Absolut Grotesk

Size

100
That's
Absolut
Grotesk
That's
Absolut
Grotesk

Absolut Grotesk

Details

Absolut Grotesk is Nikolas Type’s new signature workhorse Superfamily.

Designed and engineered for today's most demanding requirements, A.G. is fully equipped with a Grotesk Sans Serif, a Semi Mono and Mono version with matching Italics across all weights and styles, seamlessly scaling in the variable font.

Masterfully bridging historical references, organic, human texture, authenticity and pragmatic clinical performance, Nikolas Type translates its legendary expressive mastery into a highly functional font system, marking a new standard in typography.

  • Design

    Nikolas Wrobel, B.A.

  • Initial Release

    2026

  • Classification

    Grotesk, Semi Mono, Mono

  • Technology

    Variable Font

  • Styles

    48

  • Files

    otf, woff, ttf

Size

100
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 
Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. And then it happens... One day you wake up and you're in this place. You're in this place where everything feels right. Your heart is calm. Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed. And then you are using Nikolas Type's Absolute Grotesk™ for your new project. Repeat the sequence: I am Perfect Health, Radiant Beauty, Divine Energy. 

Size

100
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"
"The most
magnetic thing on
earth is loving your
own energy"

Size

100
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard
Visceral
Standard

Size

100
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³
Grotesk → Semi Mono → Mono³

Size

100
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.
³Eventually everything connects.

Size

100
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison
Typeface
Liaison

Size

100
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.
"Beauty is an important ingredient of our daily lives. We admire and praise the beauty of nature, architecture, music, other people... Given its pervasiveness, the lack of research addressing aesthetics in Human-Computer Interaction (HCI) is striking." One can despise beauty because of its notorious elusiveness or fight about whether beauty can be reduced to some numbers on scales—as David Frohlich put it: "It didn't seem to me to be the kind of thing that could be measured so easily with a seven-point bipolar scale and a pencil" [2], Not to mention the succession of philosophers who already devoted entire lives to understanding the transcendental nature of beauty. Given the myriad views on beauty, it may be more a matter of position than of truth. Nevertheless, Noam Tractinsky recently summarized what we know research-wise about beauty applied to HCI, which seems to be substantial enough [3]. We know, for example, a fair bit about the processes underlying judgments of beauty. When we look at an object, the percept is emotionally processed. This leads to a positive or negative response—an involuntary, fast, and effortless process. Attributed to the visual gestalt of an object, this response becomes its beauty. We know that the object was capable of creating this response for us and that it might continue to do so in the future.

Size

100
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30
15 Pl. Vendôme 75001
+33 (1) 43-1630-30

Size

100
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity
Enter the A.G.
Dimension

GLOBAL STAGE EXHIBTION
——————————————————————

Fondazione Prada
Kunsthaus Zürich
The Getty Villa
National Art Center Toyko
Bangkok Kunsthalle
Musée d'Orsay
Ghisla Art Collection
The MOP Foundation
Artizon Museum Toyko
Fondation Cartier


SHOWING WORKS FROM
——————————————————

Helmut Newton
David Lynch
Robert Mapplethorne
Jimmy Edgar
Satoshi Fujiwara
Craig McDean
Yves Saint Laurent
Anish Kapoor
Bruce Weber
Carlos Cruz-Diez
Hayal Pozanti
Park Seo-bo
Beverly Fishman
Jean-Luc Godard
Guimi You
————————————————————
for the purpose of
global mind expansion
peace power love 
and unity

Size

100
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.
State of
the Art.

Size

100
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)
fig
(2)

Size

100
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.
Stop Hesitating and Anticipating to the Top — That's Your Mark.

Size

100
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia
"Listen To Music. Get Lost In It, Absorb It All Like You're A Sea Sponge Floating At The Bottom Of The Ocean. Once Music Has Entered Every Corner Of Your Mind And Has Hit The Further Places Of Your Heart, Then You Are Ready To Play It For Other People." — System Olympia

Size

100
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi
Sakamoto 
Ryūichi

Size

100
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]
Abraham Harold Maslow (/ˈmæzloΩ/ MAZ-loh; April 1, 1908 – June 8, 1970) was an American psychologist who created Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs in priority, culminating in self-actualization. [1] Self-actualization, in Maslow's hierarchy of needs, is the highest personal aspirational human need in the hierarchy. It represents where one's potential is fully realized after more basic needs, such as for the body and the ego, have been fulfilled, and is recognised in psychological teaching as the peak of human needs. Maslow later added the category self-transcendence (which, strictly speaking, extends beyond one's own "needs"). Self-actualization was coined by the organismic theorist Kurt Goldstein for the motive to realize one's full potential: "the tendency to actualize itself as fully as [...] the drive of self-actualization." [1] Carl Rogers similarly wrote of "the curative force in psychotherapy – man's tendency to actualize himself, to become his potentialities [...] to express and activate all the capacities of the organism." [2]

Size

100
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"
"Youth Is That
Kind Of Energy
That Lives Inside
People"

Size

100
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.
Seek No Form
But Life.

Size

100



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul



Peace is always
breathing through 
your Soul

Size

100
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.
(..) if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful. (…) There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness — your awareness — is expanded, the deeper you go toward this source, and the bigger the fish you can catch.

Size

100
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa
Alaïa

Size

100
@t
@t
@t
@t
@t
@t
@t
@t
@t
@t
@t
@t
@t

Size

100
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000
1768 5th Avenue 
NY 10019, New York
+1 212-759-3000

Size

100
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]
The at sign (@) is a typographical symbol used as an accounting and invoice abbreviation meaning "at a rate of" (e.g. 7 widgets @ £2 per widget = £14),[1] and now seen more widely in email addresses and social media platform handles. Most languages have their own name for the symbol. Although not included on the keyboard layout of the earliest commercially successful typewriters, it was on at least one 1889 model[2] and the very successful Underwood models from the "Underwood No. 5" in 1900 onward. It started to be used in email addresses in the 1970s, and is now routinely included on most types of computer keyboards.The name of the symbol arises from its original use in showing quantities and their price per unit – for example, "10 widgets @ £1.50 each". The precise origin of the symbol is uncertain.[13] The absence of a single English word for the symbol has prompted some writers to use the French arobase,[14] to coin new words such as ampersat[15] and asperand,[16][failed verification] or to use the (visual) onomatopoeia strudel,[17] but none of these have achieved wide use. In ActionScript, @ is used in XML parsing and traversal as a string prefix to identify attributes in contrast to child elements.[23] In Ada 2022, @ is the target name symbol, an abbreviation of the LHS of an assignment; it is used to avoid repetition of potentially long names in assignment statements.[24] In (especially English) scientific and technical literature, @ is used to describe the conditions under which data are valid or a measurement has been made. E.g. the density of saltwater may read d = 1.050 g/cm3 @ 15 °C (read "at" for @), density of a gas d = 0.150 g/L @ 20 °C, 1 bar, or noise of a car 81 dB @ 80 km/h (speed).[52]

Size

100
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21
▶03:21

Size

100
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.
Your soul is lit. Your thoughts are positive. Your vision is clear. You're at peace, at peace with where you've been, at peace with what you've been through and at peace with where you're headed.

Size

100
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.
From 1/10
You're 11.

Characters

abc
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Independent

For independent designers, freelancers and founders.

  • Commercial use
  • Client work
  • Desktop & Web
  • Lifetime updates

Licensed For Companies Up To

Studio

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Built for growing studios and agencies.

  • Everything in Independent
  • Multi-project usage
  • Product & app licensing
  • Cross media environments

Licensed For Companies Up To

Company

The One-Stop License for Growing Companies.

  • Everything in Studio
  • Perpetual Company License
  • Scale without relicensing
  • Third-party rights
  • Unlimited media

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Enterprise

For global brands operating at scale.

  • Everything in Company
  • Global deployment
  • Unlimited distribution
  • Procurement support
  • Custom Font Names

Licensed For Companies Up To

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