2013 professional and graduate student work samples

1. Jessica Wilkeson
2013 Portfolio jjdesigns@verizon.net

2. ARDEX Quality and Innovation Leadership
Founded in 1949, ARDEX is the global quality and innovation leader for specialty building products
including construction materials for tile and stone installation, subfloor preparation, toppings and
concrete restoration, designer walls and floors, wall preparation and smoothing, flooring adhesives
and waterproofing.
ARDEX is a family-owned business with a focus on a strong uncompromising product quality,
International Projects & International Projects & unmatched service, in-depth training and expert technical support.
Specification Services Specification Services Headquartered in Witten, Germany and with 36 subsidiaries, ARDEX has representation in more than
50 countries. This structure ensures consistent quality and maximum responsiveness to local
Specialty Building Product Solutions for market needs.
International Architectural & Design Specifications
ARDEX products unfailingly meet the needs of our customers, as well as those of individual market
segments. ARDEX customers acquire a promise of outstanding performance and expert support on
building sites around the world resulting in strong, trustworthy global partnerships.
Las Vegas City Center / Las Vegas, NV USA Burj Khalifa / Dubai, UAE
Commitment to Environmental Sustainability
As we develop new products and technologies, our Research and
Development teams are focused on developing new formulas that
reduce the ecological footprint of our products by consuming fewer
natural resources, making use of recycled materials and other
IPSS Covering the World improvements with a positive environmental impact.
The International Projects and Specification Services Program
(IPSS) assists architects with international project specifications
in any part of the world. The ARDEX IPSS team consists of
representatives from ARDEX companies strategically located
around the globe. International construction practices and projects
require different products based on location, environment and
application type.
The ARDEX IPSS Team provides specification assistance to architects
matching the correct ARDEX products and solutions required to
ensure a successful installation regardless of location.
The ARDEX IPSS Representatives interface with the local ARDEX
Representatives from the location where a project resides to
provide technical jobsite support, training and recommendations.
For example, an IPSS Representative can assist an architect based
in the United Kingdom with a project they have in Dubai. The Each of our manufacturing facilities is focused on sustainable For inquiries, please contact
ARDEX Representative based in Dubai will work directly with local
contractors in conjunction with the IPSS Representative on the IPSS Benefits development initiatives. New energy saving technologies and processes IPSS@ardexamericas.com
designed to reduce consumption of energy and natural resources have
project to make sure all specification expectations are met.
• International Product Selection Assistance been implemented. Plant and facility managers continue to research
ARDEX Technical Service Team and local representatives assist new ways of remaining environmentally responsible.
with the proper documentation and recommendations to ensure • International Warranty Program
ARDEX products meet the building standards and codes for • Installer Recommendations and Support The ARDEX IPSS team assists architects by providing materials and
the various countries. information they need for their environmental and sustainable design
• Specification Assistance
projects internationally. ARDEX provides required documentation needed
ARDEX also provides architectural and engineering professionals to meet the regulations and standards for each individual country.
with ARDEX product and installation warranties (where applicable).
IPSS Project Reference List Kuala Lumpur, Malaysia Macau, China Seoul, Korea
Universiti Kebangsaan Malaysia Medical Center The Venetian Macau, Casino Resort Hotel Kumho Asiana Headquarter Building
Designed to assist architects, designers and engineers with ARDEX A 35 ARDEX CL 11, CL 11 B ARDEX FG 8
7000 m² 10,000 m² 5000 m²
International Project Specifications in any part of the world.
Las Vegas, NV United States Malacca, Malaysia Cheongnyangni Urban Railway Station
PANDOMO Wall
Las Vegas City Center Hospital Alor Gajah 1000 m²
ARDEX LU 100, K 15®, Feather Finish® ARDEX K 250
Bangalore, India Dubai, United Arab Emirates Ft. Lauderdale, FL United States 1,560,500 m² 9000 m² Shenzhen, China
Golf Shire Prestige Bur Juman Shopping Mall Trump Tower Limoges, France Middlesex, United Kingdom Shenzhen Stadium
ARDEX WMP 300, WPM 310 ARDEX EB 2, WPC, S7, X 77, FL, ARDEX K 15®, V 1200, 8+9 ARDEX K 320
WA, EG 8 Grouts Musée de la Porcelaine Adrien Dubouché Heathrow Airport Terminal 1 5000 m²
52,300 m2 19,500 m²
14,000 m² PANDOMO® FloorPlus ARDEX K 11, ARDITEX NA and AF 2300
Bangrak, Bangkok Glasgow, Scotland 2000 m² 40,000 m² Sydney, Australia
Dubai Mall
Royal Orchard Sheraton Hotel and Towers ARDEX A 35, S 16, MG Grout, K 15, P 51, BBC Scotland London, United Kingdom Mumbai, India Sydney Opera House
ARDEX F5 ARDEX S 20, FLEX FL Grout ARDEX X 77, E 90, Multiprime, Abacrete Bonding Agent,
R3E, EP 2000
King’s Cross Station Mumbai International Airport Abapoxy Adhesive and Grout, SE
23,600 m² 200,000 m² 1500 m²
ARDEX A 35, S 21 and FLEX FL Grout ARDEX WPM 300, WPM 002 600 m²
Beijing, China Burj Khalifa Guangzhou, China 4300 m² 13,000 m²
ARDEX ARDITEX NA Taiwan
Shangri-La Hotel, Spa
60,000 m²
IKEA Royal Albert Hall Pittsburgh, PA United States
ARDEX AM 100, WPM 300, ARDEX Polyurethane Leveling ARDEX NA and AF 2300 First Cosmetic Works Linko Office
CONSOL Energy Center PANDOMO Floor
WPM 006, STS 8, E90, ST, WA Dublin, Ireland 4500 m² 2000 m²
ARDEX Feather Finish and 1500 m²
500 m² London Olympics Aquatic Center
St. Vincent Hospital Ho Chi Minh City, Vietnam HENRY® Flooring Adhesives
FuShing Group Taipei Head Office
Cambridge, United Kingdom ARDEX K 11, EWC, K 301, EB 2 ARDEX EB 2, WPC, S7, X 77, FL, WA, 22,848 m²
Intel Project @ Saigon Hi-Tech Park EG 8 Grouts PANDOMO Floor and FloorPlus
26,000 m2
Cambridge Regional College ARDEX WPM 300, P 82 and K 005 14,000 m² Queensland, Australia 1200 m²
ARDEX K 15-HB, X 78 S, FLEX FL Grout Dublin Airport Terminal 2 45,000 m²
ARDEX X 7G, S 20, C2, X 7R, M&S Westfields (Olympic Site) Noosa Springs Day Spa China
2000 m²
EWC, RS Plus Latex, K 15, A 35 Hong Kong, China ARDEX DPM-1C, K 11, S 38 FLEX FL Grout ARDEX WPM 265, WPM 300, WPM 002,
MNG Stores (30 stores)
Charlottenlund, Denmark 75,000 m2 14,500 m² STS 8, Abapoxy Adhesive and Grout
PANDOMO Wall
The Mandarin Oriental Hotel 1500 m²
Savoy Hotel 40-500 m²
The Ordrupgaard Museum Dusseldorf, Germany ARDEX CL 11, DS 40, FB 9 L, WPM 006
ARDEX EP 2000, K 15 3000 m² ARDEX A 35, 7001, S 16, FLEX FL Grout Radzy Podlaski, Poland Villers sur Mer, France
1150 m2 Sky Office Building 2000 m²
PANDOMO TerrazzoMicro Swire Pacific Festival Walk Shopping Mall Regional Court Musée « Paléospace l’Odyssée »
Chrzanów, Poland 1300 m² ARDEX S 16, MG, A 35 Los Angeles, CA United States PANDOMO TerrazzoMicro PANDOMO FloorPlus
20,000 m² 3500m² 800 m²
Renaissance Sports Club
Public Library Erstein, France
PANDOMO® Loft Kaohsiung, Taiwan ARDEX SD-T® Decorative Concrete Rouen, France Warszawa, Poland
500 m2 Wurth Art Museum 750 m²
PANDOMO Floor Kaohsiung Rapid Transit Centre de congrès et d’exposition H2O Adidas Shop
Daegu, Korea 1600 m² ARDEX STS 8, E90 Lynge, Denmark PANDOMO FloorPlus PANDOMO Floor
630 m² 480 m² 330 m²
Widex A/S Headquarters
Lotte Outlets, Yulha Essen, Germany
ARDEX X 77 Katowice, Poland ARDEX K 14, K 22, A 31, P 51, EP 2000 Santa Ana, CA United States Washington, D.C. United States
6000 m² Folkwang Museum 12,000 m²
PANDOMO TerrazzoBasic District Court Skyline Condominiums at MacArthur Place Liberty Square, U.S. Gov. Office Building
6500 m² PANDOMO Floor ARDEX K 15 and Feather Finish ARDEX V 1200
7000 m² 14,000 m² 40,400 m²
Art Gallery
ARDEX K 80
1600 m²
AB190 (08/12)
London Olympics Aquatic Center / London, UK
IPSS Logo and Brochure Redesign
The redesign of an existing logo and brochure for line of business for ARDEX. This brochure is seen
the International Projects & Specification Services worldwide by high-end architects.

3. 08.18 2011 07.01 2011 06.23 2011
Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA Sigmund Stern Grove 19th Avenue & Sloat Boulevard San Francisco, CA
free concerts & events Sundays @ 2pm free concerts & events Sundays @ 2pm free concerts & events Sundays @ 2pm
Stern Grove Festival June 23 to August 25, 2011 Stern Grove Festival June 23 to August 25, 2011 Stern Grove Festival June 23 to August 25, 2011
74th Season 74th Season 74th Season
Kenny Barron’s Canta Brasil Rennie Harris Puremovement Michelle Shocked
Enjoy an afternoon of jazz in the Grove with the scintillating Be sure to catch this electrifying performance! Founded Kick off the season with singer/songwriter Michelle
samba rhythms of Kenny Barron’s Canta Brasil. A seven-time by artistic director and choreographer, Rennie Harris, Shocked, an innovative voice in American folk-rock music. With
Grammy-nominee, Barron is one of the premier pianists in Puremovement explores the roots of hip-hop dance, offering a variety of influences—from blues, gospel, big-band swing,
mainstream jazz. The performance is a collaborative exploration gravity-defying, dazzling adaptations of traditional and bluegrass, country, and folk to post-modern punk—her music
of Brazilian jazz featuring Barron, Trio da Paz and flutist modern dance forms. This performance focuses on defies description and explores a wide range of
Anne Drummond. the diverse styles and storied evolution of hip-hop dance human emotion and experience.
and is narrated by Rennie Harris.
Simon Shaheen Quetzal
Pre-Concert Talk, Trocadero Clubhouse at 12pm
Simon Shaheen opens the show with a melodic blend of Afro-Chicano band Quetzal opens the show with a mesmerizing
Sponsored by The Villas at Park Merced
traditional Arabic, jazz, Western classical and Latin music. An combination of traditional Mexican roots music, rock,
inter-nationally acclaimed Arabic lute and violin player, Shaheen folk, and Afro-Caribbean influences.
is the recipient of the National Heritage Award and has
Sponsored by KPFA 94.1 Radio
performed at venues around the world.
Sponsored by Jazz91 Radio
sterngrove.org 415.252.6252 info@sterngrove.org sterngrove.org 415.252.6252 info@sterngrove.org sterngrove.org 415.252.6252 info@sterngrove.org
Stern Grove
This project was for the Stern Grove festival in to create a postcard series for each performer while
San Francisco, California. The requirements were only using typographical treatments.

4. Counter top display and take away card
2012-13
Installer
Front Back Video
Contest
You know FEATHER FINISH®
is that smooth.
Now tell us why!
• Are you a loyal installer who knows
it just works?
• Are you a contractor who trusts its
performance?
• Is the job you installed 20 years ago
still standing?
• Have you devised an ingenious use for
this amazing product?
Come on!
You could win prizes You know you love
ARDEX FEATHER FINISH®
in 3 easy steps! Tell us why and you could win a
$2,500 vacation getaway,
FEATHER FINISH® $500 gift cards for gas - and more!
It’s that Record up to 3 minutes
of video with a camera Trowels, t-shirts Video Criteria: Your original video can be about:
smooth. ™ or smart phone.
and more • An installation where FEATHER FINISH® was
installed years ago and still is standing
(because we know it is time tested)
Upload video via
your computer to
$500 gift cards • Your own personal testimonial (because we
know installers LOVE FEATHER FINISH®)
www.ardexfeatherfinish.com for gas, tools, etc. • About an “unusual and probably unauthorized
and non-warranted” use for FEATHER FINISH®
that you have discovered. (We hear stories
Tell friends and family about what you have done with this product!)
to vote for your video! $2500 Vacation All you have to do is create a short video of you
Getaway! or your friends and FEATHER FINISH® and post
it here: www.ardexfeatherfinish.com
It’s that smooth.
FINE PRINT: All entries become the
property of ARDEX. ARDEX reserves ™
the right not to publish a video. See www.ardexamericas.com
www.ardexfeatherfinish.com for full details.
ARDEX Feather Finish Product Campaign - Video Contest Materials - www.ardexfeatherfinish.com
As the creative team lead on this multi-year product by targeting the installers. The aim was to catch attention and spark loyalty among the
campaign I helped to create awareness of the use exciting, provocative and creative ideas to current users and the sales force.

5. Trade Magazine Ads
FEATHER FINISH® FEATHER FINISH®
As smooth as your Way smoother than
Promotional Material morning coffee... this guy...
T-Shirt Illustration by co-worker and Sr. Graphic Designer, Mark Rosepink
• Preferred by Installers for its Feel • Preferred by Installers for its Feel
• Trusted by Contractors for its Performance • Trusted by Contractors for its Performance
• Twenty Years and Counting • Twenty Years and Counting
ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment
for flash-patching and skim-coating in the most demanding environments. Install for flash-patching and skim-coating in the most demanding environments. Install
floor coverings in as little as 15 minutes for a true featheredge and smooth, floor coverings in as little as 15 minutes for a true featheredge and smooth,
permanent finish. permanent finish.
It’s that smooth.™ www.ardexamericas.com
888-512-7339
It’s that smooth.™ www.ardexamericas.com
888-512-7339
FEATHER FINISH® FEATHER FINISH®
Way smoother than As smooth as your
this guy... baby’s bottom...
• Preferred by Installers for its Feel • Preferred by Installers for its Feel
• Trusted by Contractors for its Performance • Trusted by Contractors for its Performance
• Twenty Years and Counting • Twenty Years and Counting
ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment ARDEX FEATHER FINISH® is the most trusted and reliable self-drying underlayment
for flash-patching and skim-coating in the most demanding environments. Install for flash-patching and skim-coating in the most demanding environments. Install
floor coverings in as little as 15 minutes for a true featheredge and smooth, floor coverings in as little as 15 minutes for a true featheredge and smooth,
permanent finish. permanent finish.
It’s that smooth.™ www.ardexamericas.com
888-512-7339
It’s that smooth.™ www.ardexamericas.com
888-512-7339
ARDEX Feather Finish Product Campaign - Promotional Items and Printed Advertising
The four trade ads featured on this page are magazines over a 1 year period of time. The as hand out during events and for the
currently being circulated into 4 different promotional items are used to gain loyalty as well video contest associated with the campaign.

6. Vox Type
Classification List
Humanist
Garalde Humanist
Transitional
Didone Vox Type
Slab Serif Nicolas Jenson (1420-1480). As this is the oldest
Lineale Grotesque category of roman letterforms created in metal
Lineale Neo-Grotesque type, the letters have many of the same characteris- Humanist
Lineale Geometric Garalde
and classicism and work well as text faces along- Transitional
Lineale Humanist
side Blackletter display type. Didone
Glyphic
Slab Serif
Script
on the lowercase e and their slanted axis (stress). Lineale Grotesque
Humanist faces have the lowest contrast of the Lineale Neo-Grotesque
serif text faces. Lineale Geometric
Lineale Humanist
Glyphic
Script
Typeface
Adobe Jenson Pro
ABCDEFGHIJKLMNOP QRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789
Type Classification
Vox Type Lineale Neo-Grotesque
These faces are similar to Grotesques
Humanist
but they have a little less contrast and
Garalde
a single-story lowercase g. Their lower
Transitional
Slab Serif Didone
contrast gives these faces a more
"designed" look because they have
These are the faces with heavy square serifs that Slab Serif
taken one step away from the modula-
were designed in the early 1800s to meet the Lineale Grotesque
Lineale Neo-Grotesque tion of pen-drawn strokes. The jaws of
demands of a newly industrialized society. Slab
Lineale Geometric letters like C are slightly more open
serifs were widely used on broadside posters,
Lineale Humanist than in Grotesques.
handbills and advertising during the Industrial
Glyphic By the mid-20th century, sans serif
Revolution. With this relationship to the Industrial
Revolution, these faces have a real "workhorse" Script type in a wide range of weights came
feel about them. A London type founder, Robert to epitomize modernity. These faces
Typeface easily accommodated modern design's
Thorne, coined the name "Egyptian" for his work
on slab serif display typefaces. Typeface Helvetica Lt Std abstract, intellectual attitudes.
There are three kinds of slab serif types. Regular
Chaparral Pro
slab serifs are low in contrast (strokes and serifs ABCDEFGHIJKLMNOP QRSTUVWXYZ
are often the same thickness) and have unbrack- ABCDEFGHIJKLMNOPQRSTUVWXYZ
eted slab serifs. Clarendons have bracketed slab
abcdefghijklmnopqrstuvwxyz
serifs, a bit more contrast and ball terminals.
abcdefghijklmnopqrstuvwxyz 0123456789
Typewriter faces are monospaced slab serifs. 0123456789
Type Classification
A poster series on three of the typographical
classifications.

7. REC GAIN MAIN VOLUME
MUSIC PRODUCTION CENTER
AFTER
PAD BANK
Q1 A B C D
F1 F2 F3 F4 F5 F6
FULL 16 NEXT TRACK
LEVEL LEVELS SEQ MUTE
DATA ERASE
PLAY LOOP PLAY TO PLAY FROM PLAY ALL
PAD13 SEQ EDIT -/+ PAD14 STEP EDIT PAD15 TRANSPOSE PAD16 SONG CANCEL
y & - (
z # ! )
TAP TEMPO
NOTE REPEAT
NUMERIC
PAD9 MIDI/SYNC 9 PAD10 OTHER 0 PAD11 ■ PAD12 EFFECT ENTER
Q S U W
MODE
R T V X
AFTER
DIGIT DIGIT
Q2 MAIN WINDOW UNDO SEQ
PAD5 RECORD 5 PAD6 TRIM 6 PAD7 PROGRAM 7 PAD8 MIXER 8
I K M O
J L N P
LOCATE PLAY
START
SHIFT < BAR >
STEP
PAD1 SLIDER 1 PAD2 LOAD 2 PAD3 SAVE 3 PAD4 DISC UTILITY 4 START
A C E G
B D F H OVER
REC DUB STOP PLAY
END
WARNING
To prevent fire or shock hazard,
do not expose this appliance to
rain or moisture.
MPC 1000 Operator Manual Cover
This was a technical illustration project to design limited to black and white and the illustration was
the cover of the MPC 1000 manual. The project was done completely in Adobe Illustrator.

8. Masters of the Camera
William Klein: Witness
American photographer, painter, and filmmaker
In 1954, Vogue launched Klein’s career as a fashion photographer, a journey
marked by his ambivalent and ironic approach to the world of fashion. He did
not want to continue with mundane fashion poses, but wanted to take “at last
real pictures, eliminating taboos and cliches”. Klein worked with unconventional
wide-angle and telephoto pictures, with unconventional lighting and flash effects
and with intentional motion blurs. Although he worked for Vogue until 1966,
Masters of the Camera
he did not consider fashion photography to be his real calling but rather what
he calls “serious photographs”. William Klein:
Witness
by Lane Anthony
Non-Fiction : Art : Photography
US $59.00 Canada $56.86 UK £36.62
Masters of the Camera
William Klein:
Witness
by Lane Anthony
II Intro
6 Chapter 1: New York
40 Chapter 2: Rome
58 Chapter 3: Tokyo
72 Plates
Table of Contents 82 Index of Plates
William Klein Photography
The goal of this book project was to make the book white space, creating a museum quality piece. It
very luxurious with wide margins and significant was designed with limited color.

9. William Klein’s book New York was made in an intense eight-month period
in 1954-1955, it was also during this period that the photographer began
what would be a twelve-year relationship with Vogue magazine. Klein had
met Vogue’s art director, Alexander Liberman, in Paris. According to Klein:
Liberman said, “If you ever come to New York, come to see me and you can
become, like, an art director or something at the magazine. It will give you a
way of making a living. My preoccupation is painting and sculpture, but I make
a living at Vogue, which gives me free time to work. It’s something maybe you
could do.” I thought, why not? I didn’t like the idea of trying to sell oneself as a
painter, buttering up to collectors or curators. I liked the idea of making a living
with one hand and doing exactly what you wanted with the other. Vogue and
Conde Nast, at that time, had a tradition of cultural patronage. Whatever, I felt
this relationship was more comfortable than grant-hustling.
The initial response to New York seems in some ways to have been like the
Chapter 1: New York response to Frank’s The Americans in that it quickly became a cause celebre,
and it was immediately perceived to create a new category. Yet, at least in
Europe, it may have had even more impact in its early years than Frank’s book.
Like The Americans, New York was published first in France.
After France, it was published in England and in Italy. There was a great deal
of controversy, but a certain success, the Prix Nadar, lots of cover newspaper
stories, portfolios all over. In Japan it immediately became a cult book. The pho-
tographic establishment ignored it. But I never met an American photographer
of that period who didn’t somehow have a copy.
Klein’s attitude toward his work for Vogue in relation to his personal Actually the story of William Klein’s return from Paris to New York to make
work nlike that of, say, Louis Faurer, who sometimes felt that he had “sold
—u the book that established him as the unique photographic figure he is now uni-
out” s characteristically pragmatic; like Richard Avedon, he seems never to
—i versally acknowledged to be came about through a more circuitous series of
have apologized for any of the commercial work he saw fit to do. When he events than the Vogue Connection:
arrived in New York in 1954, Klein recalls: In 1953, I learned about a new process developed by Corning Glass where
photographs could be transferred into, not on the surface of, but into the mass
“Once, I got into
Liberman asked me, “What do you want to do?” I said, “A book of pho-
tographs on my return to New York. A sort of photographic diary.” And he of glass. Up to then, it had only been used to put your grandmother’s face into
photographing I realized
said, “That sounds interesting — we’ll do a portfolio and foot the bill.” And they a locket. But I thought, wait, my abstract photos could become glass murals,
did — paper, film, labs, enlarger — it was surreal and funny. Here was this fashion facades, a new kind of stained glass window. Okay, new vision, new materials,
that photography was
magazine financing photographs which were probably the funkiest and most let’s go to New York and see.
unpublishable of the day, and although Liberman seemed to like them, that So that’s how I came back in 1954 … plus the idea of a book. The artist as seis-
no longer abstract.
portfolio never got done. But in 1954, a double page on me was published: an mograph, the Man with the Camera, plus the portrait of a city and what could
abstract photo and an almost illegible Parisian picture, under the title A New be done in photography. As it turned out, I was able to get a series of small-scale
Photo Graphic Eye. Not something Vogue would do nowadays.
In the 1950s, there weren’t many magazines publishing serious photography. I’d hit a vein.
” models done in photo-sensitive glass. They worked well enough, but convincing
Corning to build the kilns necessary for larger pieces would have taken years. So
The art magazines almost never did, and photography magazines were mostly I plunged into the book. If the glass had worked out, I might have said later for
preoccupied with sunsets, wrinkled old ladies and fishing ports. Life and Look the book, which would probably have meant never.
were just Life and Look. It was only in Harpers Bazaar, for example, that you Once, I got into photographing I realized that photography was no lon-
could see pictures of Brassai or Cartier-Bresson. Today, Vogue is on the same ger abstract. I’d hit a vein. Suddenly I realized I had to do this book. I could
rack as the Enquirer in the supermarkets. But then, for many, Vogue was the do anything, mix everything I’d been boning up on with my own New York
monthly shot of culture. craziness, and let loose. Every kid used to dream of going cross-country in a
second-hand car. I never did.
24 New York 25 William Klein: Witness
Anne St. Marie Isabella, Queensboro Bridge, 31 Macy’s Thanskgiving Day Parade, Broadway, 66
Anouk Aimée, 26 Mary Dove in Cafe, 24
Maurice Thorez’s Funeral, 69
B.Barzini, 7
Above: Barbara plus Coffee Filters Barbara and Coffee Filter, 25 Piazza di Spagna, 7
Paris, 1956 Barbara in a Night Cap, 27 Piazza di Spagna Crossing, 72
Barbara, Over Gadgeted, Does Lips, 8 Pigeons, 77
Left: Barbara in Night Cap
Broadway and 103rd Street, 60, 62
Paris, 1956 Quartier Italien, 81
Candy Store, Amsterdam Avenue, 60
7up and Tree, 79
Club Allegro Fortissimo, 61
Simone and Sofia Loren, 81
Dance in Brooklyn, 62 Simone Daillencourt, 80
Dorothy & Douyale, Metal Dresses, 37 Simone Marines, Pont Allexandre III, 10
Anouk Aimée Smoke, 33
Four Women From Below, 36
Paris, 1961 Smoke and Veil, Cover, 32
Girl Dancing In Brooklyn, 63 St Patrick’s Day, Fifth Avenue, 8, 9
Gun 2, Little Italy, 64 Supermarket and fund, 75
26 New York 27 William Klein: Witness
Index of Plates Hat and Five Roses, 42 Tatiana Marie Rose Camels, Picnic, 13
Horn & Hardart, Lexington Avenue, 15 Theater Tickets, 78
Isabella Dove Mirrors, 19
Vitelloni 29th Street and Second Ave, 65
Isabella, White Faces, Opera, 11
Who are you Polly Magoo?, 22
William Klein Photography