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The Power to Charge Your Life with Money, Meaning, and Momentum

Neil Patel, Patrick Vlaskovits, & Jonas Koffler


Trust us, it wasn’t by luck or coincidence, though we believe in both.
Our Hustle book did what we had intended for it.
It grabbed you, pulled you in, and spoke to something inside of you.
Now it’s your turn.
There’s something left unfinished. Something big.
The sooner you get through this book, the sooner you can get started.

Hustle- The Power to Charge Your Life with Money, Meaning, and Momentum
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Book Details
 300 p
 File Size 
 1,350 KB
 File Type
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 978-1-62336-717-6 e-book 
 2016 by Neil Patel, Patrick Vlaskovits,
 and Jonas Koffler

About the Authors
NEIL PATEL is the cofounder of Crazy Egg and Hello Bar. He helps companies
like NBC, GM, HP, and Viacom grow their revenue. The Wall Street Journal
calls him a top influencer on the Web, Forbes says he is one of the top 10 online
marketers, and Entrepreneur says he created one of the 100 most brilliant
companies in the world. Tweet him @NeilPatel or contact him by visiting
PATRICK VLASKOVITS is an entrepreneur and New York Times bestselling
author. His writing has been featured in the Harvard Business Review and the
Wall Street Journal, and he speaks at technology conferences nationally and
internationally, including SXSW, GROW conference, the Turing Festival, and
the Lean Startup conference. He is cofounder and CEO of Superpowered Inc.
Tweet him @Pv or contact him by visiting
JONAS KOFFLER is a creative media consultant, producer, and writer. He
advises internationally recognized thought leaders and creative artists, helps
organizations innovate, develops strategy and intellectual property for start-ups
and billion-dollar companies alike, and has contributed to multiple bestselling
books. Tweet him @JonasKoffler or contact him by visiting
And be sure to visit for:
• Free tools and online resources designed for our readers.
• News, interviews, events, and updates on the book.
• Innovation, education, and empowerment training.
• Giveaways, special offers, and more…
Mention of specific companies, organizations, or authorities in this book does not imply endorsement by the author or publisher, nor does mention of specific companies, organizations, or authorities imply that they endorse this book, its author, or the publisher.
Internet addresses and telephone numbers given in this book were accurate at the time it went to press.

To be honest, I don’t believe you.”
It was the fall of 2012, and Neil had just come off a conference stage to
rousing applause after delivering the keynote on the latest trends in digital
marketing to 2,500 enthused marketers. He’d ended his talk encouraging his
audience to embrace entrepreneurial “hustle” as paramount to success and had
been feeling good about his performance.
Startled, he turned to face his accuser, a petite dark-haired woman, and asked, “Excuse me?”
“C’mon on, Neil,” she replied. “You know the best way to be successful is to
be born to rich parents. Look around you, all the winners come from privileged backgrounds.”
Shaking his head, Neil responded, “Well, with my first job I had the privilege
of mopping up bathrooms at the amusement park near our home. I’m living
proof that hustle works.”
His voice faded as he saw his answer obliterated by his accuser’s seething
disbelief. She rolled her eyes and jabbed the air between them with the pen she
had been using to take notes.
“It’s rigged. Look at Bill Gates. Mark Zuckerberg. Chelsea Clinton. If you
didn’t go to Harvard or Stanford, you’re locked out of the club. No club, no
connections. No connections, no opportunities. No opportunities, no chance at real success.”
Unwilling to wait for further explanation from the former theme park
bathroom attendant turned Internet marketing icon and start-up founder, the
dark-haired woman stormed past Neil down the long convention center hall.
Irritation at his inability to convince his accuser trailed Neil the whole evening
as he navigated the conference after-party, his frustration snapping at him like an
overzealous border collie amid back-slapping beer-breathed colleagues, overly
loud music, and unlimited free cocktails.
As much as he tried to shake it, he knew he had to prove that dark-haired woman wrong.
Yet like her, there are millions of frustrated people among us: professionals
and students, artists and entrepreneurs, moms and dads, to name a few. We know
these people well. They’re our friends, our coworkers, and our family members.
Every Sunday evening, those of us who have fallen for the normal rules of
work and social convention sink into a mild depression as the Monday Blues set
in. Our children, our spouses, our hobbies—life’s little gifts—fade into the
background as we are overwhelmed by the sheer drudgery that awaits us the next
day at 8:00 a.m.
Nearly 90 percent of our fellow workers feel emotionally disconnected from
their jobs, and their dreams remain far afield or fleeting memories. Were we
uniquely privileged Masters of the Universe, we could easily bypass the slog that
provides our daily bread and butter.
But let’s be honest: Most of us aren’t exactly “special.”
We don’t boast an Ivy League education like Sheryl Sandberg, a political
pedigree like a Kennedy, or a wealthy father like Donald Trump. We’re stuck
behind our steering wheels each morning, bound by our commute, unable to take
shortcuts like the privileged few. The best we can hope for is to occasionally
take the carpool lane.
The reality is that we’re more like Rocky Balboa than Luke Skywalker—the
Force isn’t strong in us. We have no special advantages. In fact, we face a world
of disadvantages—at best, we’re underdogs fighting a system that stacks the
odds against us and squeezes the life out of us.
Today, what the three of us, Neil, Patrick, and Jonas, see going on around us
is a small group of people doing well, and this is troubling. Some of these people
are doing exceptionally well—some are even our close friends and clients,
people we respect. And an ocean of others, some of them insanely talented
people, are struggling to move beyond paycheck to paycheck and keep the
promises they made to themselves and their families. We see too many people
repressed by irrational and incessant fears, stifled by an unwillingness to take
more risk, trapped by tough choices about their futures.
What’s happened to their dreams? Why are so many good, hardworking
people going nowhere so fast while so few prosper? What’s the difference
between the successful and the unfulfilled? Something is broken here. We want
to fix it and in the process help thousands of people the world over become
better dreamers and more confident doers.
So how do we possibly find a way to break free and achieve lasting success
and fulfillment on our terms?
One way: We hustle.
In a world of boundless abundance, the only thing standing between us and
fulfillment of our dreams is self-imposed friction, a poison that saps our
willingness to step out of what feels comfortable.
This book is the antidote.

Table of Contents

Hustle- The Power to Charge Your Life with Money, Meaning, and Momentum
Book design by Joanna Williams

We inspire health, healing, happiness, and love in the world. Starting with you.

- A Story of Discovery -

Miguel Ruiz and Barbara Emrys

EPub Edition September 2015 ISBN 9780062390943
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Book Details
 292 p
 File Size 
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 File Type
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 978–0–06–243696–2 (BAM)
 978–0–06–243445–6 (BN)
 by Miguel Ruiz and Barbara Emrys

About the Authors
DON MIGUEL RUIZ is the international bestselling author of The Four
Agreements (a New York Times bestseller for over seven years), The Mastery of
Love, and The Voice of Knowledge, and coauthor of The Fifth Agreement. His
books have sold over seven million copies in the United States and have been
translated into dozens of languages worldwide. He has dedicated his life to
sharing the wisdom of the ancient Toltec culture through his books, lectures, and
journeys to sacred sites around the world.
For information about current programs offered by don Miguel Ruiz and his
apprentices, please visit

BARBARA EMRYS is an inspirational teacher and the author of The Red
Clay of Burundi: Finding God, the Music, and Me.
Discover great authors, exclusive offers, and more at

Preface and Prologue
Q1: In the beginning of the book, Sarita enters the dream world on a quest to
restore her son Miguel to life. Do you often interpret your sleeping dreams? How
is that different from commenting on your waking life?
Q2: Miguel welcomes death with the gratitude of a warrior who fought well and
wishes for a safe homecoming. What are your feelings about death?
Chapters 1–5
Q3: When Sarita tries to persuade Miguel to return to his body, we learn that he
was once a shaman. Are you familiar with shamanism? What do you think is a
shaman’s unique skill?
Q4: In this book’s narrative, why does it seem that Lala sometimes resembles
the one looking at her? Why does she appear to dislike the smells and the chaos of life?
Q5: In the book, Miguel remembers his childhood interactions with girls, and
ponders how they taught him that seduction is vital to life, that suggestion
provokes imagination, and that imagination builds reality. How do you think
your childhood encounters with the opposite sex still affect your relationships today?
Q6: An angel is a messenger. Miguel tells us that “it is an unusual messenger
who uses seductions of the mind to benefit another human being. It is an iconic
messenger who applies this skill to benefit humanity as a whole.” What kind of
messenger do you imagine yourself to be?
Q7: Miguel’s grandfather tells him: “All the things you’ve learned in school, and
everything you think you understand about life, comes from knowledge. It isn’t
truth.” Can you see how knowledge can be perceived as a reflection of truth, and
how that reflection (the sum of your opinions and beliefs) is a distorted version of truth?
Q8: Sarita insists on having her son returned to her, but Miguel tells us, “For her
troubles, she [Sarita] will bring home a pretender—the flesh-and-blood likeness
of her youngest son, who has already found the truth, and has gleefully dissolved
into its wonders.” In this story, how will Miguel be a pretender if he returns to
his life? Have you ever felt like an actor in someone else’s play? Has a lifechanging
event ever made it difficult to return to your normal routines?
Q9: Sarita is helped in her quest in the dream world by her father and
grandfather, both long dead. Do you ever converse with loved ones who have
died? What is your relationship to the people you have lost?
Chapters 6–10
Q10: Ancient Toltec spiritual warriors allowed themselves to be consumed by a
metaphorical snake, in order to emerge reborn as aware beings and to master
death. What do the words “mastering death” mean to you?
Q11: When Miguel meets Dhara, he senses that they will transform each other’s
lives. Have you ever met individuals you sensed would change your life? Did
they? What part did you play in any changes and transformations?
Q12: Can you feel the activities of your mind as separate from your body? How
do your thoughts affect the body, emotionally and physically? When you alter
your thinking, do you then feel a different emotional result?
Q13: Miguel recalls a car accident as the beginning of a life-change for him.
What, if any, traumatic experiences in your life have offered you an opportunity
to reevaluate things? Did you change any part of your reality as a result? Did
your personality change? Was there wisdom gained, and how did that wisdom
become manifest in your actions?
Q14: In this story, hell is described as a marketplace, the mitote of ideas in our
heads. Do you sometimes feel the kind of confusion that comes from too much
thinking? If you want relief from the noise, how do you usually accomplish this?
Q15: Do you think it’s true that humans are addicted to suffering? To what
degree do you make yourself suffer over ideas, people, or opinions about your life?
Chapters 11–15
Q16: Try writing the story of your life, and see which memories tempt you to
feel emotional pain. How many times do you need to rewrite your story before
those memories no longer distress you?
Q17: Nagual and tonal are words that describe infinite life and all its very finite
manifestations. Allow yourself to experience yourself as the nagual, then the
tonal, and then the bridge between the two.
Q18: In Miguel’s view, love is synonymous with truth. Have you ever used love
as an obstacle to truth in your life? Have you used it as an excuse to suffer?
Q19: Have you ever been able to love without conditions? How has being loved
unconditionally at any point in your life helped you to be more authentic and confident?
Q20: Black magic is the art of self-defeat. When, in the course of your life, do
you remember using black magic on yourself? Do you still?
Q21: In your experience, have changing perceptions led to personal
transformations? Have you ever deliberately changed a belief or quit a habit?
Did the change lead to other changes?
Chapters 16–20
Q22: Can you see how everyone in the human dream is competing for others’
attention? Can you see how they may be unaware of the amazing power of their
own attention? Personal beliefs typically control our attention. How would it
help your life to take charge of your own attention?
Q23: Awareness means seeing what is, without judgment. Can you use the
memories of your life to create a clear awareness of yourself in this moment?
Q24: A toltec is an artist; the ancient Toltec masters were artists of life. How is
your own life a work of art?
Chapters 21–25
Q25: Have you noticed how fanaticism can alter perception and corrupt
behavior? When, in your experience, have you been driven to a kind of
fanaticism? How has obsession hurt you, do you think?
Q26: Near the end of the book, the reality of death is explained in detail. How
have your views on the subject changed as you’ve journeyed through these chapters?
Q27: In what ways are you practicing authenticity? In what ways do you still
practice being what you’re not?
Q28: In many ways, knowledge is made aware of itself in this story. Can you
think of ways that you’ve become aware of yourself as the voice of knowledge
—as both the tyrant and the savior in your own wonderful story?....

Awareness: The ability to see things as they are.
Death: Matter; the absence of life.
Dios/Diosa: God/Goddess
Don/Doña: Titles of respect in the Spanish language (similar to sir, lady).
A dream: The mind’s reflection of our perception.
The dream of the planet: The collective reality of the human species.
Dreamer: Someone who knows that he or she is dreaming all the time.
Energy: The eternal supreme power, the only thing that really exists.
Evil: The result of believing in lies. Evil actions intensify according to how
distorted the lie is and how great the level of fanaticism.
Faith: Believing 100 percent, without a doubt.
God: The eternal supreme power, the only thing that really exists.
Heaven: A story in our mind that results in happiness.
Hell: A story in our mind that results in drama.
Intent: The message of energy that gives direction to light, creating matter and
disintegrating matter. Intent travels at the center of light, with quanta revolving
around it. Intent is life itself.
Knowledge: Agreements made between humans about the nature of reality.
Knowledge is communicated through symbols, such as words and numbers, phrases and formulas.
Lies: Distortions of the truth within the human mind.
Life: The creative force of God, or energy, that manifests matter.
Light: Life’s messenger, and its first manifestation.
Love: The aspect of energy that manifests as the totality of all vibrations,
moving matter and recording information into matter. Matter perceives and
reflects it, and reacts with the complete range of emotions.
Magic: The creative aspect of energy.
Matter: The finite manifestation of infinite life.
Mind: A virtual reality, created by the reflection (in the brain) of everything that the brain perceives.
Mitote (mee-'toe-tay): The ongoing conversation in our head, which sounds as
if a thousand people are talking at once and nobody is listening.
Nagual: The Nahuatl word referring to the force that moves matter.
Nagual man/woman: A person who knows himself/herself as the force that
moves matter; an immortal.
Nahuatl: The language of Aztecs.
Power: The potential to create.
Shaman: In all cultures, a medicine man or woman.
Soul: The force of life that holds a universe (matter) together (e.g., the universe
of the human body). Every component recognizes itself as part of that universe.
Story: An explanation of a dream.
Teotihuacan (Teo): An ancient city of Mexico, which flourished from 200 BC to
AD 500. Its excavated temples and pyramids are located approximately thirty
miles northeast of Mexico City.
Toltec: A Nahuatl word meaning artist.
Tonal: Matter
Truth: That which is real; another word for God and energy. Truth existed long
before humanity and will exist long after humanity.
Wisdom: The ability to react correctly to every event; common sense.

The Toltec Art of Life and Death- A Story of Discovery


by Neil Powell

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Book Details
 145 p
 File Size 
 6,788 KB
 File Type
 PDF format
 1976 Aldus Books Limited,

The Ancient Science
For centuries a number of men of science and
learning spent their lives in the practice of
alchemy, searching for a way to change
ordinary metals into gold. Why did they try?
Did any of them succeed? We know that
alchemists today continue the old tradition
and the age-old quest. Will they succeed?

Series Coordinator: John Mason
Design Director: Giinter Radtke
Picture Editor: Peter Cook
Editor: Sally Burningham
Copy Editor: Mitzi Bales
Research: Sarah Waters
General Consultant: Beppie Harrison


Table of Contents

1 The Meaning of Alchemy
The basic ideas and processes of the  traditional alchemists.
2 The Principles of Alchemy
The theoretical background to the work that the alchemists carried out. 24
3 Two Mysterious Frenchmen
Flamel, a medieval alchemist, and Fulcanelli, a modern writer on alchemy. 40
4 The Medieval Masters
Mysterious figures, half-veiled in legend, of alchemy's great period. 54
5 The Wandering Alchemists
The masters who traveled from city to city contacting other adepts. 80
6 What Happened to Alchemy? 
The changes that occurred in alchemy as the infant sciences developed. 96
7 Sex and Symbolism
The course of Eastern alchemy, and how it influenced alchemy in the West. 118
8 Alchemy Lives On
The practice of alchemy in the 20th century. 130


First published in the United Kingdom in 1976
by Aldus Books Limited

Library of Congress Catalog Card No: 75-10892
D.L. S.S.: 173/76
Printed and bound in Spain
by TONSA San Sebastian
and RONER Madrid

Frontispiece: 17th-century alchemist by Van Ostade.
Above: porcelain caricature figurines of alchemists.

Adrian Frutiger

Translated by Andrew Bluhm
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Book Details
 360 p
 File Size 
 39,466 KB
 File Type
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 1989 Weiss Verlag GmbH,
 Dreieich, West Germany

Words or speech, written or spoken, do not appear to play any part
at all in the mechanism ofmy thought processes. The basic psychic
elements of thought are certain signs and more or less clear
pictures, which can be reproduced and combined "to order."

Toward a Synthesis
The table of signs on the facing page has been assembled
in order to provide a comparative guide to the
different kinds of expression that can be obtained by
means of graphic modifications to four representative
figures: two from nature, the star and the serpent, one
human artifact, the arrow, and one figure from the
borderland of abstraction, the cross.
ihe top row contains purely pictorial representations.
Although reproduced by the technique of line
drawing, the signs remain in the realm of the pictorial
and their expression is above all illustrative.
In the second row, the same objects take on a
schematic form, which means that thev are no longer
illustrations of outward forms but analytical versions,
in which the image is arranged as a diagram, cross
section, or ground plan.
One of the most fundamental transformations occurs
in the third row. where the picture has been
elevated to a symbol. This can be seen as a kind of
"sublimation" of the purely objective item, in that the
thing itself has been given a spiritual or imaginative
content. In this context a naturalistic rendering is no
longer required. On the contrary, the illustrative intention
is abandoned in the process of converting the
picture into a sign. The illustration has become a symbol.
As a means of increasing symbolic power, two or
more objects are often associated in one image, as
shown in the fourth row.
In order to provide further clarification of the much
disputed question of the exact nature of the difference
between a symbol and a sign, the four original objects
appear from the fifth row downward in a variety of
simplified and graphically polished versions of their
signs. Of course, pure signs, such as those for lightning
or Venus, may become symbols, as may also be the
case with armorial devices and even with trademarks.
It is, above all, the underlying meaning of a figure that
can be taken to draw the boundary line between a
symbolic image and a neutral sign denoting a thing.
The division ofthe signs into groups does not in itself
raise any problem of interpretation. The abbreviated
sign used for a scientific concept, the signature sign or
watermark, the sign of ownership, and the trademark
are all made distinct by their specific applications.
The outward forms of the various classes of sign
therefore give a fairly clear indication oftheir uses. The
economical line of a scientific sign differs clearly from
the filled-in, embellished armorial sign, and the functional
simplification of a cattle-branding mark distinguishes
its appearance totally from that of an advertising
sign designed with graphic sophistication for maximum appeal.
The final row of the table shows the four basic
images as used for purposes of signalization. Both the
naturalistic and the symbolic effects have been eliminated
and the signs have become abstract conventions.
The image of the signal sign also includes the shape of
its panel, which can strictly speaking be regarded as a
basic geometrical sign in itself, enhancing the meaning
of the sign that it bears.

Table of Contents
Part 1: Sign Recognition, Sign Formation
Introduction: Three Themes 17
I. Disorder-order 17
2. Remembering a figure 18
3. Light and shadow - black and white 21
1. The Elements of a Sign 23
1. The dot 23
2. The line 23
a The imaginary line 23
b The line in itself 24
c Horizontal and vertical 25
d The oblique line 26
e The curve 27
3. Relations between lines 28
a The manual movements of drawing lines 28
b Alignment and rhythm 30
c Proximity 30
4. The morphology of signs 31
a The "geography" of perception 31
b Symmetry and asymmetry 31
c Morphological Table 1 33
d Morphological Table 2 38
5. Sign topology 40
II. The Basic Signs 43
1. The square 43
2. The triangle 44
3. The circle 45
4. The arrow 48
5. The cross
III. Joining Signs Together 53
1. Relations between signs of
the same form 53
2. Relations between signs of
different forms 57
3. The expression of the inner area 59
4. Relations between closed and
5. open signs
Experiment with two fork signs 60
6. The "complete" sign
a Morphological Table 3:
abstract signs 62
b Morphological Table 4:
object signs 64
7. Between diagram and figure 66
8. Puzzle signs 67
IV. The Sign in Ornaments 69
V. Signs of Dualism 73
VI. The Solid - 77
1. From line to solid area 77
a Thickness of the lines 78
b The swelling and shrinking of lines 79
c The tape shape 81
2. The white sign on a black
background 82
a From outline to negative 82
b Varying brightness of an
interior shape 84
c Indications ofform 84
3. The chessboard pattern 85
VII. The Simulation of Volume 87
1. Superimposed layers
2. Plaiting
3. "Suggestive" white
4. Perspective
5. The shadow
a The illuminated object
b Thrown shadows
6. Unusual volume
7. Optical illusions
VIII. The Diversity of Appearance 97
1. Drawing and material 97
a The tools 97
b The stroke ending 98
c The right tool for the right material 100
2. The value of interior and intermediary
space 100
3. The image 102
a Black-white 102
b Colors 102
c Halftones 103
d Structures 103
4 Picture quality 103
a Schematic or "dimensional"
illustration 104
b Naturalistic illustration 104
c Artistic or "contemplative"
illustration 105
Attempt it a visual synthesis 106
Part 2: Speech-Fixing Signs
I. From Thought to Picture 111
1. Prototypes 111
2. Speech and gesture 111
II. Speech Fixing 113
1. Two ways of script development 113
a Scripts "remaining" pictorial 114
b "Alphabetical" scripts 114
2. A common origin? 115
3. Inherited archetypes? 115
4. From pictogram to ideogram 115
5. Determinatives 117
6. From ideogram to phonogram 118
III. The Graphic Wealth of Pictograms 119
1. From Sumerian pictograms to
cuneiform 119
2. Egyptian hieroglyphics 123
3. Cretan scripts 125
4. Hethitic pictographic script from Syria 127
5. Pictographic script from the
Indus Valley 129
6. Pictographic script of Easter Island 130
7. Runic script 131
8. Chinese scripts 133
a Wisdom of the I-ching 133
b Chinese pictographic script 136
c Chinese writing and architecture 139
9. Pre-Columbian .American scripts 139
a Aztec pictographic script 140
b Maya pictographic script 141
IV. The World's .Alphabets 143
1. Invention and spread of letters 143
2. A summary of the world's script groups 146
V. The ABC of the Western World 151
1. Early development 151
2. Capitals and small letters 153
a The transition from capitals to
small letters 153
b Toward a theory of reduced hand
movements 155
VI. Development of Form through
Writing and Printing Techniques 159
1. Black stroke formation 159
a Calligraphy _ 159
Horizontal pen positions
Oblique pen positions
Steep pen positions
b Pen positioning in other
linguistic sectors 163
c Engraving and printing 164
2. Interior white space 166
a Architecture and script 166
b Space 168
3. On the family likenesses of letters 170
VII. Manipulated Letterforms 175
1. Purely proportional variations 175
a Width 175
b Weight 177
c Slope 178
d The extended palette of typefaces 179
2. Deviations from the basic forms 182
a Ornamental letters 182
b "Antiques" 183
c "Figurative" alphabets 183
d Letterforms of the future 183
Environmental "inscription." Digital displays.
Experiments in extreme simplification.
Automatic reading. Boundaries of legibility.
e Type image and type picture 190
3. Monograms 192
a Abbreviations become acronyms 192
b From ligature to ornament 192
VIII. Text Type and Its Legibility 197
1 . Type as a worldwide medium of
communication 197
2. Type forms and legibility 198
a The reading process 198
b Steps in reading motivation 199
c Formal synthesis of the alphabet 200
IX. Numerical Signs 205
1. Numbering with letters 205
2. Origin and evolution of arabic
numerals 206
a The ingenious idea of the zero 206
b Origins and development ofform 207
3. Some analytical comments 209
a Speech and numbers 209
b Number-writing movements 209
c Division into basic elements 211
d The future of numeralforms 211
X. Punctuation Signs 213
1. Word space 213
2. The punctuation marks 214
a Sentence-structuring signs 214
b Expression signs 216
c Reference signs 217
3. The ampersand 217
4. Currency and other signs 218
Part 3: Sign, Symbol, Emblem, Signal
Introduction 221
Nonalphabetical signs 221
New signs for science 222
Pictorial signs for industry 223
Directional signs 223
A surfeit of pictures? 224
Back to pictograms ? 225
I. From Illustration to Symbol 227
1. The picture 227
2. The diagram 229
a Stages of schematization 229
b Computer aids to schematization 230
3. The ground plan 231
4. The allegory 233
5. The images of superstition 233
II. The Symbol 235
1. What is symbolic? 235
2. From symbol picture to symbol sign 236
3. Ambiguous use of the word "symbol" 237
III. The Graphic Wealth of Figurative
Symbols 239
1. How pictures become symbol signs 240
a The process of stylization 240
b Simplification through material
and tools 242
c Gigantic symbol signs 244
2. Fauna symbols 246
a From multiplicity to simplicity
Bird figures 246
b Of life and death
The serpent symbol 248
c Otherfauna symbols
Archetypes of the subconscious 252
3. Plant symbols 256
4. The human form as symbol 257
a The complete figure of the
human body 257
b Parts of the human body 259
5. Objects, landscapes, elements of nature 263
6. The symbol of the center 266
IV. Abstract Symbols 269
1. Space and its center 269
2. The cross sign and its ornamentation 274
3. Signs symbolizing movement 276
4. Plaiting, interweaving, knotting 277
5. Sun signs 280
6. The stars 282
7. The symbol in ornamentation 285
8. Geometry and symbol 287
V. Signs of Pseudoscience and Magic 291
1. The elements 293
2. The signs of astrology 296
3. The signs of alchemy 298
4. Cabalistic and magical signs, talismans 302
VI . Signature Signs 305
1. Stonemasons' signs 307
2. Monograms 311
VII. Signs of Community 315
1. House marks 315
2. Japanese family arms 318
3. On heraldry 318
4. Community signs of the present day 322
Mil. Trademarks 325
1. Marking in the past 325
a From marking to the mark:
cattle branding as an example 325
b Traders' marks 326
c Artisans' and manufacturers'
niarks 327
d Structural signs
W'atertnarks 328
2. Industrial signs of the present day 330
IX. Technical and Scientific Signs 339
1. Technical pictography 339
2. Signs of modern sciences 341
X. Signal Signs 345
1. Orientation
a Meaning and interpretation of
traffic signs 345
b Shape of the panel 346
c Color 346
d The driver's reaction to the signal 347
2. Pictograms 347
3. Signal signs in printed form 349
4. Emotional aspects of route finding 352
a Orientation in public buildings 352
b Pictographic systems for events 353
5. Operating signals 354
Towarc a Synthesis 357
Epilogu e 359
Bibliogiraphy 360


In this standard work, now published in the English language for the
first time, Adrian Frutiger writes about signs and symbols in general
and about the development of writing in particular. Throughout Frutiger
relates the basic principles and components of graphics to a wide range
of considerations - historical, physical, linguistic and practical.
All of this is achieved by dint of an exceptionally clear text and hundreds
of free-hand line drawings by the author, printed in a second color.
Adrian Frutiger is Linotype's master typographer who has, amongst
other work, designed a typeface named after him.
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