M F A F A L L 2 01 3
ACADEMY OF ART UNIVERSITY
S T U D E N T: W U H A N G L I N
I D : 0 3 1 3 7 10 4
SCHOOL OF GRAPHIC DESIGN
TYPE FORMS
PROJECT COLLECTION
GR 617
I N S T R U C T O R : N I TA Y B A R R A
PROJECTS
1. Type Anatomy 2. Prototype
5 7
3. Structure (Visually Improvised) 4. Sructure (Grid)
11
5. Alignment & Line Spacing 6. Visual Semantics
9
13
15
7. Type Classification Poster Series (Garalde) Type Classification Poster Series (Slab Serif) Type Classification Poster Series (Lineale) 8. Summary Poster
23
17 19 21
W UHANG LIN
T YPE FO RM S
PRO JECT 1 : T Y P E A N ATO MY
5
Apex Serif
Eye
Beak
Shoulder Tittle
Lobe Counter
Terminal Descender
W UHANG LIN
T YPE FO RM S
PROJECT 2: PROTOTYPE
7
Stubby
Wuhang Lin (Lynn) Project 2.o Troto Typeface
W UHANG LIN
PROJECT 3: STRUCTURE (VISUALLY IMPROVISED)
T YPE FO RM S
Marc Maron In Conversation with Adam Savage Wednesday, October 16, 2013 City Arts & Lectures 7:30 pm
9
City Arts & Lectures
Marc Maron
Nourse Theater 275 Hayes St San Francisco, CA 94102 www.cityarts.net 415.392.4400
In Conversation with Adam Savage
7:30 pm Wednesday October 16, 2013 Nourse Theater 275 Hayes St San Francisco, CA 94102 415.392.4400
www.cityarts.net
www.cityarts.net
Wednesday October 16, 2013 7:30 pm
Marc Maron
7:30 pm Wednesday October 16, 2013
Nourse Theater 275 Hayes St
Nourse Theater In Conversation with Adam Savage
275 Hayes St San Francisco CA 94102 415.392.4400
San Francisco CA 94102 415.392.4400
Marc Maron In Conversation with Adam Savage
City Arts & Lectures www.cityarts.net City Arts & Lectures
City Arts & Lectures Wednesday October 16, 2013
7:30 pm
7:30 pm
Wednesday
Marc Maron
October 16 2013
In Conversation with Adam Savage
Nourse Theater 275 Hayes St San Francisco CA 94102
Nourse Theater 275 Hayes St
415.392.4400
San Francisco, CA 94102
www.cityarts.net
415.392.4400
CITY ARTS & LECTURES
www.cityarts.net
Marc Maron
In Conversation with Adam Savage
W UHANG LIN
T YPE FO RM S
PROJECT 4: STRUCTURE (GRID)
Common typographic disorders
11
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Common typographic disorders
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions. Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophilia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Common typographic disorders
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman. Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophobia
Typochondria
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Common typographic disorders
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman. Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
W UHANG LIN
T YPE FO RM S
PROJECT 5: ALIGNMENT & LINE SPACING
13
GAR AMOND Alignment & Line Spacing
1
2
In flush left/ragged right text, the left edge is hard and the right edge soft. Word spaces do not fluctuate, so there are never big holes inside the lines of text. This format, which was used primarily for setting poetry before the twentieth century, respects the flow of language rather than submitting to the las of the box. Despite its advantages, however, the flush left format is fraught with danger. Above all, the designer must work hard to control the appearance of the rag that forms along the right edge. A good rag looks pleasantly uneven, with no lines that are excessively long or short, and with hyphenation kept to a minimum. A rag is considered “bad” when it look too even (or too uneven), or when it begins to form regular shapes, like wedges, moons, or diving boards. Flush right/ragged left is a variant of the more familiar flush left setting. It is common wisdom among typographers that flush right text is hard to read, because it forces the reader’s eye to fine a new position a the start of each line. This could be true, or it could be an urban legend. That being said, the Flush right setting is rarely employed for long bodies of text. Used in smaller blocks, however, flush right text forms effective marginal notes, sidebars, pull quotes, or other passages that comment on a main body or image. A flush or ragged edge can suggest attraction (or repulsion) between chunks of information.
The distance from the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with line spacing in order to create distinctive layouts. Reducing the standard distance creates a denser typographic color—while risking collisions between ascenders and descenders. The distance from the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with line spacing in order to create distinctive layouts. Reducing the standard distance creates a denser typographic color—while risking
5
collisions between ascenders and descenders. The distance from
7
the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with line spacing in order to create distinctive layouts. Reducing the standard distance creates a denser typographic color—while risking collisions
3
Justified text, which has even edges on both the left and right sides of the column, has been the norm since the invention of printing with movable type, which enabled the creation of page after page of straight-edged columns. In metal type setting, the printer justifies each line by hand, using small metal spacers to alter the spaces between words and letters and thus make all the lines the same length. Digital typesetting performs the same labor automatically. Justified type makes efficient use of space. It also creates a clean, compact shape on the pages. Ugly gaps can occur, however, when the line length is too short in relation to the size of type used. Hyphenation breaks up long words and helps keep the lines of text tightly packed. Designers often use negative tracking to fit additional characters on a line, or positive tracking to even out a line of type that look too loose. 4
6
between ascenders and descenders. The distance from the baseline of one line of type to another is called line spacing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is 120 percent of the type size. Thus 10-pt type is set with 12 pts of line spacing. Designers play with line spacing in order to create distinctive layouts. Reducing the standard distance creates a denser typographic color—while risking collisions between ascenders and descenders.
Centered text is symmetrical, like the facade of a classical building. Centered type often appears on invitations, title pages, certificates, and tomb stones. The edges of a centered column are often dramatically uneven. Centered lines should be broken to emphasize a key phrase (such as the name of the bride or the date of her wedding) or to allow a new thought to begin on its own line. Breaking lines in this manner is called breaking for sense.
•
1. 8/10 garamond +20 pts tracking flush left / rag right
2. 8/10 garamond +20 pts tracking flush left / rag right
3. 8/10 garamond +20 pts tracking justified
4. 8/10 garamond +20 pts tracking centered
5. 8/9 garamond +20 pts tracking flush left / rag right
6. 8/11 garamond +20 pts tracking flush left / rag right
7. 8/13 garamond +20 pts tracking flush left / rag rightt
8. 8/16 garamond +20 pts tracking flush left / rag right
8
W UHANG LIN
T YPE FO RM S
PROJECT 6: VISUAL SEMANTICS
15
W UHANG LIN
PROJECT 7: TYPE CLASSIFICATION POSTER SERIES
T YPE FO RM S
17
garamond 1
ABCDEFGHIJKLM NOPQRSTUV W XYZ abcdefghijklmnopqr stuvwxyz•0123456789 2
3
4
5
6
characteristics 1. A roof-shaped apex 2. Axis is slightly inclined to left 3. The descending stroke on the letter Q 4. Bracketed serifs 5. Horizontal bar on the letter e 6. Sloped heavy serifs
G A R A L DE
T
he second category from the typeface classification—garalde also called aldine, this group is named in homage to Claude Garamond and Aldus Manutius. Garalde type faces include some of the most popular roman styles in use today. ¶ In general, the Garaldes have finer proportions than the humanists, these faces have rounded serifs and moderate contrast between strokes. The letters are open, rounded and very readable. The thick strokes of curved letters are off-balanced. The “angle of stress” of these types is less acute than Humanist types. Garalde types demonstrate a greater refinement basic on the Humanist types—to a large extent augmented by the steadily improving skills of punchcutters. As a consequence the Garalde types are characterised by greater contrast between thick and thin strokes, and sharper in appearance, more refined. We can see this, perhaps most notably in the serifs—in Garalde, the serifs on the ascenders are more wedge shaped. Another major change can be seen in the stress of the letterforms to a more perpendicular position. Unlike the lowercase e of the Humanist types, which had the distinctive oblique crossbar, Garalde types had an adoption of a horizontal crossbar. ¶ During this period we see the very first italic type in 1501. They were first created, not as an accompaniment to the roman, but as a standalone typeface designed for small format or pocket books, where space demanded a more condensed type. The first italic type, then, was conceived as a text face. Griffo’s contribution to roman type include an improved balance between capitals and lowercase, achieved by cutting the capitals slightly shorter than ascending letters such as b and d, and by slightly reducing the stroke weight of the capitals. In France, under King Francis I, the garaldes were the tool which supported the official fixing of grammar and orthography. The Garalde types can be further divided into four categories as in the figure below, and span the roman types from Francesco Griffo to William Caslon I. Unlike the relatively short-lived Humanist faces, the Garalde types held sway for more than two centuries; a number of them are still popular text faces today.
humanist
GARALDE
transitional
didone
slab serif
lineale
Garaldes include some of the most attractive and welld esigned text faces in current use. They are highly legible but visually lively, particularly in the crisp angular forms of the Aldines. As with most historically based faces, the adaptation of these letters for changing print technologies had had varying effects upon their integrity of form. Digital adaptation of the Aldines,in particular, can appear anemic orunderweighted, too great a fidelity to the original type can lead to diminished impact when printed to the present day tolerances.
W UHANG LIN
PROJECT 7: TYPE CLASSIFICATION POSTER SERIES
T YPE FO RM S
19
ROCKWELL
1
A B C D E F G H I J K L M 2
3
N O P Q R S T U V W X Y Z abcdefghijklmnopqr 4
5
6
CHARACTERISTICS
1. A has a distinct serif at the apex 2. Vertical axis 3. Low contrast between strokes & serifs 4. Horizontal bar on the letter e 5. Short descenders 6. Unbracketed serifs with squared ends
stuvwxyz •0123456789 SLAB SERIF
• LIKE
THE INDUSTRIAL REVOLUTION
•
SLAB SERIF WAS BORN IN BRITAIN. IT WAS A TYPEFACE THAT COMMANDE ATTENTION & S T O O D O U T F R O M T H E C R O W D.
Egyptian, normally have serifs of equal thickness
scale display letters used in both woodblock letterpress printing and architectural lettering.
to the main strokes, low contrast between strokes, vertical stress in O, and short descenders. This style was widely used in poster designs at the
The robust forms and substantial serifs of the Clarendons and Egyptians were well suited to casting as relief forms in metal, as a result
turn of the 20th century and re-emerged in
they feature in many Victorian e ngineering
the work of psychedelic poster artists of the 1960s. Some Slab Serifs have bracketed serifs, though some do not, such a Rockwell, which
projects as well as appearing in posters, play bills, and other promotional materials of the time. The broad and assertive serif provides
was published by Monotype, suggests a ser-
an effective compensation for the irregular-
ifed Grotesque. Like the early Grotesques, Slab Serif typefaces developed from large-
ities of inter character space, and this led to their use in a number of monospace fonts.
THE TERM
SLAB
S E R I F, A L S O W A S
HUMANIST
GARALDE
K N OW N
AS
TRANSITIONAL
DIDONE
SLAB SERIF
LINEALE
At their best, Slab Serifs are both robust and colorful, with the serifs providing a strong continuity of line. The historical Slab Serifs are generally most effective in the heavier weights. Rockwell was designed at the Monotype foundry’s in house design studio in 1934. The project was supervised by Frank Hinman Pierpont.
W UHANG LIN
T YPE FO RM S
PROJECT 8: TYPE CLASSIFICATION POSTER SERIES
21
H E LV E T I C A
A B C D E F G H I J K L M 1
2
NOPQRSTUV W XYZ 3
abcdefghijklmnopqr 4
5
stuvwxyz
CHARACTERISTICS
1. No apex in A 2. Vertical axis 3. Tail enters counter 4. High x-height and well defined counters
5. Minimal contrast 6. Short descenders
6
█
0123456789
LINEALE
Lineale is more commonly called Sans-serif, which means “without serif”. Sans-serif characters began appearing in the late 18th and early 19th centuries. Before the term “Sans-serif” became a common use in English typography, a number of other terms had been used. One of these antediluvian terms for sans serif was gothic. In printing, Sans-serif fonts were used for headlines rather than for body text. The
Helvetica ( “ S W I S S ”
I N L AT I N ) ,
was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas Type Foundry of Münchenstein, Switzerland. Originally
conventional wisdom holds that serifs help guide the eye along the lines in large blocks of text. However,
called Neue Haas Grotesk,
they have acquired considerable acceptance for body text in Europe and are sometimes used as a device
Schelter-Grotesk and Haas’
its design was based on
for emphasis in older documents. Now Sans-serif fonts have become the most prevalent for display of
Normal Grotesk. The aim
text on computer screens. This is because interlaced screens have shown twittering on the fine details
create a neutral typeface
of the new design was to
of the horizontal serifs and on lower-resolution digital displays, fine details like serifs may disappear or
that had great clarity, no
appear too large.
and could be used on a wide
Lineale is divided into four subcategories—Grotesque has some degree of contrast between thick and thin strokes. Neo-Grotesque generally have less stroke contrast. Geometric typefaces aret constructed from simple geometric shapes. Humanist relates to the earlier, classical hand written monumental Roman capitals and a lowercase similar in form to the Carolingian script.
HUMANIST
GARALDE
TRANSITIONAL
DIDONE
SLAB SERIF
LINEALE
intrinsic meaning in its form, variety of signage.
W UHANG LIN
T YPE FO RM S
with line spacing in order to create distinctive the standard distance creates a denser typograp risking collisions between ascenders and desce from the baseline of one line of type to anothe spacing. It is also called23 leading, in reference to used to separate lines of metal type. The defau layout and imaging software is 120 percent of 10-pt type is set with 12 pts of line spacing. D line spacing in order to create distinctive layou standard distance creates a denser typographic
Despite its advantages, however, the flush left format is fraught with danger. Above all, the designer must work hard to control the appearance of the rag that forms along the right edge. A good rag looks pleasantly uneven, with no lines that are excessively long or short, and with hyphenation kept to a minimum. A rag is PROJECT 8: SUMMARY POSTER considered “bad” when it look too even (or too uneven), or when it begins to form regular shapes, like wedges, moons, or divingRboards. OCKWELL 2
Wednesday Flush right/ragged left is a variant of the more familiar flush left setting. It is common wisdom among typographers that flush right October 16, 2013 text1is hard to read, because it forces the reader’s eye to fine a new 7:30 pm line. This could be true, or it could be position a the start of each an urban legend. That being said, the Flush right setting is rarely employed for long bodies of text. Used in smaller blocks, however, flush right text forms effective marginal notes, sidebars, pull quotes, or other passages that In comment on a main body or image. A Conversation 2 flush or ragged edge can suggest attraction (or repulsion) between with chunks of information. Adam Savage
collisions between ascenders and descenders. Th
A B C D E F G H I J
the baseline of one line of type to another is c
It is also called leading, in reference to the stri
separate lines of metal type. The default settin
Marc Maron
3 play set with 12 pts of line spacing. Designers
N O P Q R S T U V W
Serif
3
order to create distinctive layouts. Reducing th
creates a denser typographic color—while risk
Justified text, which has even edges on both the left and right sides of the column, has been the norm since the invention of 4 the creation of page Nourse Theater printing with movable type, which enabled after page of straight-edged columns. In metal type setting, the 275 Hayes St printer justifies each line by hand, using small metal spacers to alter the spacesCA between San Francisco, 94102 words and letters and thus 5 make all the lines the same length. Digital typesetting performs the same 415.392.4400 labor automatically. Justified type makes efficient use of space. It also creates a clean, compact shape on the pages. Ugly gaps can occur, however, when the line length is too short in relation to the size of type used. Hyphenation breaks up long words and helps keep the lines of text tightly packed. Designers often use negative tracking to fit additional characters on a line, or positive tracking to even out a line of type that look too loose. CITY
between ascenders and descenders. The distan
abcdefghijklmn
Beak
of one line of type to another is called line spa leading, in reference to the strips of lead used
of metal type. The default setting in most layo
software is 120 percent of the type size. Thus 1
stuvwxyz •01234
Shoulder
garamond
12 pts of line spacing. Designers play with lin
create distinctive layouts. Reducing the standa
a denser typographic color—while risking coll
ascenders and descenders. ARTS & LECTURES
www.cityarts.net Centered text is symmetrical,
4
Counter
1
imaging software is 120 percent of the type siz
A B C D E F G H I J K L M SLAB SERIF NOPQRSTUV W XYZ • LIKE THE INDUSTRIAL REVOL a b c d e f g h i j k l mSLAB n o p SERIF q r WAS BORN IN BR s t u v w x y z • 0 1 2 3 4& 5S T6O7O D8 9O U T F R O M T H E like the facade of a classical building.
characteristics
Centered type often appears on
2
A roof-shaped apexand tomb stones. invitations, 1.title pages, certificates,
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions. Wuhang Lin (Lynn)
3Visual Semantics
Th edgesisofslightly a centered column 2.eAxis inclined are to often leftdramatically uneven.
Centered lines should be brokenstroke to emphasize a key 3. Th e descending on
the letterphrase Q
Terminal
4
(such as the name of the bride
4. Bracketed serifs
Typophilia
or the date of her wedding)
Horizontal barbegin on the or to allow5.a new thought to on its own line.
6
5
Typophobia
letter e
Breaking lines in this manner is called
Typochondria
6. Sloped heavy breaking for serifs sense.
IT WAS A TYPEFACE THAT COMMANDE
Common typographic disorders
•
scale display letters us Egyptian, normally have serifs of equal thickness letterpress printing and Stubby to the main strokes, low2.contrast between strokes, The robust forms and s 1. 3. 4. An excessive The irrational dislike A persistent anxiety 8/10 garamond 8/10 garamond 8/10 garamond 8/10 g vertical stress in O, and short descenders. This Clarendons and Egypti attachment to and of letterforms, that one has selected +20 pts tracking +20 pts tracking +20 pt +20 pts tracking Wuhang Lin (Lynn) fascination with the often marked by a the wrong typeface. styleleft was widely in poster designs at the casting as relief forms cente flush / rag right used flush left / rag right justified shape of letters, preference for icons, This condition is turn of the 20th century and re-emerged in they feature in many Visual Semantics often to the exclusion dingbats, and—in fatal often paired with5. 6. 7. 8. thegaramond work of psychedelic poster artists of the projects as well as 8/16 app g 8/9 8/11 garamond 8/13 garamond of other interests cases—bullets and okd (optical kerning +20 pts tracking +20have pts tracking +20 pts tracking +20 pt 1960s. Some Slab Serifs bracketed serifs, bills, and other promo daggers. The fears of and object choices. disorder), the need to Wuhang Lin (Lynn) flush left / rag right flush left / rag right flush left / rag rightt flush the typophobe can Typophiliacs usually constantly adjust though and Project 2.o some do not, such a Rockwell, which time. The broad and a Troto Typeface often be quieted (but die penniless and readjust the spaces was published by Monotype, suggests a ser- an effective compensa not cured) by steady alone. between letters. ifed Grotesque. Like the early Grotesques, ities of inter characte doses of Helvetica and he second category from the typeface classification—garalde also called aldine, this Garaldes some to their use in a numb Slab Serif typefaces developed frominclude largeTimes Roman. THE TERM
SLAB
S E R I F, A L S O W A S
K N OW N
AS
G A R A L DE
T
group is named in homage to Claude Garamond and Aldus Manutius. Garalde type faces include 1. Type Anatomy 1 2 3 4 2. Visual some of the most popular roman styles in use today.Semantics ¶ In general, the Garaldes have finer proportions Improvised) 3. Structure than the humanists, these faces have rounded serifs and(Visually moderate contrast between strokes. The letters 4. Alignment & Line Spacing are open, rounded and very readable. 5 The thick strokes of curved letters are off-balanced. The “angle of stress” 5. Pototype of these types is less acute than Humanist types. Garalde types demonstrate a greater refinement basic on the 6. Semantics Humanist types—to a large extent augmented by the steadily punchcutters. As a consequence 7. Type improving Classificationskills PosterofSeries the Garalde types are6 characterised by greater contrast between thick and thin strokes, and sharper in appearance, 8. Sructure (Grid) 9. 7 see this, perhaps most notably in theType Classification Poster more refined. We can serifs—in Garalde, theSeries serifs on the ascenders are more wedge shaped. Another major change9 can be seen in the stress of the letterforms to a more perpendicular position. Unlike the lowercase e of the Humanist types, which had the distinctive oblique crossbar, Garalde types had an 8 adoption of a horizontal crossbar. ¶ During this period we see the very first italic type in 1501. They were first created, not as an accompaniment to the roman, but as a standalone typeface designed for small format or pocket books, where space demanded a more condensed type. The first italic type, then, was conceived as a text face. Griffo’s contribution to roman type include an improved balance between capitals and lowercase, achieved by cutting the capitals slightly shorter than ascending letters such as b and d, and by slightly reducing the stroke weight of the capitals. In France, under King Francis I, the garaldes were the tool which supported the official fixing of grammar and orthography. The Garalde types can be further divided into four categories as in the figure below, and span the roman types from Francesco Griffo to William Caslon I. Unlike the relatively short-lived Humanist faces, the Garalde types held sway for more than two centuries; a number of them are still popular text faces today. HUMANIST
GARALDE
of the most attractive and welld esigned text faces in current use. They are highly legible but visually lively, particularly in the crisp angular forms of the Aldines. As with most historically based faces, the adaptation of these letters for changing print technologies had had varying effects upon their integrity of form. Digital adaptation of the Aldines,in particular, can appear anemic orunderweighted, too great a fidelity to the original type can lead to diminished impact when printed to the present day tolerances.
TRANSITIONAL
DIDONE
SLAB SER
ACADEMY OF ART UNIVERSITY
SCHOOL OF GRAPHIC DESIGN
I N S T R U C T O R : N I TA Y B A R R A