crouchingly
crouchingly
▲
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unstablefragments2:

via blendsus

Permalink (57 notes)Via: unstablefragments2
unstablefragments2: “via blendsus ”
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unstablefragments2:

Y-3 AYERO / CG3170 (via Afew)

Permalink (37 notes)Via: unstablefragments2
unstablefragments2: “ Y-3 AYERO / CG3170 (via Afew) ”
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unstablefragments2:

Y-3 RYO HIGH (via bdgastore)

Permalink (46 notes)Via: unstablefragments2
unstablefragments2: “Y-3 RYO HIGH (via bdgastore) ”
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Permalink (263 notes)Via: typeandlettering
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10

design-is-fine:

Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK

Permalink (647 notes) Via: typeandlettering
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
design-is-fine: “Adrian Frutiger, working on the development of the typeface Univers, 1950-1954. Client: Deberny et Peignot, Paris. Museum für Gestaltung Zurich. Via emuseum ZHdK ”
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gh0stgums:

Matt Connors
Pillared edges, 2015
Acrylic and Colored Pencil on Canvas
73.7 × 58.4 cm

Permalink (333 notes)Source: artsy.netVia: gh0stgums
gh0stgums: “Matt Connors Pillared edges, 2015 Acrylic and Colored Pencil on Canvas 73.7 × 58.4 cm ”
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gh0stgums:

Dean Levin
XTC II, 2015
Signed oil on linen
61 × 45.7 cm

Permalink (113 notes)Source: artsy.netVia: gh0stgums
gh0stgums: “Dean Levin XTC II, 2015 Signed oil on linen 61 × 45.7 cm ”
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unstablefragments2:

Stone Island

Permalink (29 notes)Via: unstablefragments2
unstablefragments2: “ Stone Island ”
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Permalink (852,256 notes)Via: twister
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adamkatzsinding:

Hong Kong | Adam Katz Sinding http://ift.tt/2tGcz89

Permalink (34 notes)Via: ruggedneversmooth
adamkatzsinding: “Hong Kong | Adam Katz Sinding http://ift.tt/2tGcz89 ”