at racetracks. They spend an additional unknown amount in private settings, such as poker games, and through illegal channels, such as bookies. “Judging by dollars spent,” writes Timothy L. O’Brien in his book Bad Bet, “gambling is now more popular in America than baseball, the mov-ies, and Disneyland—combined.”
This enthusiasm for gambling is as old as the nation itself. During the Revolutionary War, states sponsored lotteries to help finance their armies. Thomas Jefferson advocated state-sponsored gambling as a voluntary, rather than a coercive, tax. Lotteries became popular again after the Civil War, when southern states used them to finance Reconstruction projects. Lotteries were sanctioned because they raised funds for wor-thy causes; other forms of gambling remained illegal and socially unac-ceptable until the twentieth century.
Introduction
Americans love to gamble.
Many states started to permit betting on horse and dog races in the 1920s, and Nevada became the first state to legalize casino-style gambling in 1931. Every state had banned lotteries because of scandals in the 1880s involving embezzlement and fraud, but in 1964 New Hampshire, which has no income or sales tax, revived the lottery as a means of generating revenue. It was an enormous suc-cess, with the majority of tickets purchased by out-of-state residents. “In the next ten years,” writes economics professor Richard Mc- Gowan, “every northeastern state approved a lottery.” But, he reports, “the greatest growth of state lot-teries occurred between 1980 and 1990. Twenty-five states approved lotteries, offtrack betting, keno, and video poker machines.”
However, the 1990s may be remembered as the decade in which Americans truly embraced gambling. In 1993, for the first time in U.S. history, revenues from casino gambling were greater than those from state lotteries. According to McGowan, “this marked a turning point: Casino gambling became the preferred form of gambling in the United States. It also marked the acceptance of gambling as a legal source of entertainment.”
e 23
One reason for this was the enor-mous growth that Las Vegas expe-rienced in the early 1990s. Tourism jumped by 24 percent in this period, and by 1996 the city’s population was almost four times what it had been in 1980. This was in part because the gambling mecca had pursued a massive public relations campaign, downplaying its image as “Sin City” and instead marketing itself as a family-friendly vacation destination. Casinos such as the MGM Grand, for example, built roller coasters and theme parks in addition to slot machines and craps tables, and the $900 million Mirage casino-resort created an all-ages tropical theme park in the middle of the desert. Another factor in the city’s growth was the lure of slot machines, one of the most popular forms of gambling: In 1983, revenue from slot machines surpassed that of other games, such as blackjack or roulette, for the first time.
Another important development in the 1990s was the spread of Indian casinos. Many American Indian reservations are on lands that lack natural resources, and poverty and unemployment are exceptionally high among Native Americans.
In the 1980s many tribes looked to casino gambling as a means of generating both jobs and tribal rev-enues. In 1987 the Supreme Court ruled that tribes could operate legal forms of gambling on their lands free from state regulation and taxes. In response to criticism of the large amounts of untaxed, uncontrolled income, Congress passed the Indian Gaming Regulatory Act, which returned some power to states. The result has been a compromise, with tribes and state governments negotiating over whether a tribe may build a casino The result has been a compromise, with tribes and state governments negotiating over whether a tribe may build a casino and what types of games it may offer. Today there are more than 120 Indian casinos in 28 states. The most successful of these has been the Mashantucket Pequots’ Foxwoods Resort Casino in Connecticut, which is the world’s largest casino.
q10
8
DEFGHIJKLMNOPQRSTUB VWXYZ
ABCDEFGHIJKLMNOPQRSTUB VWXYZ
ABCDEFGHIJKLMNOPQRSTUBVWXYZabcdefghijklmnopqrstuvwxyz$@%#!@#$%^&***
acdefqrsvwxz$@#!@#$
ABCDEF
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VWX
YZ
AB
CD
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IJ
KL
M*
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PQ
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YZ
ab
cd
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fg
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lm
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rs
tu
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MHorseshoes
Four-leaf clover Amanita muscaria mushroom
The numerals seven, eight (in China), and
A Buckeye nut
Maneki Neko (in Japan)
Omamori (in Japan)
walks by your car
DEFGHIJKLM
J
E
R
Finding a penny with head facing up Horseshoes Four-leaf clover A rabbit’s foot
Amanita muscaria mushroom (fly agaric) Ladybugs (Ladybirds)
The numerals seven, eight (in China), and nine (in Thailand) Knocking on wood
Crossing one’s fingers
Being born on Christmas Day Throwing rice at a bride and groom
A Buckeye nut Maneki Neko (in Japan) Omamori (in Japan) Winning the lottery Bamboo Eating black-eyed peas on New Year’s Day
Making an X on your windshield if a black cat walks by your car
q 109FRank SinatRa
› › Luck be a
LaDy (4:57)They call you lady luckBut there is room for doubt
At times you have a very un-lady-like way
Of running out
Your on this date with me
The pickins have been lush
And yet before the evening is over
You might give me the brush. You might forget your manners
You might refuse to stay
And so the best that I can do is pray
Luck be a lady tonight
Luck be a lady tonight
Luck if youve been a lady to begin with
Luck be a lady tonight
Lets keep this party polite
Never get out of my sight
Stick with me baby, Im the guy that you came in with
Luck be a lady tonight
A lady never flirts with strangers
Shed have a heart, shed be nice
A lady doesnt wander all over the room
And blow on some other guys dice
Luck let a gentleman see
Just how nice a dame you can be
I know the way youve treated other guys youve been with
Luck be a lady with me
A lady never leaves her escort
It isnt fair, it isnt nice
A lady doesnt wander all over the room.
Lets keep this party polite
Never get out of my sight
Stick with me baby, Im the guy that you came in with
Luck be a lady tonight
q10
eqrw
q 11eqrw
Luck - DeFinition oF
1
For as long as I can remember, I’ve been playing cards with my family and friends, and winning too. Cards have a special place in my heart and bring back memories of a wonderful childhood. Since I’ve become a graphic designer and have become so involved with symbols and logos, I can’t help but love the card suites’ symbols, Spades, Diamonds, Clubs, Hearts. I always try to incorporate these symbols into my work in any way I can, and since one of the words I could work on was Luck I found it perfect for associat-ing it with cards.
Luck also has a big association with gambling and superstition. I decided to take that fact and center my book around it. In this book you will find a variety of articles, lyrics, lists of symbols and associations related to gambling. Even though I’ve never gambled in my life, I know it’s important to other people and can be fun but also very dangerous if it becomes an addiction.
I think it’s also important for you to understand the process of this book. The folios will always be different on every page, as you will find the col-umn count will also be different on every page. Since luck has a big part to do with gambling and randomness also does as well, I decided to incorporate a randomness factor into this book through the folios and page columns.
I’ve really come to love this book and I hope you do as well with all of the meaning and associa-tions behind it. I hope you find a lot of useful information in here with some fun on the side.
Enjoy!
q18
This view incorporates phenomena that are chance happenings, a person’s place of birth for example, but where there is no uncertainty involved, or where the uncer-tainty is irrelevant. This is the view of luck as contingency. Within this framework one can differentiate between three different types of luck:
Constitutional luck, that is, luck with factors that cannot be changed. Place of birth and genetic constitution are typical examples.
Circumstantial luck, that is, luck with factors that are haphazardly brought on. Accidents and epidemics are typical examples.
Ignorant luck, that is, luck with factors one does not know about. Examples can be identified only in hindsight. Another explanation of luck could be given as when preparation meets destiny.
A rationalist approach to luck includes the application of the rules of probability, and an avoidance of unscientific beliefs. The rationalist feels the belief in luck is a result of poor reasoning or wishful thinking.
To a rationalist, a believer in luck commits the post hoc logical fallacy which argues that because something is sequentially con-nected it is connected otherwise as well:
A happens (luck-attracting event or action) and then B happens;Therefore, A caused B.
In this particular perspective, probability is only affected by confirmed causal connec-tions. A brick falling on a person walking below, therefore, is not a function of that person’s luck, but is instead the result of a collection of understood (or explainable) occurrences. Statistically, every person walking near the building was just as likely to have the brick fall on them.
The gambler’s fallacy and inverse gambler’s fallacy both explain some reasoning prob-lems in common beliefs in luck. They involve denying the unpredictability of random events: “I haven’t rolled a six all week, so I’ll definitely roll one tonight”.
Luck is merely an expression noting an extended period of noted outcomes, completely consistent with random walk probability theory. Wishing one “good luck” will not cause such an extended period, but it expresses positive feelings toward the one -- not necessarily wholly undesirable.
Luck refers to that which happens beyond a person’s control.
q 19
Luck as an essenceThere is also a series of spiritual, or super-natural beliefs regarding fortune. These beliefs vary widely from one to another, but most agree that luck can be influenced through spiritual means by performing certain rituals or by avoiding certain circumstances.
One such activity is prayer, a religious prac-tice in which this belief is particularly strong. Many cultures and religions worldwide place a strong emphasis on a person’s ability to influence their fortune by ritualistic means, sometimes involving sacrifice, omens or spells. Others associate luck with a strong sense of superstition, that is, a belief that certain taboo or blessed actions will influence how fortune favors them for the future.
Luck can also be a belief in an organization of fortunate and unfortunate events. Luck is a form of superstition which is interpreted differently by different individuals. Carl Jung described synchronicity: the “temporally personal gains.”
Luck as a placeboSome encourage the belief in luck as a false idea, but which may produce positive think-ing, and alter one’s responses for the better. Others, like Jean Paul Sartre and Sigmund Freud, feel a belief in luck has more to do with a locus of control for events in one’s life, and the subsequent escape from personal responsibility. According to this theory, one who ascribes their travails to “bad luck” will be found upon close examination to be living risky lifestyles. On the other hand, people who consider themselves “lucky” in having good health may be actually reaping the benefits of a cheerful outlook and satisfying social relationships, both of which are well known statistically to be protective against many stress-related diseases.
If “good” and “bad” events occur at random to everyone, believers in good luck will experience a net gain in their fortunes, and vice versa for believers in bad luck. This is clearly likely to be self-reinforcing. Thus, although untrue, a belief in good luck may actually be an adaptive meme.
NumerologyMost cultures consider some numbers to be lucky or unlucky. This is found to be particularly strong in Asian cultures, where the obtaining of “lucky” telephone numbers, automobile license plate numbers, and household addresses are actively sought, sometimes at great monetary expense. Numerology, as it relates to luck, is closer to an art than to a science, yet numerologists, astrologists or psychics may disagree. It is interrelated to astrology, and to some degree to parapsychology and spirituality and is based on converting virtually anything mate-rial into a pure number, using that number in an attempt to detect something meaningful about reality, and trying to predict or calculate the future based on lucky numbers. Numerology is folkloric by nature and started when humans first learned to count. Through human history it was, and still is, practiced by many cultures all over the world from traditional fortunetelling to on-line psychic reading.
Luck in scriptureThe bearing that Isaiah 65:11 has on beliefs concerning luck is a matter of controversy.The lot is cast into the lap, but its every decision is from the Lord (Proverbs 16:33 NIV)The lot is cast into the lap, but its every decision is from the Lord (Proverbs 16:33 NIV)
I have seen something else under the sun: The race is not to the swift or the battle to the strong, nor does food come to the wise or wealth to the brilliant or favor to the learned; but time and chance happen to them all. (Ecclesiastes 9:11 NIV)
w56
In Japan there are certain things one does not do because they are thought to cause bad luck. A few examples are:
w 57
The number four: The number four is considered inauspicious because it is pronounced the same as the word for death (shi). Therefore, one should not make presents that consist of four pieces, etc. In some hotels and hospitals the room number four is skipped.
Stick chopsticks into the rice: Do not stick your chopsicks into your food generally, but especially not into rice, because only at funerals, chopsticks are stuck into the rice which is put onto the altar.
Give food from chopstick to chopstick: This is only done with the bones of the cremated body at funerals.
Sleeping towards the North: Do not sleep towards the North beacause bodies are laid down like that.
Funeral Car: If a funeral car passes you should hide your thumb.
Cut nails at night: If you cut your nails at night, you will not be with your parents when they die.
Lie down after eating: If you lie down immedeately after eating, you will become a cow.
Whistle in the night: If you whistle in the night, a snake will come to you.
Black cat: There are also some imported superstitions such as the believe that black cats crossing the street in front of you cause bad luck. In many shrines, temples and souvenir shops, amulets are sold that are supposed to bring luck, safety or good fortune. There are amulets for money, health, love, success on exams, safety on the streets, etc. Small pieces of paper (omikuji) that predict your future are also available. These pieces of paper are tied around the branch of a tree after reading; either to make the good fortune come true or to avoid the predicted bad fortune.
THIS BOOK WAS ORIGINALLY CREATED AS AN ADvENTuRE
book in mind. One that you could flip through and read whichever
storyline for whichever particular character you cared for. However,
after revaluating my original concept of change through travel, it
seemed best to keep this book in the tradition of maps.
This book was based off of a map of New York City. This only
seemed fitting considering that the story takes place in New York.
As you travel though the different chapters, you will notice that
the text also changes it’s position depending on where the story
takes place. The five different quadrants are: Manhattan, Brooklyn,
Queens, The Bronx and Staten Island. Manhatten represents Snow
White’s main character storyline, Brooklyn features Bluebeard and
Boy Blue, Queens for Prince Charming and Pinnochio , The Bronx,
Bigby and The Adversary, and Staten Island for Animal Farm.
IntRo
SA
UL
BA
SS
(192
0-19
96) w
as n
ot
onl
y o
ne o
f th
e g
reat
gra
phi
c d
esig
ners
of
the
mid
-20t
h ce
ntur
y b
ut t
he u
ndis
put
ed m
aste
r o
f fi
lm t
itle
d
esig
n th
anks
to
his
co
llab
ora
tio
ns w
ith
Alfr
ed
Hit
chco
ck, O
tto
Pre
min
ger
and
Mar
tin
Sco
rses
e.
Whe
n th
e re
els
of fi
lm fo
r O
tto
Pre
min
ger’s
co
ntro
vers
ial n
ew d
rugs
mov
ie, T
he M
an w
ith
the
Gol
den
Arm
, arr
ived
at
US
mov
ie t
heat
res
in 1
955,
a n
ote
was
stu
ck o
n th
e ca
ns —
“P
roje
ctio
nist
s —
pul
l cur
tain
bef
ore
title
s”.
Unt
il th
en, t
he li
sts
of c
ast
and
cre
w m
emb
ers
whi
ch p
asse
d fo
r m
ovie
titl
es w
ere
so d
ull t
hat
pro
ject
ioni
sts
only
pul
led
bac
k th
e cu
rtai
ns t
o re
veal
th
e sc
reen
onc
e th
ey’d
fini
shed
. But
Pre
min
ger
wan
ted
his
aud
ienc
e to
see
The
Man
with
the
G
old
en A
rm’s
titl
es a
s an
inte
gral
par
t of
the
film
.
The
mov
ie’s
the
me
was
the
str
uggl
e of
its
hero
—
a ja
zz m
usic
ian
pla
yed
by
Fran
k S
inat
ra —
to
over
com
e hi
s he
roin
ad
dic
tion.
Des
igne
d b
y th
e gr
aphi
c d
esig
ner
Sau
l Bas
s th
e tit
les
feat
ured
an
anim
ated
bla
ck p
aper
-cut
-out
of a
her
oin
add
ict’s
ar
m. K
now
ing
that
the
arm
was
a p
ower
ful i
mag
e of
ad
dic
tion,
Bas
s ha
d c
hose
n it
– ra
ther
tha
n Fr
ank
Sin
atra
’s fa
mou
s fa
ce -
as
the
sym
bol
of b
oth
the
mov
ie’s
titl
es a
nd it
s p
rom
otio
nal p
oste
r.
That
cut
-out
arm
cau
sed
a s
ensa
tion
and
Sau
l Bas
s re
inve
nted
the
mov
ie t
itle
as a
n ar
t fo
rm. B
y th
e en
d
of h
is li
fe, h
e ha
d c
reat
ed o
ver
50 t
itle
seq
uenc
es fo
r P
rem
inge
r, A
lfred
Hitc
hcoc
k, S
tanl
ey K
ubric
k, J
ohn
Fran
kenh
eim
er a
nd M
artin
Sco
rses
e. A
lthou
gh h
e la
ter
clai
med
tha
t he
foun
d t
he M
an w
ith t
he G
old
en
Arm
seq
uenc
e “a
litt
le d
isap
poi
ntin
g no
w, b
ecau
se it
w
as s
o im
itate
d”.
Eve
n b
efor
e he
mad
e hi
s ci
nem
atic
deb
ut, B
ass
was
a c
eleb
rate
d g
rap
hic
des
igne
r. B
orn
in t
he
Bro
nx d
istr
ict
of N
ew Y
ork
in 1
920
to a
n em
igré
furr
ier
and
his
wife
, he
was
a c
reat
ive
child
who
d
rew
con
stan
tly. B
ass
stud
ied
at
the
Art
Stu
den
ts
Leag
ue in
New
Yor
k an
d B
rook
lyn
Col
lege
und
er
Gyo
rgy
Kep
es, a
n H
unga
rian
grap
hic
des
igne
r w
ho
had
wor
ked
with
Lás
zló
Moh
oly-
Nag
y in
193
0s
Ber
lin a
nd fl
ed w
ith h
im t
o th
e U
S. K
epes
intr
oduc
ed
Bas
s to
Moh
oly’
s B
auha
us s
tyle
and
to
Rus
sian
C
onst
ruct
ivis
m.
Aft
er a
pp
rent
ices
hip
s w
ith M
anha
ttan
des
ign
firm
s,
Bas
s w
orke
d a
s a
free
lanc
e gr
aphi
c d
esig
ner
or
“com
mer
cial
art
ist”
as
they
wer
e ca
lled
. Cha
fing
at t
he c
reat
ive
cons
trai
nts
imp
osed
on
him
in N
ew
York
, he
mov
ed t
o Lo
s A
ngel
es in
194
6. A
fter
fr
eela
ncin
g, h
e op
ened
his
ow
n st
udio
in 1
950
wor
king
mos
tly in
ad
vert
isin
g un
til P
rem
inge
r in
vite
d
him
to
des
ign
the
pos
ter
for
his
1954
mov
ie, C
arm
en
Jone
s. Im
pre
ssed
by
the
resu
lt, P
rem
inge
r as
ked
B
ass
to c
reat
e th
e fil
m’s
titl
e se
que
nce
too.
Ove
r-sh
adow
ed b
y B
ass’
late
r w
ork,
Car
men
Jon
es
elic
ited
com
mis
sion
s fo
r tit
les
for
two
1955
mov
ies:
R
ober
t A
ldric
h’s
The
Big
Kni
fe, a
nd B
illy
Wild
er’s
The
S
even
Yea
r Itc
h. It
was
his
nex
t P
rem
inge
r p
roje
ct,
The
Man
with
the
Gol
den
Arm
, tha
t es
tab
lishe
d B
ass
as t
he d
oyen
of fi
lm t
itle
des
ign.
Ove
r th
e ne
xt d
ecad
e he
hon
ed h
is s
kill
by
crea
ting
an a
nim
ated
min
i-m
ovie
for
Mik
e To
dd
’s 1
956
Aro
und
The
Wor
ld In
80
Day
s an
d a
tea
rful
eye
fo
r P
rem
inge
r’s 1
958
Bon
jour
Tris
tess
e. B
less
ed
with
the
gift
of i
den
tifyi
ng t
he o
ne im
age
whi
ch
sym
bol
ised
the
mov
ie, B
ass
then
rec
reat
ed it
in
a st
rikin
gly
mod
ern
styl
e. M
artin
Sco
rses
e on
ce
des
crib
ed h
is a
pp
roac
h as
cre
atin
g: “
an e
mb
lem
atic
im
age,
inst
antly
rec
ogni
sab
le a
nd im
med
iate
ly t
ied
to
the
film
”.
In 1
958’
s Ve
rtig
o, h
is fi
rst
title
seq
uenc
e fo
r A
lfred
H
itchc
ock,
Bas
s sh
ot a
n ex
trem
e cl
ose-
up o
f a
wom
an’s
face
and
the
n he
r ey
e b
efor
e sp
inni
ng it
scre
en. F
or h
is n
ext
Hitc
hcoc
k co
mm
issi
on, 1
959’
s N
orth
by
Nor
thw
est,
th
e cr
edits
sw
oop
up
and
dow
n a
grid
of v
ertic
al a
nd
dia
gona
l lin
es li
ke p
asse
nger
s st
epp
ing
off e
leva
tors
. It
is o
nly
a fe
w m
inut
es a
fter
the
mov
ie h
as b
egun
— w
ith
Car
y G
rant
ste
pp
ing
out
of a
n el
evat
or —
tha
t w
e re
alis
e th
e gr
id is
act
ually
the
faça
de
of a
sky
scra
per
.
Eq
ually
hau
ntin
g ar
e th
e ve
rtic
al b
ars
swee
pin
g ac
ross
th
e sc
reen
in a
man
ic, m
irror
ed h
elte
r-sk
elte
r m
otif
at t
he
beg
inni
ng o
f Hitc
hcoc
k’s
1960
Psy
cho.
Thi
s st
acca
to
seq
uenc
e is
an
insp
ired
sym
bol
of N
orm
an B
ates
’ fr
actu
red
psy
che.
Hitc
hcoc
k al
so a
llow
ed B
ass
to w
ork
on t
he fi
lm it
self,
not
ably
on
its d
ram
atic
hig
hpoi
nt, t
he
fam
ous
show
er s
cene
with
Jan
et L
eigh
.
Ass
iste
d b
y hi
s se
cond
wife
, Ela
ine,
Bas
s cr
eate
d b
rillia
nt
title
s fo
r ot
her
dire
ctor
s —
from
the
ani
mat
ed a
lley
cat
in 1
961’
s W
alk
on t
he W
ild S
ide,
to
the
adre
nalin
-la
ced
mot
or r
acin
g se
que
nce
in 1
966’
s G
rand
Prix
. He
then
dire
cted
a s
erie
s of
sho
rts
culm
inat
ing
in 1
968’
s O
scar
-win
ning
Why
Man
Cre
ates
and
fina
lly r
ealis
ed h
is
amb
ition
to
dire
ct a
feat
ure
with
197
4’s
Pha
se IV
.
Whe
n P
hase
IV fl
opp
ed, B
ass
retu
rned
to
com
mer
cial
gr
aphi
c d
esig
n. H
is c
orp
orat
e w
ork
incl
uded
dev
isin
g hi
ghly
suc
cess
ful c
orp
orat
e id
entit
ies
for
Uni
ted
A
irlin
es, A
T&T,
Bel
l Tel
epho
ne S
yste
m a
nd W
arne
r C
omm
unic
atio
ns. H
e al
so d
esig
ned
the
pos
ter
for
the
1984
Los
Ang
eles
Oly
mp
ic G
ames
.
To y
oung
er fi
lm d
irect
ors,
Sau
l Bas
s w
as a
cin
ema
lege
nd w
ith w
hom
the
y lo
nged
to
wor
k. In
198
7, h
e w
as p
ersu
aded
to
crea
te t
he t
itles
for
Jam
es B
rook
s’
Bro
adca
st N
ews
and
the
n fo
r P
enny
Mar
shal
l’s 1
988
Big
. In
1990
, Bas
s fo
und
a n
ew lo
ng t
erm
col
lab
orat
or in
M
artin
Sco
rses
e w
ho h
ad g
row
n up
with
– a
nd id
olis
ed
- hi
s 19
50s
and
196
0s t
itles
. Aft
er 1
990’
s G
ood
fella
s
and
199
1’s
Cap
e Fe
ar, B
ass
crea
ted
a s
eque
nce
of
blo
ssom
ing
rose
pet
als
for
Sco
rces
e’s
1993
’s T
he A
ge o
f In
noce
nce
and
a h
aunt
ingl
y m
acab
re o
ne o
f Rob
ert
De
Niro
falli
ng t
hrou
gh t
he s
inis
ter
neon
s of
the
Las
Veg
as
Str
ip fo
r th
e d
irect
or’s
199
5’s
Cas
ino
to s
ymb
olis
e hi
s ch
arac
ter’s
d
esce
nt in
to h
ell.
Sau
l Bas
s d
ied
the
nex
t ye
ar. H
is N
ew Y
ork
Tim
es
obitu
ary
haile
d h
im a
s “t
he m
inim
alis
t au
teur
who
put
a
jagg
ed a
rm in
mot
ion
in 1
955
and
cre
ated
an
entir
e fil
m
genr
e…an
d e
leva
ted
it in
to a
n ar
t.”
CO
LOR
Black and
white only! N
O C
OLO
R!
One color from
Googled
image, b
lack and w
hite.
CO
MP
OS
ITIO
N
Cannot use m
ore than 3 elements on a sp
read.
So only B
ody Text (x1), or H
eadline (x1), or Im
age (x1), interchangeab
ly
Must b
e 40% of w
hite space
TY
PE
Must use only H
elvetica Neue, any w
eight, no other font unless hand
-rendered
.
All b
ody text m
ust take up less than 20%
of the page.
Head
lines and q
uotes, must b
e hand rend
ered or 10%
of the p
age.
IMA
GE
Head
lines must b
e taken from m
ovie posters that you find
from
magazines, new
spap
ers, or you shoot with a cam
era yourself, all m
ust be sans-serif.
Must have one hand
-rendered
image.
Must have one silhouette.
Must have one b
lack and w
hite screenshot from TV, a gam
e, or the com
puter.
FOR
MAT
Must b
e 2 times b
igger than a DV
D case.
Must b
e 2 times sm
aller than the first movie p
oster you see.
Must b
e half of the resolution of the comp
uter you are sitting at.
TO
OLS
Must use p
en or pencil to hand
render im
ages.
Must use a scanner to scan in hand
-rendered
images.
Must use Illustrator to m
ake silhouettes.
TH
UM
BN
AILS
Must b
e hand rend
ered.
Must b
e taken from research and
comp
iled into a
collage comp
osition. M
ust make contact sheets of researched
images.
RE
SE
AR
CH
/CO
NC
EP
TIN
G
Must b
e done through google im
ages/content.
Must b
e taken from b
ooks.
Must b
e taken from m
agazines.
Must b
e taken from C
Ds.
Must b
e taken from G
ames.
Must b
e taken from M
ovie Posters.
PR
OD
UC
TIO
N M
ET
HO
D
Print should
be b
ound into a p
lastic case.
Should
be m
ade into a p
oster.
OR
IEN
TATIO
N
Should
be p
ortrait
SE
CT
ION
1: G
AM
ES
TRA
VELIN
G
TH
E FLA
SH
AE
ST
HE
TIC
SE
CT
ION
4:
Dre
ss¥3
1994
A
NG
ELI
C P
RE
TTY
50’s
60’s
80’s
RIF
F: N
ow I
know
Ton
y lik
e I k
now
me
and
I gu
aren
tee
y
ou c
an c
ount
him
inA
CT
ION
: In,
out
, let
’s g
et c
rack
in’
GE
E-T
AR
: Whe
re y
ou g
onna
find
Ber
nard
o?R
IFF:
He’
ll b
e at
the
dan
ce t
onig
ht a
t th
e gy
mA
-RA
B: B
ut t
he g
ym’s
neu
tral
ter
ritor
yR
IFF:
A-r
ab, I
’m g
onna
mak
e ni
ce w
ith h
im! I
’m o
nly
gon
na c
halle
nge
him
!IC
E: G
reat
dad
dy-
o. m
oder
n st
yle.
Mar
tin S
cors
ese
once
d
escr
ibed
his
ap
pro
ach
as c
reat
ing:
“an
em
ble
mat
ic
im
age,
inst
antly
rec
ogni
sab
le a
nd im
med
iate
ly t
ied
t
o th
e fil
m”.
SC
OT
TIE
: Wha
t’s t
his
doo
hick
ey?
MID
GE
: It’s
a b
rass
iere
! You
kno
w a
bou
t th
ose
thin
gs,
you
’re
a b
ig b
oy n
ow.
SC
OT
TIE
: I’v
e ne
ver
run
acro
ss o
ne li
ke t
hat.
MID
GE
: It’s
bra
nd n
ew. R
evol
utio
nary
up
-lift
: No
shou
lder
s
trap
s, n
o b
ack
stra
ps,
but
it d
oes
ever
ythi
ng
a b
rass
iere
sho
uld
do.
Wor
ks o
n th
e p
rinci
ple
of
the
can
tilev
ered
brid
ge.
SC
OT
TIE
: It
doe
s?M
IDG
E: A
n ai
rcra
ft e
ngin
eer
dow
n th
e p
enin
sula
d
esig
ned
it; h
e w
orke
d it
out
in h
is s
par
e tim
e.S
CO
TT
IE: K
ind
of a
hob
by,
a d
o-it-
your
self
kind
of t
hing
!
DIC
k H
ALL
OR
AN
N: I
can
rem
emb
er w
hen
I was
a li
ttle
boy
. My
g
rand
mot
her
and
I co
uld
hol
d c
onve
rsat
ions
ent
irely
with
out
ever
op
enin
g ou
r m
outh
s.
S
he c
alle
d it
“sh
inin
g.”
And
for
a lo
ng t
ime,
I
tho
ught
it w
as ju
st t
he t
wo
of u
s th
at h
ad t
he
s
hine
to
us. J
ust
like
you
pro
bab
ly t
houg
ht
y
ou w
as t
he o
nly
one.
But
the
re a
re o
ther
fol
ks, t
houg
h m
ostly
the
y d
on’t
know
it, o
r
don
’t b
elie
ve it
. How
long
hav
e yo
u b
een
able
to
do
it?...
Why
don
’t yo
u w
ant
to t
alk
abou
t it?
DA
NN
Y T
OR
RA
NC
E: I
’m n
ot s
upp
osed
to.
DIC
k H
ALL
OR
AN
N: W
ho s
aid
you
ain
’t su
pp
osed
to?
DA
NN
Y T
OR
RA
NC
E: T
ony.
DIC
k H
ALL
OR
AN
N: W
ho’s
Ton
y?D
AN
NY
TO
RR
AN
CE
: Ton
y is
a li
ttle
boy
tha
t liv
es in
my
mou
th.
DIC
k H
ALL
OR
AN
N: I
s To
ny t
he o
ne t
hat
tells
you
thi
ngs?
DA
NN
Y T
OR
RA
NC
E: Y
es.
DIC
k H
ALL
OR
AN
N: H
ow d
oes
he t
ell y
ou t
hing
s?D
AN
NY
TO
RR
AN
CE
: It’s
like
I go
to
slee
p, a
nd h
e sh
ows
me
thin
gs. B
ut w
hen
I wak
e up
,
I c
an’t
rem
emb
er e
very
thin
g.D
ICk
HA
LLO
RA
NN
: Doe
s yo
ur M
om a
nd D
ad k
now
ab
out
Tony
?D
AN
NY
TO
RR
AN
CE
: Yes
.D
ICk
HA
LLO
RA
NN
: Do
they
kno
w h
e te
lls y
ou t
hing
s?D
AN
NY
TO
RR
AN
CE
: No.
Ton
y to
ld m
e ne
ver
to t
ell ‘
em.
DIC
k H
ALL
OR
AN
N: H
as T
ony
ever
tol
d y
ou a
nyth
ing
abou
t th
is
p
lace
? A
bou
t th
e O
verlo
ok H
otel
?D
AN
NY
TO
RR
AN
CE
: I d
on’t
know
.D
ICk
HA
LLO
RA
NN
: Now
thi
nk r
eal h
ard
now
. Thi
nk.
DA
NN
Y T
OR
RA
NC
E: M
ayb
e he
sho
wed
me
som
ethi
ng.
DIC
k H
ALL
OR
AN
N: T
ry t
o th
ink
of w
hat
it w
as.
DA
NN
Y T
OR
RA
NC
E: M
r. H
allo
rann
, are
you
sca
red
of t
his
pla
ce?
DIC
k H
ALL
OR
AN
N: N
o. S
care
d -
the
re’s
not
hin’
her
e. It
’s ju
st
that
,
you
kno
w, s
ome
pla
ces
are
like
peo
ple
. S
ome
“s
hine
” an
d s
ome
don
’t. I
gues
s yo
u co
uld
say
the
Ove
rlook
Hot
el h
ere
has
som
ethi
n’
alm
ost
l
ike
“shi
ning
.”D
AN
NY
TO
RR
AN
CE
: Is
ther
e so
met
hing
bad
her
e?D
ICk
HA
LLO
RA
NN
: Wel
l, yo
u kn
ow, D
oc, w
hen
som
ethi
ng
h
app
ens,
you
can
leav
e a
trac
e of
itse
lf
beh
ind
. Say
like
, if s
omeo
ne b
urns
toa
st.
Wel
l,
may
be
thin
gs t
hat
hap
pen
leav
e ot
her
kind
s
of t
race
s b
ehin
d. N
ot t
hing
s th
at a
nyon
e ca
n
not
ice,
but
thi
ngs
that
peo
ple
who
“sh
ine”
ca
n
see
. Jus
t lik
e th
ey c
an s
ee t
hing
s th
at h
aven
’t
hap
pen
ed y
et. W
ell,
som
etim
es t
hey
can
s
ee t
hing
s th
at h
app
ened
a lo
ng t
ime
ago.
I
thi
nk a
lot
of t
hing
s ha
pp
ened
rig
ht h
ere
in
this
par
ticul
ar h
otel
ove
r th
e ye
ars.
And
not
all
of
‘
em w
as g
ood
.D
AN
NY
TO
RR
AN
CE
: Wha
t ab
out
Roo
m 2
37?
DIC
k H
ALL
OR
AN
N: R
oom
237
?D
AN
NY
TO
RR
AN
CE
: You
’re
scar
ed o
f Roo
m 2
37, a
in’t
ya?
DIC
k H
ALL
OR
AN
N: N
o I a
in’t.
DA
NN
Y T
OR
RA
NC
E: M
r. H
allo
rann
. Wha
t is
in R
oom
237
?D
ICk
HA
LLO
RA
NN
: Not
hin’
. The
re a
in’t
noth
in’ i
n R
oom
237
. But
you
ain
’t go
t no
bus
ines
s go
in’ i
n th
ere
a
nyw
ay. S
o st
ay o
ut. Y
ou u
nder
stan
d?
S
TAY
OU
T.
FOR
wA
RD
ME
SS
Y D
ES
IGN
IS T
HE
SU
Ck
AN
D C
ON
FUS
ING
,S
O D
ES
IGN
SH
OU
LD U
SE
SIM
PLE
FOR
MS
.
TH
E w
HO
. wH
AT. wH
ER
E. w
HE
N.
Th
e p
rime
r for th
e d
es
ign
pro
ce
ss is b
rok
en
into
thre
e s
ep
ara
te
se
ctio
ns
: Do
, Th
ink
, an
d N
ee
d.
LOO
kIN
G
FOR
S
OM
ET
HIN
G
FUN
TO
P
LAY
?
WE
LCO
ME
TO
TH
E 2
1ST
CE
NTU
RY.
YO
UR
FIR
ST
VIS
UA
L M
OV
EM
EN
T H
AS
AR
RIV
ED
.
SE
CT
ION
2:
ITE
MS
FOU
ND
ON
CD
S
SE
CT
ION
3: FLA
SH
INS
PIR
ATIO
N
夏に
大活
躍間
違い
なし
夏に
大活
躍間
違い
なし
のス
エッ
トス
カー
のス
エッ
トス
カー
ト。
暑
ト。
暑い
夏を
涼し
く演
出し
てく
れそ
うだ
ね。
い夏
を涼
しく
演出
して
くれ
そう
だね
。 -
HEL
LCA
TPU
NK
S:ヘ
ルキ
ャッ
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ンク
ス N
O.
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P-A
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エッ
トス
カー
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IC
E ¥
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40
QU
ALI
TY
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TT
ON
10
0%
CO
LOR&
SIZE
MEA
SURE
S. 総
丈 3
4cm
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エス
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愛い
で
Tie,
¥23
00
Shi
rt, ¥
3600
S
kirt
, ¥56
00
HE
LLC
AT P
UN
KS
Dre
ss, ¥
8700
HE
LLC
AT P
UN
KS
NE
XT:
B
UTT
ON
TU
TOR
IAL
SE
CT
ION
5:
Han
db
ag, S
ALE
: ¥49
50A
LOG
ON
QU
INS
Hea
dp
hone
s, ¥
1890
SW
IMM
ER
Hat
, SA
LE: ¥
1950
A
LOG
ON
QU
INS
18
20
当店
通常
価格
3,9
00
円 O
UT
LET
&S
AL
E
!1
,95
0円
(税
込)
送料
別 ▼
下記
商品
リス
トか
らご
希望
の商
品を
お選
びく
ださ
い。
カラ
ー
被り
心地
の
いい
、パ
イル
地の
ミミ
付き
帽子
。大
きめ
ワン
ポイ
ン
トの
、ド
クロ
の刺
繍に
もご
注目
!!
サイ
ズ:
H1
9
cm
W2
6c
m 素
材:
パイ
ル(
アク
リル
48
% レ
ー
商品
番号
H
商品
番号
B3
39
5ク
ロ+
クロ
当店
商品
番号
B3
39
5ク
ロ+
ロ 当
店通
常価
格 9
,80
0円
OU
TLE
T&
SA
LE
! 4
,90
0円
(税
込)
送料
別 も
これ
は可
愛い
でし
ょ?
??
帆布
の生
地に
、ド
クロ
の刺
繍と
2種
類の
ヘビ
柄合
の組
み合
わせ
や、
ファ
ーや
鋲や
バッ
クル
の組
み合
わせ
が、
やっ
ぱり
可愛
いし
ょ?
??
2W
AYボ
スト
ンだ
から
、ヘ
ビ柄
合皮
の、
ショ
ルダ
ース
トラ
ップ
も付
いて
るよ
。ポ
ケッ
トも
、両
横に
バッ
クル
使い
のポ
ケッ
トが
いて
いた
り、
メイ
ンの
ファ
スナ
ーの
ポケ
ット
の隣
に、
商品
番号
B3
39
5ク
ロ+
クロ
当店
通常
価格
9,8
00
円 O
UT
-S
AL
E!
4,9
00
円 (
税込
) 送
料別
もう
、こ
れは
可愛
いで
しょ
??
?帆
布の
生地
に、
クロ
の刺
繍と
2種
類の
ヘビ
柄合
皮の
組み
合わ
せや
、フ
ァー
や鋲
やバ
ック
ルの
組み
合わ
が、
やっ
ぱり
可愛
いで
しょ
??
? 2
WA
Yボス
トン
だか
ら、
ヘビ
柄合
皮の
、シ
ョル
ダー
スト
ラッ
プも
付い
てる
よ。
ポケ
ット
も、
両横
にバ
ック
ル使
いの
ポケ
ット
がつ
いて
いた
り、
メイ
ンの
ファ
スナ
ーの
ポケ
ット
の隣
に、
すご
く便
利な
秘密
のポ
ケッ
トが
付い
てい
たり
て、
もち
ろん
、使
い勝
手も
いい
んで
す!
!サ
イズ
:高
さ 2
7c
m 幅
35
cm
マチ
12
cm
スト
ラッ
プ7
0c
m〜
14
0c
m 素
材:
帆布
綿1
00
%
商品
番号
B3
39
5ク
ロ+
クロ
当店
常価
格 9
,80
0円
OU
TLE
T&
SA
LE
! 4
,90
0円
常価
格 9
,80
0円
OU
TLE
T&
SA
LE
! 4
,90
0円
(税
込)
送料
別 も
う、
これ
は愛
いで
しょ
??
?帆
布の
生地
に、
ドク
ロの
刺繍
と2
種類
のヘ
ビ柄
合皮
の組
み合
わせ
や、
ファ
ーや
鋲や
バッ
クル
の組
み合
わせ
が、
やっ
ぱり
可愛
いで
しょ
??
ボス
トン
だか
ら、
ヘビ
柄合
皮の
、シ
ョル
ダー
スト
ラッ
プも
付い
てる
よ。
ポケ
ット
も、
両横
にバ
ック
ル使
いの
ポケ
ット
がつ
いて
いた
り、
メイ
ンの
ファ
スナ
ーの
ポの
隣に
、す
ごく
便利
な秘
密の
ポケ
ット
が付
いて
いた
りっ
て、
もち
ろん
、使
い勝
手も
いん
です
!!
サイ
ズ:
高さ
27
cm
幅3
5c
mマ
チ1
2c
m ス
トラ
ップ
70
cm
〜1
40
m 素
材:
帆布
綿1
00
%
税込
) 送
料別
もう
、こ
れは
可愛
いで
しょ
??
?帆
布の
生地
に、
ドク
ロの
刺繍
と2
種類
のヘ
ビ柄
合皮
の組
み合
わせ
や、
ファ
ーや
鋲や
ック
ルの
組み
合わ
せが
、や
っぱ
り可
愛い
でし
ょ?
??
2W
AYボ
スト
から
、ヘ
ビ柄
合皮
の、
ショ
ルダ
ース
トラ
ップ
も付
いて
るよ
。ポ
ケッ
トも
、両
横に
バッ
クル
使い
のポ
ケッ
トが
つい
てい
たり
、メ
イン
のフ
ァス
ナー
のケ
ット
の隣
に、
すご
く便
利な
秘密
のポ
ケッ
トが
付い
てい
たり
って
、も
ちん
、使
い勝
手も
いい
んで
す!
!サ
イズ
:高
さ 2
7c
m 幅
35
cm
マチ
12
cm
スト
ラッ
プ7
0c
m〜
14
0c
m 素
材:
帆布
綿1
00
%
paris. pest(s)istence.find out how you can help: [email protected]
noisy neighbors. pest(s)istence.find out how you can help: [email protected]
paris. pest /sistence.
traffic. pest(s)istence.find out how you can help: [email protected]
cell phone. pest(s)istence.find out how you can help: [email protected]
Logo/Logotype:
Color Palette:
Typography:
Image making process:
Linguistic Palette:
Cyan Magenta Yellow Red Green Orange
Bryant Light.
Bryant Regular.
Bryant Medium.
plane. pest(s)istencetelemarketer. pest(s)istenceparis. pest(s)istencenoisy neighbors. pest(s)istencecell phone. pest(s)istenceloud mouth. pest(s)istencetraffic. pest(s)istencefind out how you can help:[email protected]
Regular Exclusion Sketch X-Ray
pest (s) istence
Updated Linguistic Palette.
—Karen Pedroza, on being a muffin.
—Karen Pedroza, on being a muffin. —Karen Pedroza,
on being a muffin.
i wanna give you
—Karen Pedroza,
on being a muffin.
i wanna give you
—Karen Pedroza, on being a muffin.
—Karen Pedroza, on being a muffin.