This product features a comprehensive lesson plan with a fun twist that teaches your students not to judge a book by its cover (literally!). I use this lesson during the first week of school in my ELA classroom on the day I introduce my students to our school-wide reading program. The lesson serves as a great reminder that reading should be pleasurable, not a chore, and it teaches students that there are actually tangible ways to pick a book that they are going to enjoy. My students love this lesson and you will love to see them reading, writing, thinking, and speaking all in one class period! Product Includes: - Full lesson plan lesson with objective, materials, warm-up, explanation, application, and closing activity - Accompanying student worksheet - 3-slide powerpoint for warm-up ___________________________________________________________________________ Purchase lesson as part of the Back to School ELA Bundle for Middle School and save 25% off the cover price: ⭐ Back to School ELA Bundle ___________________________________________________________________________ Also, check out these great products to start your school year off strong by Language Arts Excellence: ⭐ Back to School ELA Escape Room ⭐ First Day of ELA "Book Talk" Activity ⭐ First Day of School Powerpoint ⭐ Study Hall Expectations Powerpoint Presentation ⭐ Back to School / Open House Brochure ⭐ Literary Bingo! ___________________________________________________________________________ ⭐ Click to Follow Language Arts Excellence⭐

They say that you can’t judge a book by its cover. But what if the cover alone can tell you the whole story? Welcome to the world of book nooks where creative ideas run wild!

One of Korea’s most renowned 20th century authors, Pak Kyongni often wrote stories set in the aftermath of the war and during the several military dictatorships. Pak passed away in 2008, but her wo…

Table of Contents: Introduction Victor Palla Sebastião Rodrigues João da Câmara Leme Júlio Pomar Figueiredo Sobral Otelo Azinhais Paulo Guilherme Manuel Baptista Luís Filipe de Abreu António Vaz Pereira José Cândido Introduction The Portuguese school of graphic design has been at the forefront of the international book cover design since the early 20th century. The Portuguese design, has developed a unique identity, it is a design that is self-taught, versatile and almost always operated in one way or another in a challenging socio-political environment.The enormously self-confident Portuguese design professionals such as Victor Palla, João da Câmara Leme, Otelo Azinhais, Sebastião Rodrigues, Figueiredo Sobral, Manuel Baptista, Luis Filipe, Júlio Pomar, Paulo Guilherme, as well as many others created a unique vocabulary of symbols and innovative compositions that defined the Portuguese school. Such achievement is truly remarkable for a country that its formal introduction to graphic design started relatively late. In fact, the first design courses in Portugal was offered in 1969, and design as an academic discipline was introduced in Portuguese universities in Lisbon and Porto in 1975. IADE - which opened in 1969 under the name Institute of Art and Decoration, and is now the largest private school of design in the country - , which will complement the schools of arts and crafts existed since the beginning of the century In Portugal the design of book cover has been always treated as one of the most intriguing areas of visual communication. The book cover designer needs to think about the complexity of an art object that belongs to the universe of ideas which should be represented by a visual composition in association with a concrete object which would be mass produced in a commercial world. As João Bicker, of Ferrand, Bicker Associados explains: "We worked on the ideas expressed by others and try to interpret them visually. What is essential is the search for understanding of the text, the way that gives the best read. A suitable choice of typography, the shape of the book and page, the process of putting words and images in the form that best serve. " "there is nothing more important than the choice of typography, the letters that will read the text. Each font carries in its design characteristics that influence both formal and historical reading because they influence the shape of the text." Contemporary Portuguese design is largely “international” in style, world class in caliber and sophisticated in its execution, regardless of medium—as such, it’s notable for its plurality, agility and openness to outside influences. Design instructor Luísa Ribas suggests that Portuguese design is particularly known for “articulating strong conceptual approaches with a sensibility to formal rigor, notable in the effective use of typography.” The Portuguese heightened visual sensitivity is represented by knowledge, skill, planning and vision. From a technical perspective a typical Portuguese designer shows sensitivity that his design would be printed on a particular type of paper of various weights, with choices of different printing processes, binding techniques, and a mixture typography, illustration and color. Within such criteria, the graphic artist always try to understand the main idea of a book and convey it in an honest and efficient way to the reader. It is argued that "in Portugal it seems that necessity truly is the mother of invention. Forced to work with limited means and resources, it seems that Portuguese designers have become frugality experts by “doing a lot with a little,” being exceptionally creative and “doing it all, on call.” Victor Palla Born in Lisbon, Victor Manuel Palla e Carmo (1922-2006), architect, photographer, painter, ceramic artist, graphic designer, publisher, translator, gallery owner, and a man of many ideas; was the son of a theater make-up artist and amateur photographer, At age seventeen he began his studies in architecture and was graduated in Porto, in 1948. While in Porto, he ran the Galeria Portugália. After his return to Lisbon, in 1947, he participated in many Art Exhibitions until 1955, showing drawings, paintings, decorative art work, sculpture and photography. Palla published theoretical articles in magazines such as "Arquitectura", which he directed in 1952, and designed innovative architectural projects in partnership with Joaquim Bento d' Almeida, an architect with whom he shared a studio for 25 years. Graphic design and editing were other areas in which Victor Palla had distinguished himself early in his life. In 1949, Palla created the famous collection of Os Livros das Três Abelhas-- the Three Bees books with José Cardoso Pires, and in 1952, he attended a Publishing and Book Production Course in London, applying some of his new skills to the Three Bees books and the Folio editions. In 1992, the Modern Art Centre of the Calouste Gulbenkian Foundation, in Lisbon, dedicated a retrospective photography exhibition on the artist and, in 1999, the Portuguese Photography Centre, in Porto, awarded him the National Photography Prize. Victor Palla, 1 9 4 7, William Saroyan, Atlântida Editora. Victor Palla, 1 9 5 9 , Um homem na América, André Bay, Editora Arcádia. Casa da Malta, Fernando Namora, Coimbra, Cover by Victor Palla, 1945 Montanha Russa, Tomaz Ribas, Coimbra, Cover by Victor Palla, 1946 In 1949, Palla created the famous collection of Os Livros das Três Abelhas-- the Three Bees books with José Cardoso Pires. O QUE É A FICÇÃO CIENTÍFICA? WHAT IS SCIENCE FICTION? by Victor Palla Atlântida (Coimbra), Cover by Victor Palla, 1959 Os Melhores Contos de João de Araújo Correia, The Best Stories of João de Araújo Correia, Cover by Victor Palla, 1960 Antologia do Conto Moderno, the Anthology of Modern Short Story dedicated to American writer Erskine Caldwell (1903-1987), Atlântida, Cover Victor Palla, 1960 O Homem e o Sardão, Garibaldino De Andrade, Arcadia, Cover by Victor Palla, Lisboa, 1960 Sebastião Rodrigues Born and raised in Dafundo, Sebastião Rodrigues (1929 - 1997) worked in Lisbon. Eearly in his life, Rodrigues learned the craft from his father, for whom he was doing various graphic errands in the advertising department of newspaper A Voz. At the tender age of sixteen, while working for Atelier de Publicidade Artística (APA), the Advertising Arts Workshop, he met Manuel Rodrigues, his future business partner, who accompanied him for 30 years. Rodrigues worked with virtually all the Portuguese pioneers of graphic design sharing experiences and knowledge. In 1959, while he was in charge of the graphic design of monthly Almanac, Rodrigues traveled to the northern Portugal for half a year, with a grant from the Calouste Gulbenkian Foundation, to research various aspects of the traditional Portuguese graphic design, which deeply influenced his style, grounding it firmly in the country's folkloric design. Being a perfectionist, Sebastião Rodrigues engaged himself thoroughly and with the utmost rigor in the entire process of design from the initial conceptualization to final execution, combining capabilities of offset printing with the traditional inspiration. He integrated harmoniously the typography the cover in the composition of the image. During his one year tenure at Almanac, under its editors José Cardoso Pires and Figueiredo Magalhães, Rodrigues worked with many contemporary artists, such as Abel Manta. After leaving Almanac, he was commissioned by publishers Sá da Costa and Arcádia, first project in 1961, and Editorial Verbo, first project in 1979. Rodrigues designed numerous posters, leaflets, books, catalogs, and other graphic materials. He was graphic designer for the Calouste Gulbenkian Foundation since the 1960's. In 1954, he was commissioned to design Portuguese pavilions in Sao Paulo and continue to design Portuguese Pavilion 1956 (Rome), 1957 (Lausanne) and 1958 (Brussels). Rodrigues received numerous awards and honors throughout his life, including the "Award of Excellence" by ICOGRADA (International Council of Graphic Design Associations) in 1991 and the Medal of "Grand Officer" of the Order of Merit, awarded by the President of the Republic in 1995. Agostinho, Alberto Moravia, Cover by Sebastião Rodrigues with a photograph by Sena da Silva, Ulises, Lisboa 1959 Almanaque, Cover by Sebastião Rodrigues. June 1960 O Apelo do Mar, Alexandre Grine, Arcádia Limitada, Cover by Sebastião Rodrigues Lisboa, 1961 Aparição, Vergilio Ferreira, Portugália Editora, Cover by Sebastião Rodrigues, Lisboa, 1960 Almanaque, Cover by Sebastião Rodrigues, Lisboa, 1960. Almanaque, Cover by Sebastião Rodrigues, Lisboa, November 1960. Casa Portuguesa. Os Condenados Da Terra, Frantz Fanon, Ulisseia, Cover by Sebastião Rodrigues, Lisboa, 1961 Terra Morta, Castro Soromenho, Sá da Costa, Cover by Sebastião Rodrigues, Lisboa, 1979 Complete Poems of António Gedeão, Sá da Costa, Cover by Sebastião Rodrigues, Lisboa, 1983. João da Câmara Leme João da Câmara Leme (1930-1984), illustrator and graphic designer, was born in Moçambique in 1930 he died in Lisboa. Leme was the main cover artist and graphic designer for Editora Portugália during the 1960s, where he illustrated some of the most important books in various genres. With a gentle warmth and erudition João da Câmara Leme, utilized black lines, solid or textured, to delineate an organic geometry of surfaces covered various shades of pastel, in a composition that was exquisitely balanced, accentuated by stylized figures with evocative tone.that made him one of the most talented and esteemed designers of the Portuguese School. João da Câmara Leme created a remarkable body of work that is conceptually imaginative, communicatively powerful and aesthetically remarkable. Felizmente há luar!, Luís de Sttau Monteiro, Portugália Editora, Cover by João da Câmara Leme, Lisboa, Setembro de 1961 Andorra, Max Frisch, , Portugália editora, Cover by João da Câmara Leme, 1961 A feira, John Updike, Portugália Editora,, Cover by João da Câmara Leme, 1961 O Barão, Branquinho da Fonseca, Portugália Editora, Cover by João da Câmara Lisboa 1962 Uma Abelha na Chuva , Carlos de Okiveira A, Portugália Editora, Cover by João da Câmara Lisboa, 1963 Hora Di Bai , Manuel Ferreira, Portugália Editora, cover by João da Câmara Leme, Lisboa, 1963 Barco sem âncora. Front Cover. José Loureiro Botas, Portugália editora, capa de João da Câmara Leme, 1963 Apelo da Noite, Vergílio Ferreira, Portugália editora, capa de João da Câmara Leme, 1963 As noites de Salomão Fortunato; contos, Maria da Graça Freire, Portugália editora, capa de João da Câmara Leme, 1964 O rosto da inocência, William Sansom, Portugália editora, capa de João da Câmara Leme, 1965 O Deserto , Fèlix Cucurull , Portugália editora, capa de João da Câmara Leme, 1965 No Rasto do Corsário , Branquinho da Fonseca, Portugália editora, capa de João da Câmara Leme, 1968 Contos Tradicionais Portugueses, Branquinho da Fonseca, Portugália editora. Cover by João da Câmara Leme,1968. Júlio Pomar Júlio Pomar was born in Lisbon in 1926. He attended Escola de Artes Aplicadas "Antonio Arroyo", the Antonio Arroyo School of Applied Arts and Escolas de Belas Artes, the Schools of Fine Arts of Lisbon and Porto. In 1945, he was the graphic designer for “A Tarde” a journal in Porto. He was also collaborating with articles and drawings in various literary magazines, as well as paintings. As WW2 ended Pomar became influenced by the Communist party and writers such as Redol and Alves. He joined a politico-student group called the Independentes. He perceived his art to be a socio-politico vehicle for intervention. His first group exhibition in 1945 at the Anteneu Comercial do Porto was an exhibition of anti-regime art, refusing cooperation with the Salazar regime. His oppositional stance restricted his access to the School of Fine Art and on his return to Lisbon he was imprisoned for four months. In 1950 Pomar moved to Spain and studied the work of Goya which greatly influence his painting in this period. In the following years he paints portraits of prominent political and social intellectuals including Maria Lamas and Mário Dionísio.In the 1960’s Pomar participated in the French student riots and painted a series of works on insurgency. Terra com Sede, Papiniano Carlos, Livraria Portugália, Cover by Júlio Pomar, 1946 Companhia dos Homens, Sidónio Muralha, Cover by Júlio Pomar, 1946 Figueiredo Sobral José Maria de Figueiredo Sobral (1926- 2010) was born in Lisbon, where he attended the Escola de Artes Decorativas "António Arroio", António Arroio School of Decorative Arts. Sobral studied under Lino António, Paula Campos and Rodrigues Alves. He was a painter, graphic, illustrator, designer and poet, and his extensive body of work, consisting of drawings, engravings, watercolors, collages, ceramics, tapestries is spread over numerous collections. Figueiredo Sobral was a co-founder and contributor to the journal Revista Minotauro. He also contributed to the graphic art of Diário de Notícias E. N. P. Being a dissident in the Salazar regime, Sobral was arrested several times for his political views. In 1975, he moved to Sao Paulo, Brazil, where he created a sculpture for the entrance of the city at the invitation of former Mayor Ralph Biasi.His murals and monumental sculptures integrate public urban spaces in Portugal and Brazil. A oeste nada de novo, Erich Maria Remarque, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa, 1957 A abadia do pesadelo. Thomas Love Peacock, Portugália Editora, Cover by Figueiredo Sobral, Lisboa, 1958 Deus Dorme Em Masúra, Hans Helmut Kirst, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa: 1958 Queres Ouvir? Eu Conto, Irene Lisboa, Portugália. Cover by Figueiredo Sobral, Lisboa, 1958. A Terra foi-lhe Negada, Maria da Graça Freire, Contemporânea da Portugália Editora, Cover by Figueiredo Sobral, Lisboa, 1958. Chora Terra Bem Amada! Alan Paton, Publicações Europa-América, Cover by Figueiredo Sobral, Lisboa, 1958. O Covil, Frantz Kafka, Editorial Inquérito, Cover by Figueiredo Sobral, Lisboa, 1963. A Morte Dum Caixeiro Viajante, Arthur Miller, Colecção Três Abelhas, Cover by Figueiredo Sobral, Lisboa, 1963. Otelo Azinhais Torre De Vigia, Luís Cajão, Editorial Minerva, Cover by Otelo Azinhais, Lisboa, 1954 Mercurio. Os melhores contos dos melhores , Mercurio - Agência Jornalística e Editorial, Cover by Otelo Azinhais, 1955? Tempo para Amar e Tempo para Morrer, Erich Maria Remarque, Publicações Europa-América, Cover by Otelo Azinhais, Lisboa, 1962 O Crime de Aldeia Velh, Ática, Bernardo Santareno (pseudonym of playwright António Martinho do Rosário) Cover by Otelo Azinhais, Lisboa 1966. Paulo Guilherme Paulo Guilherme d’Eça Leal (1932-2010) was born in Lisbon. He was the eldest son of the painter Olavo d’Eça Leal. a contributor to almost all newspapers and periodicals of Lisbon. He directed graphic design departments of various literary magazines, created numerous book covers and has won many awards for graphic arts and advertising. He was a stage designer in Paris, Rome, Madrid, Lisbon, a painter, a draughtsman, and an architect. He designed shopping centers, banks and restaurants, among his most important projects include the Banco Pinto & Sotto Mayor, in Oporto, Lisbon Airport and the Museum of Macao Cultural Centre in Lisbon. Gigi, Colette, Estúdios Cor, Cover by Paulo-Guilherme, Lisboa, 1958 A Mulher Infiel, Jules Roy, Estúdios Cor, Cover by Paulo-Guilherme, 1959 A Gata, Colette, Estúdios Cor, Cover by Paulo-Guilherme, 1959 Um Homem não Chora, Luis de Sttau Monteiro, Ática, Cover by Paulo-Guilherme, 1963 O Dia Marcado, Domingos Monteiro, Sociedade de Expansão Cultura Lisboa, Sociedade de Expansão Cultural, Cover by Paulo-Guilherme, 1963 A Erva Canta, Doris Lessing, Ulisseia, Cover by Paulo-Guilherme, 1965 Manuel Baptista Manuel Baptista was born in Faro in 1936. In 1957, he enrolled in Architecture course, but soon abandoned it to devoted himself solely to painting. He took Curso Complementar de Pintura, Complementary Course in Painting in Escola Superior de Belas-Artes, ESBAL. In 1962, with a grant from the Calouste Gulbenkian Foundation, Baptista left for a one year study in Paris in 1962. In 1964 he landed a job in ESBAL as an assistant in painting which lasted until 1972. In 1968 he was grant holder from Instituto de Alta Cultura in Ravenna, Italy. After a number of exhibitions influenced by Miro and Klee he moved to abstract in 1959 with agglomerations of rough panels glued, modulation reliefs in positive / negative cut geometric brackets, boxes, and basic bonding layers. In 1966, he exhibited a series of monochromes at the Gallery Quadrant. After 1977 he travelling regularly to Lippstadt and Schmallenberg in Germany, where he created tapestries for the Falke Factory. Queda Livre, E.M. de Melo e Castro, Colecção Pedras Brancas, Cover by Manuel Baptista, Lisboa, 1961. Queda Livre, E.M. de Melo e Castro, Colecção Pedras Brancas, Cover by Manuel Baptista, Lisboa, 1961. Itinerário, Liberto Cruz, Colecção Pedras Brancas. Cover by Manuel Baptista, Lisboa, 1962, Luís Filipe de Abreu Luis Filipe de Abreu (1935 – ) was born in Torres Novas. He graduated from the escola Superior de Belas Artes, School of Fine Arts in Lisbon, where he later lectured. In addition to painting, he also worked as a graphic designer. He produced several designs for tapestry since 1967. Andanças do Demónio, Jorge de Sena, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1960 Os Insubmissos, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by Luís Filipe de Abreu, Lisboa, 1961 As Máscaras Finais, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by Luís Filipe Abreu, Lisboa, 1963 A Minha Universidade, Máximo Gorki, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1963 Uma Aventura Inquietante, José Rodrigues Miguéis, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1963 Páscoa Feliz, José Rodrigues Miguéis, Estúdios Cor, Cover by Luís Filipe de Abreu, Lisboa, 1965 António Vaz Pereira O anão, Pär Lagerkvist, Editorial Cosmos, Cover by António Vaz Pereira, Lisboa, 1958 A Noite Roxa, Urbano Tavares Rodrigues, Livraria Bertrand, Cover by António Vaz Pereira, Lisboa, 1959 José Cândido As Boas Intenções, Augusto Abelaira, Livraria Bertrand, Cover by José Cândido, 1963 O cônsul honorário, Graham Greene, Livraria Bertrand, Cover by José Cândido, 1977 Fotomontagem, Artur Portela, Edições António Ramos, Cover by José Cândido,1978 O Crime de Kyralessa, C. Virgil Georghiu, Livraria Bertrand, Cover by José cândido, 1978 A sample of 20th century cover designs O bandido chinês, Harman Long, Edições Gleba, design João Carlos, 1947 O Exército ao serviço de quem?, Prelo Editora, design Dorindo Carvalho, 1974 Psicologia da maturidade e da velhice, Mário Gonçalves Viana, Porto Editora, 1968 O Homem, Irving Wallace, Clássica Editora, design Paulo-Guilherme, 1967 Portugal-Brasil, orações de fé, Paulo de Brito Aranha, ed. autor, design Armindo José Rodrigues, 1925 Epopeia de Salazar, 3.ª ed., Santos Cravina, ed. autor, 1949 Tortura da carne, Leão Penedo e Gentil Marques, Editora Argo, 1957 Tentações de San Frei Gil, António Correia de Oliveira, 1907 Textos malditos, Luiz Pacheco, Edições Afrodite, design Henrique Manuel, 1977 O aborto a bem da criança, Dr. Frans Wong, Liber, design João Salvador, 1977 Os homens do mar, Victor Hugo, Guimarães & Ca., design Roberto Nobre, 1935 Um drama no Oceano Pacífico, Emilio Salgari, Romano Torres, design Alfredo Moraes, 1927 Rosas de sangue!, Carlos Caváco, 1920 Sidónio na lenda, D. António D’Albuquerque, Lumen, 1922 Zilda, Alfredo Cortez, Companhia Portugueza Editora, design Alice Rey Colaço, 1921 Musa Hysterica, Mercedes Blasco, Livraria Editora Viuva Tavares Cardoso, design Francisco Valença, 1908 A gaivota e O cerejal, Tchecov, Presença, design A. Dias, 1963 A novela n.º 13, W. Fernández Flórez, Civilização, design Júlio Amorim, 1942 Tundavala, A. Rego Cabral, SEC, design A. Rego Cabral, 1971 Out, Pierre Rey, Livraria Bertrand, design Henrique Ruivo, 1978 Linha quebrada, Augusto da Costa, Oficina Gráfica, Lda., design Piló, 1935 Enquanto existir o Mundo-2, Henri Troyat, Clássica Editora, design Paulo-Guilherme, 1974 Ares da minha serra, Campos Monteiro, Civilização, design ARS (Adalberto Sampaio), 1933 A decapitada, Oscar Richmond, Henrique Torres Editor, design Fonseca, 1927 Maldita seja a guerra, Ribeiro de Carvalho, Editora Lumen, 1925 D. João e a máscara, António Patrício, design Almada Negreiros, 1924 Sangue e prisão, Curzio Malaparte, Livros do Brasil, design Bernardo Marques, [1960] O trigo e o joio, Fernando Namora, Arcádia Editora, design Victor Palla, 1960 Metamorfose, Franz Kafka, Livros do Brasil, design Infante do Carmo, 1962 William Saroyan, Atlântida Editora, design Victor Palla, 1947 A cidade à beira-mar, Jon Svensson, 1930 O nó apertado, Vladimir Tendriakov, Arcádia Editora, design Sebastião Rodrigues, 1963 5.º Gula, 2.ªa ed., Saléma Vaz, design Alfredo Cândido, 1931 Salazar, António Ferro, Empresa Nacional de Publicidade, 1933 Novo Mundo, Mundo Novo, António Ferro, Editora Portugal-Brasil, design Bernardo Marques, 1930 9 Novelas de antecipação americanas, Estúdios Cor, design Miguel Flávio, 1964 Levanta-te e caminha, Hervé Bazin, Publicações Europa América, design Sebastião Rodrigues, 1962 Deserto com vozes, Urbano Tavares Rodrigues, Seara Nova, design Henrique Ruivo, 1976 Discos voadores, Desmond Leslie & George Adamski, Livros do Brasil, 1954 Coca-cola killer, António Victorino D’Almeida, O Jornal, design João Segurado, 1981 Avatar, Teófilo Gautier, Editorial Enciclopédia, 1945 O ditador da violência, Carvalhão Duarte, Editorial República, design Fernando Bento, 1933 O 411 está inocente!, Campos Coelho, design João Carlos, 1937 234 O canto no ocaso, Rui Nunes, Edições Rolim, design João Carlos Albernaz, 1984 O amor e a lama, A. Tomé Vieira, Casa Editora Nunes de Carvalho, design Quim, 1932 O porco triunfante, Livraria Popular de Francisco Franco, design Moura, 1946 O triunfo dos porcos, George Orwell, Perspectivas & Realidades, design José Brandão, 1980 O automóvel, 2.ª edição, João de Almeida e Vasconcellos, Livraria Simões Lopes, design Maria Vasconcellos, 1938 A execução, Júlio Moreira, Prelo Editora, design Júlio Moreira, 1966 Arte de furtar, Padre António Vieira, design J. David, s.d. Terra de ninguém, Manuel de Seabra, edição de autor, design Victor Palla, 1959 O punhal sangrento, Max Fred, Editor Henrique Torres, 1934 Peça em um acto, Luís de Sttau Monteiro, Minotauro, 1966 Areias de Portugal, Hipólito Raposo, Livraria Civilização, design ARS, 1935 Praça da Concórdia, António Ferro, Empresa Nacional de Publicidade, design Bernardo Marques, 1929 Um crime a bordo, Dennis Wheatley, Editora Marítimo-Colonial, design Stuart de Carvalhais, 1945 Vão matar meu marido!, Philip Barnner, Romano Torres, design Júlio Amorim, 1952 Corpo e alma, MAnuel de Campos Pereira, design Alfa, 1943 A boceta de Pandora, Robert Dundee, Agência Portuguesa de Revistas, design Carlos Alberto Santos, 1966 Como o Homem se tornou gigante, M. Iline e E. Segal, Livros do Brasil, design Infante do Carmo, 1963 Olivia, Olivia, Editora Ulisseia, design Sebastião Rodrigues, fotografia Sena da Silva, 1959 O Barão, Luís de Sttau Monteiro, Ática, 1974 O disfarce, Álvaro Guerra, Prelo, 1969 Virginia Woolf, Atlântida Editora, design Victor Palla, 1951 Cela 27, Joaquim Paço D’Arcos, Guimarães Editores, 1965 O cerco, Mário Braga, Colecção Centauro, Editora Atlântida, design Victor Palla, 1960 Toda a Verdade, Morris West, Clássica Editora, design Paulo-Guilherme, 1966 O cônsul honorário, 2.ª edição, Graham Greene, Livraria Bertrand, design José Cândido, 1977 Jantar mundano, Claude Mauriac, Publicações Europa América, design Sebastião Rodrigues, 1962 PIDE, a história da repressão, 1975 Os guardas da casa, Shirley Ann Grau, Publicações Dom Quixote, design Lima de Freitas, 1965 Os passos em volta, Herberto Hélder, Editorial Estampa, design José Brandão e Keith Trickett, 1970 No fundo deste canal, Alfredo Margarido, Arcádia Editora, design Victor Palla, 1960 Os mistérios da Polícia Secreta, Jean Galtier-Boissière, Livraria Clássica Editora, 1937 O mistério da aranha vermelha, Herbert Gibbons, Edição Romano Torres, design Júlio Amorim, 1946 A Viúva Negra, Ed McBain, Colecção Enigma 81, Edições DêAgá, design A. Andrade Albuquerque, 1965 Espionagem (2.ª volume), Adolfo Coelho, Livraria Clássica Editora, design Mário Costa, 1933 A fugitiva, J. L. Sanciaume, ed. desc., design Roberto Santos, 1944 Claudelle, Erskine Caldwell, Livraria Bertrand, Design Bartolomeu Cid, 1968 Coração de Barro, Nuno de Montemor, ed. desc., design Raquel Roque Gameiro, 1935 Gémeas, Manuel de Campos Pereira, Editorial Império, design António Domingues, 1942 O Incêndio, Eugénio Vieira, Novela Contemporânea, design Bento Correia, 1924 Leviana, 3.ª edição, António Ferro, design António Soares, 1927 Sensuais, Helena Maria, Edições Momento, 1933 Hitler o vagabundo, Carvalhão Duarte, Seara Nova, 1946 A máscara do criminoso, Max Fred, Henrique Torres Editor, design Alfredo Moraes, s.d. Manual do… perfeito escroc, Ch. Fleurigand, José Bastos & Ca., 1908 Escrava… ou rainha?, Delly (A. Augusto dos Santos), Livraria Progredior, 1939 Domingo à tarde, Fernanndo Namora, Editora Arcádia, design Victor Palla, 1962 Gigi, Colette, Estúdios Cor, design Paulo-Guilherme, 1958 Vietnam, segunda resistência, Wilfred G. Burchett, Seara Nova, design Rogério Ribeiro, 1966 Um homem na América, André Bay, Editora Arcádia, design Victor Palla, 1959 Lápis de côr, António Pereira, design Roberto Nobre, 1937 A cultura do nabo, Ministério da Economia, design ETP, 1942 Lenine, F. A. Ossendowski, Edições Europa, 1933 Os grilhetas do Kaiser, Theodor Plivier, Livraria Bertrand, 1931 Edna Ferber, Editora Atlântida, design Victor Palla, 1945 Vingança, Alfredo Marques, Editorial Hércules, 1933 O Luís, Paulo Cantos, edição e design Paulo Cantos, 1951 Pide, a história da repressão, Jornal do Fundão Editora, 1974 Peyton Place: amar não é pecado, Grace Metalious, Editora Arcádia, design Victor Palla, 1958 A Gata, Colette, Estúdios Cor, design Paulo-Guilherme, 1959 Mrs. Dalloway, Virginia Woolf, Editora Ulisseia, design Luiz Duran, 1982 O Baile dos Assassinos, Eugénio Vieira, Minerva Lisbonense, Ltd., design B. Correia, 1924 As moscas, Jean-Paul Sartre, Editorial Presença, design A. Dias, 1965 Memória, Álvaro Guerra, Editorial Estampa, design Soares Rocha, 1971 Para além da bruma, Fernando Morgado de Andrade, Coimbra Editora, design Victor Palla, 1945 O homem que encontrou a felicidade, René Baer, Livraria Progredior, design Carlos Carneiro, 1946 Terra de neve, Yasunari Kawabata, Publicações Dom Quixote, design Lima de Freitas, 1968 Alemanha ensanguentada, Aquilino Ribeiro, Livraria Bertrand, design Roberto Araújo, 1934 Um herói do nosso tempo, Vasco Pratolini, Editora Arcádia, design Victor Palla, 1959 Ariane, rapariga russa, Claude Anet, Editorial Organizações, design Paulo-Guilherme, 1960 Vindima de Sangue, Alves Redol, ed. de autor, design Lima de Freitas, [1950] Caminhada, Leão Penedo, Realizações Artis, 2.º edição, 1956 Inferno, August Strindberg, Assírio & Alvim, design Manuel Rosa, 1988 Nada de novo na Rúœssia, Paul Thomas, Editora Argo, design F. A., 1940 A peregrina do Mundo Novo, Ferreira de Castro, Edição ABC, design Jorge Barradas, 1926 Harry Dee, F. Finn, Livraria Apostolado da Imprensa, 1947 A Severa, Júlio Dantas, Editora Portugal-Brasil, design Alberto Souza, 1921 Fotomontagem, Artur Portela, Edições António Ramos, 1978 O tojo também floresce, António Mendes Moreira, Editorial Argus, 1956 A feira, John Updike, Portugália Editora, O livro de bolso 28, design João da Câmara Leme, 1961 Palavras cínicas, Albino Forjaz de Sampaio, Empresa Literária Fluminense, 1924 A planície Heróica, Manuel Ribeiro, Livraria Editora Guimarães e C.ia, design Bernardo Marques, 1927 Garibaldina, Elio Vittorini, Portugália Editora, O livro de bolso 25, design António Charrua, 1961 Servidão, 2.ª ed., Assis Esperança, Guimarães & C.ia Editores, design Roberto Nobre, 1946 Salão dos Novíssimos, catálogo, SNI, design Sebastião Rodrigues, 1959 Portugal Alcatifado, canções anormais, Lello, Brito & Irmão, Editora & etc, design Fernando Brito, 2012 319 Pela estrada fora, Jack Kerouak, Editora Ulisseia, design Paulo-Guilherme, 1960 O visconde cortado ao meio, Italo Calvino, Portugália Editora, design João da Câmara Leme, 1961 Sangue na madrugada, Rogério de Freitas, Editora Arcádia, design Victor Palla, 1960 Espaço e Tempo, Josué da Silva, ed. autor, design Paulo-Guilherme, 1961 Comédia sentimental, Augusto da Costa, design Piló, 1935 Os filhos do Pai Tomás, Richard Wright, Editora Arcádia, design Victor Palla, 1958 Djamília, Tchinghiz Aitmatov, Portugália Editora, O livro de bolso 16, design João da Câmara Leme, 1961 Rosa do Adro, M. M. Rodrigues, Companhia Portugueza Editora, design Jorge Barradas, 192_ A salamandra, Morris West, Clássica Editora, design Paulo-Guilherme, 1974 A porta dos limites, Urbano Tavares Rodrigues, Editora Arcádia, design Victor Palla, 1960 A bailarina negra, Guedes de Amorim, Empresa Nacional de Publicidade, design Paulo Ferreira, 1931 Serioja, Vera Panova, Portugália Editora, O livro de bolso 5, design Paulo-Guilherme, 1960 Maigret e o ladrão preguiçoso, Simenon, Livraria Bertrand, série Inspector Maigret 20, design José Cândido, 1966 O pregador, Erskine Caldwell, Portugália Editora, Contemporânea 4, design Paulo-Guilherme, 1960 Os dentes do dragão, Ellery Queen, Colecção Xis 27, Editorial Minerva, design Edmundo Muge, 1953 Ópio, cocaína e escravatura branca, Adolfo Coelho, Livraria Clássica Editora, design Mário Costa, 1934 A Fronteira, Uwe Johson, Editora Arcádia, design Sebastião Rodrigues, 1963 Cal é coisa? Cal é ela?, Maria Valverde, Livraria Clássica Editora de A. M. Teixeira, design Mutapa, 1920 11 de Março, Decibel Edições, 1975 Kyoto, Yasunari Kawabata, Publicações Dom Quixote, design Lima de Freitas, 1969 As fraudes contabilísticas, G. Tuillet, Clássica Editora, 1973 O Mestre, Ana Hatherly, Editora Arcádia, design Sebastião Rodrigues, 1963 O meio-maluco, Gino Saviotti, Edições Gleba, design João Carlos, 1944 Feira de Amostras, Luís Teixeira, Empreza Nacional de Publicidade, design Fred Kradolfer, 1931 Clea, Lawrence Durrell, Editora Ulisseia, design António Garcia, 1970 Elói ou romance numa cabeça, João gaspar Simões, Editora Arcádia, design Victor Palla, 1959 O último moicano, Fenimore Cooper, Portugália Editora, Biblioteca dos Rapazes 10, design João da Câmara Leme, 196_ Frente Argelina, Herbert Steinhouse, Editora Ulisseia, design Sebastião Rodrigues, 1962 A derrocada do Império Vátua e Mousinho d’Albuquerque, Francisco Toscano e Julião Quintinha, Editora Portugal Ultramar, 1930 O selvagem, Tchekhov, Editorial Presença, design F. C. E., 1968 Oh Chico… não sejas azelhudo!, A. Sanches de Castro, O Volante, design Fred Kradolfer, 1933 Jamba, A. Rego Cabral, Sociedade de Expansão Cultural, design A. Rego Cabral, 1972 Esta cidade, Irene Lisboa, ed. autor, design Ilda Moreira, 1942 O pão da mentira, Horace McCoy, os livros das três abelhas 5, Editorial Gleba, design Victor Palla, 1957 Eles e elas, Júlio Dantas, Editora Portugal-Brasil, design Stuart, 1921 Cavalgada do sonho, Julião Quintinha, Portugal-Brasil Editora, design Bernardo Marques, 1924 Os caminhos de Katmandu, Barjavel, Portucalense Editora, design Dario Alves, 1970 Montedor, Rentes de Carvalho, Prelo Editora, design Pilo da Silva, 1968 Sobre o fogo, William McGivern, Colecção DH 70, design Andrade Albuquerque, 1964 Céus de fogo, Campos Monteiro Filho, Civilização Editora, design ARS-Adalberto Sampaio, 1933 Um anjo no trapézio, Manuel da Fonseca, Prelo Editora, design Pilo da Silva, 1968 Páginas de sangue, Sousa Costa, Editora Portugal-Brasil, design Francisco Valença, 192_ Os canibais, Keefe Brasselle, Edições Palirex, design Pereira da Silva, 1970 Eu matei!, Freeman W. Crofts, Editora Marítimo-Colonial, a.d., 1945 Antropófagos, Henrique Galvão, Editorial Jornal de Notícias, design José de Moura, 1947 Amok, Stefan Zweig, Livraria Civilização, design Júlio Amorim, 1942 Uma prenda macabra, J. Moran, Empresa Nacional de Publicidade, 1946 Páscoa feliz, José Rodrigues Miguéis, Edições Alfa, design Fred Kradolfer, 1932 _ This work is licensed under a Creative Commons Attribution-No Derivative Works 3.0 Unported License.

Wigan is a Tech Fonts design published by Fontfabric.

This learning center can cover a whole lot of information. I have made it with questions and answers. You can adapt this to suit the judges you are teaching. There are some blank swords that you can write your own questions on. DOWNLOAD Blank swords - you may write your own questions and answers: Final

Rezension zum Bilderbuch Flugschule von Lita Judge

You might’ve heard the phrase, “You can’t judge a book by its cover.” In reality, we all do it. If we have a hankering to find a new book, we might spend

A blind date with a book allows you to pick your next read solely based on a couple hints about the content. Each is packaged with bookish goodies and provides an exciting unwrapping experience! Let go of judging a book by its cover and let the simple hints guide you to your next read! This book is brand new.

Decorate your classroom with this brightly colored, fun poster that covers the four steps to the Feldman method of critique: describe, analyze, interpret, and judge.

They often say that you should never judge a book by its cover and that definitely rings true with the great state of Vermont!

The Ugly Duckling Story- Morals: Don’t judge a book by its cover or treat people differently because they look different.

We all know the saying, "don't judge a book by its cover"... but you can't help but gravitate towards these fun covers and your students will feel the same! Included are three different styles of EDITABLE notebook covers in seven different subjects: - Leadership Notebook - Data Notebook - Reading Notebook - Writing Notebook - Math Notebook - Science Notebook - History Notebook These will look awesome on the cover of your student's binders, folders, or their interactive notebooks! Each cover is EDITABLE, so you can personalize each cover with your own wording and/or your students' names!

Overwhelmed by the vast amount of knowledge needed for the parliamentary procedure CDE or to teach it in class? Many resources out there are very thorough but also confusing. We've simplified what you need to know and condensed it into an easy to use and understand study guide. This reference will make learning parli pro quick and effective. Sure to be your go-to-guide for answering test and oral questions and helping your students through the finer points of using parliamentary procedure. Covers each individual required motion, order of precedence, handling motions, officer duties, debate, voting, motion relationships, and includes a basic glossary and a chart of motions. Available as an immediate digital download.

Just like judging a book by its cover, a guest formulates an opinion of your vacation rental property the moment they set eyes upon it. That’s why curb appeal needs to be a top priority,...

//Never Judge A Book By It's Cover.// this story does not belong to me if you what to see more story like this go to this link http://yuushishio.tumblr.com *i don't know why they name themselves like that but ok*.

This was SO fun to make and so silly to wear!!! To make Samson's hair, you need one sentence strip and 2 9x12 sheets of black construction paper per child. Staple sentence strip to fit your head. Then cut slits up the black paper leaving about 1 inch solid at the top. The more slits you cut the more hair Samson will have. After you are done cutting the slits to make hair, staple the black to the sentence strip. Staple in the 1 ince border at the top of the black and make sure that the bended part of the staple is on the outside so that it will not get caught in the kids real hair. Leave about 1/3 of the sentence open at the front for face to show thru. WARNING - Do not let kids cut Samson's hair!!!

Repair damaged books yourself so they look beautiful and new againAs the saying goes, don't judge a book by its cover... or lack thereof. If you have a precious book that is simply falling apart because the spine or cover is in poor...

If you use Facebook, #22 will make you laugh.

ABOUT THE ARTWORK This fun cyclist piece is painted with acrylics and has pencil details to add to its energetic flair. It is painted on canvas with extra heavy duty stretcher bars that stand out 2.25 inches from the wall. It comes wired and ready to hang, Original Created: 2019 Subjects: Bicycle Materials: Canvas   Styles: Fine Art,   Minimalism   Mediums: Acrylic,   Pencil   DETAILS AND DIMENSIONS Painting: Acrylic on Canvas Original: One-of-a-kind Artwork Size: 36 W x 48 H x 2.3 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships in a Crate

Are you paranoid that everyone is watching you while you perform your sets? Good, because they are. With the "Friendly Reminder" t-shirt, you can remind lifters that everyone is watching their workout. You should be insecure during your bench, because everyone is judging you. When you curl, people are wondering why you aren't using more weight. When you deadlift, the person next to you is watching you. No matter what, everyone is watching you. The "Friendly Reminder" t-shirt is also incredibly comfortable, coming in 5 garment-dyed colors and made of 100% ring-spun cotton. With a relaxed fit, you can at least have some solace in the fact that you're as comfy as can be while being stalked by the entire gym.