Sp2016

Gloria Mendoza Graphic Design

SUNY

gloriamendoza.com

SP/ 2016

baqgmendoza@gmail.com

Internet Censorship Symposium 11in x 17in Collage and photography.

Typography project that promotes the symposium at Aberystwyth University using the concept of “void�.

The concept of void was interpreted as an extension of space more than a lack of it.

Therefor, a three dimensional construction would make more sense than a two dimensional.

poster

Originally the black tape wrapping would read void, but the ideal was to represent censorship in an educational context given the event.

Secondly, information that is being censored.

2

HUMAN RIGHTS TUESDAY, APRIL 24, 2012

Event information: The New School 66 West 12th St, Room A 407 New York City 6:30PM – 8:30PM

Panelists: Colonel Morris Davis Former Chief Prosecutor at Guantanamo Ramzi Kassem Lawyer for Shaker Aamer Andy Worthington Journalist and author of The Guantanamo Files Thenjiwe McHarris Moderator, Amnesty International USA

11in x 17in Collage of drawings and digital manipulation.

The design was originally inspired by the russian constructivist aesthetic and political spirit.

The cause addressed relates to human rights violation when a person is detained by the authority.

The panel held at The New School discusses real life cases, such as Shaker Aamer, a former US resident who has been held in detention for years without a charge or trial.

poster

HUMAN RIGHTS

3

Panel Discussion: The Human Face of Indefinite Detention: Shaker Aamer, Guantanamo & the NDAA

The Man Who Mistook his Wife for a Hat 6.125in x 8.25 Scanned pages.

Book cover design expressing the confusion and neurological imbalances narrated in this compilation of medical cases by Oliver Sacks.

e d itorial

Based on a series of case studies of neurological pathologies, this cover seeks to visually interpret the confusion experienced by a patient with visual agnosia in the story of Mr. D who is unable to decipher visual information.

4

Cheese Monkeys 6.125in x 8.25 Charcoal on paper.

e d itorial

Taking into account the struggle and confrontation art students go through while attending university, the cover design seeks to materialize these feelings based on the narrative of Chipp Kidd and it uses the materials and visual language associated with such undertaking.

5

1926 Gill Sans is a sans-serif typeface designed by Eric Gillin1926, and became popular by 1929.

Gill later on developed it into a complete family.

Gill Sans was used at the London and North Eastern Railway System in all their collateral material.

The design of capital letters is founded on on a square. The M from Gill Sans middle strokes meet at the center of this shape.

Gill Sans contains fourteen styles and it feels mechanical feel than other geometric sans-serifs like Futura.

Its proportions are influenced by the Roman traditional style. The carolingian form is more noticeable in the lower case “g” and “a”.

ill ans Eric Gill was a well established sculptor, graphic artist, and type designer, and the Gill Sans typeface takes its inspiration from Edward Johnston’s Johnston typeface for the London Underground.

Gill worked on the London Undergroundwhile he apprenticed to Johnston. Eric Gill attempted to make the ultimate legible sans-serif text face.

Gill Sans was designed to function equally well as a text face and for display.

Because Eric Gill died in 1940, in most parts of the word the typeface became part of the public domain in 2011.

s e lec tor

In countries where typefaces are not copyrightable, like in the United States, it is possible to freely use Gill Sans for any purposes.

6

GILL SANS TYPEFACE SPECiMEN 11in x 17in Vector render Poster created to showcase all the weights and variations of the Gill Sans typeface.

Synergy Name Poster 10.50IN X 13.75IN 11in x 17in Vector and photography Description of medium.

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how users performed and what N2*&(")'#&0/5'65'S-&")#*2'-2/'B%2C")'&"#&"/'&"2'/%,,")"2&',*2&#3' they said they liked. An %2+.0/%21'&)-/%&%*2-.3'#")%,"/',-+"#'-#'D"..'-#'&("'#-2#'#")%,'Z-6".' interdisciplinary team at Carnegie Mellon University compared Times [%&"3'&("'4*2*#$-+"/'N4")%+-2'B5$"D)%&")3'-2/'&("'/"2#".5' Roman with Georgia, a serif font designed for the screen.3 /"+*)-&"/3'2"*=4"/%"7-.'@.*%#&")'G.-+C8Q'\2.5'&("'.-#&'&D*' Although the team found no objective difference, users ,*2&#<B5$"D)%&")'-2/'@.*%#&")<+-0#"/'-25'#%12%,%+-2&'/%$'%2' preferred Georgia, which they judged sharper, more pleasing, and )"-/%21'#$""/8'B("'-0&(*)#]'+*2+.0#%*2^'TB5$"',-+"#'_#%+`'%2' easier to read. A second test compared Georgia with Verdana, a +*44*2'0#"'-)"'"a0-..5'."1%6."U'>VObA8'J+%"2+"'."-7"#'&("' sans serif face designed for on-screen viewing. In this case, /"#%12")'4*)"'*)'."##'-&'#"-'%2'&")4#'*,',*2&'+(*%+"8 users expressed a slight “subjective preference” for Verdana, but they performed

better reading Georgia. Once again, N'OPPW'#&0/5'&"#&%21',*2&#'*2'&("'#+)""2')"7"-."/'+*2,.%+&#' the study concludes with no definitive guide.

6"&D""2'(*D'0#")#'$"),*)4"/'-2/'D(-&'&("5'#-%/'&("5'.%C"/8' How is typographic efficiency judged? “Legibility” concerns the ease with which a letter or word

1$ $ 23 *4'*#.(3 &56 Paul Klee.

74#*%(&56&Annie Murphy Hall

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neuroscience

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an emotional exchange between characters.

Stories, this research is showing, stimulate the brain and even change how we act in life. !"#"$%&'"%#('$)"(*+,-(.,+/,(0'$0(0'"!"#$%&&'#%$1(*$,-2$-"( %"-3+,#4(*3."(()*#%+&($%"$($,5(,-).'#/-+&!$%"$4($%"( 3,)+*)"5(3,('+/(0'"(6%$3,(3,0"%7%"0#(/ % 3 0 0 " , ( / + % 5 # 8 (

What scientists have come to realize in the last few years is that narratives activate many other parts of our brains as well, suggesting why the experience of ; , ( $ ( = > > ? ( # 0 2 5 @ ( 7 2 6 * 3 # ' " 5 ( 3 , ( 0 ' " (

Words like "$%0-.1-)23!"#'..%4*.3!and “soap,” for example, elicit a response not only from the language-processing areas of our brains, but also those devoted to dealing with smells.

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The way the brain handles metaphors has also received extensive study; some scientists simply

have contended that figures of speech like “a rough day” are

as

words

and

no

more

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they are treated

Last month, however, a team of researchers from Emory University reported in Brain & Language that when subjects in their laboratory read a metaphor involving

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month, however, a team of researchers from Emory University reported in

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What Happens in our Brain as we Read

$Cn a study led by the cognitive scientist Véronique Boulenger, of the Laboratory of Language Dynamics in France, the brains of participants were scanned as they read sentences like

“John grasped the object” “Pablo kicked the ball.”

and The

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in

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.

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in another part when the

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and The

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experience and encountering it in real life; in each case, the same neurological regions the

motor cortex, body’s movements

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which

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.

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in another part when the

and

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The novel, of course, is

an !"#$!%&#'()#'*!)(+,-(./#(#01&,-%.*,"(,+(/!)%"(2,3*%&(and emotional life.

And there is evidence that just as the brain responds to depictions of smells and textures and movements as if they were the real thing, so it treats the interactions

P U B LI C A TIO N

among fictional characters as something like real-life social encounters.

7

about an

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Sculpture and quote by Michelangelo “Rondanini Pietà: Every block of stone has a sculpture inside it and it is the task of the sculptor to discover it” This publication uses typography in a sculptural way and thrives to see the pictoral qualityies of type in a functional context.

/ G:$ ' HG

Rondanini Pietà–Michelangelo “Every block of stone has a sculpture inside it and it is the task of the

e d itorial

sculptor to discover it”

8

SYNERGY

1$ $ 2 3* 4 ' * #. (3& 5 6 Paul Klee.

7 4 #* %(& 5 6 & Annie Murphy Hall

What happens in our brains as we read s

quawk

Amid the s digital devices

pings pings of pings pings

and

10.50IN X 13.75IN

our

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Due to the decrease in reading habits among younger generations. the article by Annie Murphy Paul–journalist and speaker–discuss how reading can stimulate not only our brains but impact the way we live.

But new support for the value of fiction is arriving from an pings pings unexpected quarter:

pings

neuroscience

0 ' " ( 9 + 2 % , $ * ( : " 2 % + ; < $ - " 4 ( % " # " $ % & ' " % # (

pings

Brain scans are revealing what happens in our heads

pings when we read a ! " # $ % & " ! ' ! " ( ) * % + # % , - . pings pings an " / , ) $ # % / " ' 0 " # $ + 1 , * or an emotional exchange between characters.

Stories, this research is showing, stimulate the brain and even change how we act in life. !"#"$%&'"%#('$)"(*+,-(.,+/,(0'$0(0'"!"#$%&&'#%$1(*$,-2$-"( %"-3+,#4(*3."(()*#%+&($%"$($,5(,-).'#/-+&!$%"$4($%"( 3,)+*)"5(3,('+/(0'"(6%$3,(3,0"%7%"0#(/ % 3 0 0 " , ( / + % 5 # 8 (

What scientists have come to realize in the last few years is that narratives activate many other parts of our brains as well, suggesting why the experience of ; , ( $ ( = > > ? ( # 0 2 5 @ ( 7 2 6 * 3 # ' " 5 ( 3 , ( 0 ' " (

Words like "$%0-.1-)23!"#'..%4*.3!and “soap,” for example, elicit a response not only from the language-processing areas of our brains, but also those devoted to dealing with smells.

" 0 3 & ( % " # + , $ , & " ( 3 < $ - 3 , - ( B A C ! ; D ( $ * + , - ( / 3 0 ' ( , " 2 0 % $ * ( / + % 5 # 4 ( / ' 3 * " ( 0 ' " 3 % ( 6 % $ 3 , # ( / " % " ( 6 " 3 , - ( # & $ , , " 5 ( 6 @ ( $ ( A 2 , & 0 3 + , $ * ( < $ - ,

The way the brain handles metaphors has also received extensive study; some scientists simply

have contended that figures of speech like “a rough day” are

as

words

and

no

more

so familiar that

they are treated

Last month, however, a team of researchers from Emory University reported in Brain & Language that when subjects in their laboratory read a metaphor involving

m o r e !"Last

texture, the sensory cortex, responsible for perceiving texture through touch, became P

month, however, a team of researchers from Emory University reported in

Brain

&

Language

that"when subjects in their laboratory read a metaphor involving read a metaphor involving texture, the sensory cortex, Presponsible for perceiving texture through touch, became active.

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e d itorial

What Happens in our Brain as we Read

9

The words we read have such a strong power that not only our language processing areas are stimulated, but also the areas related to motion and sensory perception.

SYNERGY WHAT HAPPENS IN OUR BRAINS AS WE READ 10.50IN X 13.75IN $Cn a study led by the cognitive scientist Véronique Boulenger, of the Laboratory of Language Dynamics in France, the brains of participants were scanned as they read sentences like

“John grasped the object” and “Pablo kicked the ball.”

The

scans

revealed

activity

in

the

motor cortex, body’s movements

coordinates

which

the

.

What’s more, this activity was concentrated in one part of the

motor cortex when the

movement described was arm-related movement concerned the leg.

and

in another part when the

“John grasped the object” “Pablo kicked the ball.”

and The

scans

revealed

activity

in

tinction

experience and encountering it in real life; in each case, the same neurological regions the

motor cortex, body’s movements coordinates

much of a disbetween reading

The brain, it seems, does not make

!"n a study led by the cognitive scientist Véronique Boulenger, of the Laboratory of Language Dynamics in France, the brains of participants were scanned as they read sentences like

which

the

.

What’s more, this activity was concentrated in one part of the

motor cortex when the

movement described was arm-related movement concerned the leg.

in another part when the

and

an emeritus professor! !"#$stimulated. Keith Oatley,

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The novel, of course, is an !"#$!%&#'()#'*!)(+,-(./#(#01&,-%.*,"(,+(/!)%"(2,3*%&(and emotional life.

And there is evidence that just as the brain responds to depictions of smells and textures and movements as if they were the real thing, so it treats the interactions

e d itorial

among fictional characters as something like real-life social encounters.

10

about an

Supported by research, Dr Paul states that, reading affects our behaviours based on the type of literature we frequent; for instance, fiction readers develop a greater sense of compassion and empathy due to the amount situations encountered dealing with human emotions and interactions in the narratives.

SYNERGY THE SCIENCE OF TYPOGRAPHY 10.50IN X 13.75IN <p style="text-align: left; font-family: Gotham, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 12px; margin-left: 30px; margin-right: 30px; color: #505050;"> <by> Ellen Lupton

In this article author Ellen Lupton discusses the variations on typography and their effect on legibility. She proves through research and experimentation, that type sizes below 10pt become more and more difficult to read, and that overly decorated typefaces such as neo-medieval Cloister Black slow down the reading speed, and the assimilation of the actual content.

lacitirc a etaerc ot stroffe cioreh etipseD ,delur sniamer dleif ruo ,ngised rof esruocsid ni detseretnI .noitiutni dna noitnevnoc yb ,ylegral ot tuo tes yltnecer I ,sedutitta evitanretla .yhpargopyt no erutaretil cifitneics eht enimaxe ,tneserp eht ot yrutnec htneetenin etal eht morF ,ygolohcysp—sdleif suoirav morf srehcraeser ,)ICH( noitcaretni retupmoc namuh ,scimonogre .ycneiciffe cihpargopyt detset evah—ngised dna gnicitcarp ot nwonk elttil ,hcraeser sihT hguoht—suorogir ylgnihserfer a sekat ,srengised -pa—evisulcnocni yletamitlu dna suoidet netfo sdrow nettirw ot dnopser elpoep woh ot hcaorp .neercs dna egap no sderdnuh hguorht gniggols morf nrael I did tahW morf dedaolnwod ro deipocotohp segap fo noitamrofnI dna roivaheB ekil seltit htiw slanruoj fo lanruoJ lanoitanretnI dna ygolonhceT .tol a dna elttil a htoB ?seidutS enihcaM-naM selbairav niatrec stset dna setalosi yduts hcaE .).cte ,ezis neercs ,htgnel enil ,elyts tnof( si ssecorp siht ,cifitneics dna lanoitar hguohtlA tcaretni selbairav cihpargopyt sa ,citamelborp osla eht fo trap eno no llup a—rehto hcae htiw roF .erehwesle snoissucreper sah metsys .A seliM dna nosretaP .G dlanoD 9291 ni ,elpmaxe trap—sezis epyt fo sisylana na dehsilbup rekniT tiusrup ni dehcnual yeht seiduts fo seires a fo ,-6 ni tes erew stxeT 1”.gnidaer fo eneigyh eht“ fo yduts ehT .epyt tniop-41 dna ,-21 ,-01 ,-8 eht si stniop 01 taht dedulcnoc yllacitahpme tluser a—gnidaer tneiciffe rof ”ezis mumitpo“ a ta tes stxet rof ylno ,revewoh ,tnaveler ralucitrap a ni ,)mm 08( htgnel enil ralucitrap v.)desolcsid ton( ecafepyt lebaK fires snas eht sa llew sa secaf defires ,lanoitidart gnidulcni ,stnof tnereffid net detset rekniT dna nosretaP yb yduts rehtonA

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dna nosretaP yb yduts rehtonA ,stnof tnereffid net detset rekniT secaf defires ,lanoitidart gnidulcni lebaK fires snas eht sa llew sa naciremA decapsonom eht ,etiL ylesned eht dna ,retirwepyT retsiolC laveidem-oen ,detaroced owt tsal eht ylnO 2.kcalB dna retirwepyT—stnof tnacifingis yna desuac—retsiolC ’srohtua ehT .deeps gnidaer ni pid ni ]cis[ secaf epyT“ :noisulcnoc ”elbigel yllauqe era esu nommoc rengised eht sevael ecneicS .)316( fo smret ni aes ta ssel ro erom .eciohc tnof

neewteb stcilfnoc delaever neercs tahw dna demrofrep sresu woh nA .dekil yeht dias yeht eigenraC ta maet yranilpicsidretni semiT derapmoc ytisrevinU nolleM tnof fires a ,aigroeG htiw namoR 3.neercs eht rof dengised on dnuof maet eht hguohtlA sresu ,ecnereffid evitcejbo yeht hcihw ,aigroeG derreferp dna ,gnisaelp erom ,reprahs degduj tset dnoces A .daer ot reisae a ,anadreV htiw aigroeG derapmoc rof dengised ecaf fires snas ,esac siht nI .gniweiv neercs-no thgils a desserpxe sresu rof ”ecnereferp evitcejbus“ demrofrep yeht tub ,anadreV ,niaga ecnO .aigroeG gnidaer retteb Another on htiw sedulcno c ydutsstudy eht by Paterson and .edTinker iug evitested tinifed ten different fonts, including traditional, serifed faces ycneiciffe cihpargas opywell t si as wothe H sans serif Kabel American eht snrecnoc ”ytilibLite, igeL“ the ?degmonospaced duj drow ro rettel a hcihTypewriter, w htiw esaand e the densely decorated, neo-medieval Cloister Black.2 Only the last two fonts—Typewriter and Cloister—caused any significant dip in reading speed. The authors’ conclusion: “Type faces [sic] in common use are equally legible” (613). Science leaves the designer more or less at sea in terms of font choice.

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study testing fonts on the screen revealed conflicts between

how users performed and what N2*&(")'#&0/5'65'S-&")#*2'-2/'B%2C")'&"#&"/'&"2'/%,,")"2&',*2&#3' they said they liked. An %2+.0/%21'&)-/%&%*2-.3'#")%,"/',-+"#'-#'D"..'-#'&("'#-2#'#")%,'Z-6".' interdisciplinary team at Carnegie Mellon University compared Times [%&"3'&("'4*2*#$-+"/'N4")%+-2'B5$"D)%&")3'-2/'&("'/"2#".5' Roman with Georgia, a serif font designed for the screen.3 /"+*)-&"/3'2"*=4"/%"7-.'@.*%#&")'G.-+C8Q'\2.5'&("'.-#&'&D*' Although the team found no objective difference, users ,*2&#<B5$"D)%&")'-2/'@.*%#&")<+-0#"/'-25'#%12%,%+-2&'/%$'%2' preferred Georgia, which they judged sharper, more pleasing, and )"-/%21'#$""/8'B("'-0&(*)#]'+*2+.0#%*2^'TB5$"',-+"#'_#%+`'%2' easier to read. A second test compared Georgia with Verdana, a +*44*2'0#"'-)"'"a0-..5'."1%6."U'>VObA8'J+%"2+"'."-7"#'&("' sans serif face designed for on-screen viewing. In this case, /"#%12")'4*)"'*)'."##'-&'#"-'%2'&")4#'*,',*2&'+(*%+"8 users expressed a slight “subjective preference” for Verdana, but they performed

better reading Georgia. Once again, N'OPPW'#&0/5'&"#&%21',*2&#'*2'&("'#+)""2')"7"-."/'+*2,.%+&#' the study concludes with no definitive guide.

6"&D""2'(*D'0#")#'$"),*)4"/'-2/'D(-&'&("5'#-%/'&("5'.%C"/8'

e d itorial

How is typographic efficiency judged? “Legibility” concerns the ease with which a letter or word

11

ytpography

SYNERGY THE SCIENCE OF TYPOGRAPHY 10.50IN X 13.75IN The article addresses how many people still prefers to read from print, and how digital companies, such as IBM tried to resemble at its very best the appearance of text on screen by manipulating resolution and distortion on text and graphics.

Other aspects discussed in this article that affect readability and legibility are the line length, recommended to be between seven words to forty-six characters.

e d itorial

Continue reading

12

1-2. EDUCTION AND TYPOGRAPHY 17in X 24IN Chalk on paper.

Poster set for the International Typography Day contest in Bangalore, India.

TYPOGRAPHY

The design conceptualize the personal experience of learning typography, which is through experimentation and understanding the added value of letters as shapes.

13

1

2

Ens e n ad a ,

B a j a

C a lifor ni a ,

Making Space Technology Accessible and Affordable.

M exico

O

18in x 24in Thread and photographic manipulation Poster set that promotes reseach, usage, and education of astronomy technology in Latin American countries.

The symposium took place in Baja California, and addressed education curricula, space debris control and treatment, and accessibility plans for countries in development.

20-23 / October / 2014

SYMPOSIUM

Making Space Technology Accesible and Affordable oosa.unvienna .org Organized by the United Nations Office for Outer Space Affairs

TYPOGRAPHY

Center for Scientific Research and Higher Education

14

Making knowledge and progress sustainable

These posters take inspiration from astronomy, ancient cultures imagery such as the aztec, zodiac signs visual representations, and the images we are accustomed to from outer space.

M a k ing

S p ac e

Te c hnolog y

Acc e s ible

a nd

M a k ing

Af for d a ble

S p ac e

Te c hnolog y

Acc e s ible

a nd

Af for d a ble

M a k ing

S p ac e

Te c hnolog y

Acc e s ible

a nd

Af for d a ble

SYMPOSIUM

Progress /

20-23 / October / 2014

20-23 / October / 2014

Ensenada, Baja California, Mexico

oosa.unvienna.o rg

O

20-23 / October / 2014

Ensenada, Baja California, Mexico O

SYMPOSIUM

Ensenada, Baja California, Mexico

/ Sustainability / oosa.unvienna.o rg

Organized by the United Nations Office for Outer Space Affairs

Organized by the United Nations Office for Outer Space Affairs

Center for Scientific Research and Higher Education

Center for Scientific Research and Higher Education

SYMPOSIUM

Knowledge /

TYPOGRAPHY

oosa.unvienna.o rg

15

rganized by the United Nations Office for Outer Space Affairs Center for Scientific Research and Higher Education

us-000 Digital rendering

B R A N DI N G

Utopian product that seeks to facilitate the interaction between Americans and foreigners by wearing the piece on the ear, as a bluetooth would, and due to its proximity with the brain, it is able to read thoughts and filters whatever is socially unacceptable to speak about in a particular context.

16

us-000 Logo development The product branches out in five main stages: BBQ party, educational insitution, family reunion, baptism, and wedding. A premium version can be also purchased, and it is set up to include all five stages in one device.

B R A N DI N G

Its main appeal is as a wearable technology piece with the benefit of avoiding opinionated, and judicious conversations.

17

us-000 Visual Language strategy The visual language developed takes its inspiration from the ethereal qualities of thoughs and words, and plays with the actual structure of a package, mixing the tangible and intangible elements.

B R A N DI N G

This product is an ironyâ&#x20AC;&#x201C; hopefully interactions can be rich and tolerant enough that people would actually address topics we are all uncomfortable with.

18

us-000 Special edition package design.

B R A N DI N G

This premium version of the device gathers all the scenarios into one wearable earpiece.

19

the end