RESEARCH DOCUMENT
NVL FORM FOLLOWS FUNCTION 1. 1
CONTENTS
4-5 6-7 8-9 10-11 12-17 18-21
Key Words.
Modernism.
Swiss Style. The Grid. Helvetica.
Modernists
Post-modernists
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22-31 32-37 38-43 44-47 48-57 58-105
Modernist Magazines
Post-modernist magazines
Current magazines
layout ideas. Typography. Existing mastheads. Masthead experiments Page layouts. Cover designs.
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KEY WORDS Modernsim
Swiss Style
Post-modernism
Magazine
Photographs
Masthead
Colour
Layout
Typography
Kerning
Context
Grid System
Relevance
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Artists
City in Flux
Designers
Earth Artefact
Experimentation
Planets
Research
In-Design
Sketching
Photoshop
Audience
Illustrator
Time
Booklet
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MODERNISM
IMPRESSIONSM
FAUVISM
CUBISM
EXPRESSIONISM
POST-IMPRESSIONISM
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ALL THE “ISM’S”.
BAUHAUS
SURREALISM
DE STIJL CONSTRUCTIVISM ART DECO
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POST-MODERNISM ABSTRACT EXPRESSIONISM
POP ART
PERFORMANCE ART
CONCEPTUAL ART FLUXUS
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MINIMALISM
SURREALISM
POST MINIMALISM
INSTALLATION ART
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Swiss Style
The ‘Swiss Style’ was a Swiss typographic style which began in the fifties. It focuses on the idea of cleanliness and readability whilst still been pleasing to they eye. Most modernist artists have been influenced by this style whilst slightly adapting it to there own work. Many outcomes were monochrome although others included colour. Primary
colours were heavily used as influence from the Bauhous. The colours are almost always bold and flat without gradients, meaning the main focal point is still they typography. The swiss style is still heavily used today by the American company “Swisted” which create modern posters and advertisements in this classic style.
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The Grid
The grid system is used by any designer across all different forms of work although it is most noticeable within books. When a grid system isn’t used it is immediately apparent as columns of text and image appear to be scattered around the page. The grid keeps everything looking neat and tidy allowing for thousands of different layouts to be created.
A grid can either be drawn by hand or more commonly generated on a computer, all publishing software has it included allowing it to be adjusted with a few simple clicks. The man behind the grid system is Joseph Muller Brokman who literally wrote the book about it.
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HELVETICA
“Helvetica, the font that changed the world”. When Helvetica was first created by Max Miedinger and Edüard Hoffmann back in 1951. The typeface was an immediate success thrown into advertisements around the world. The typeface is still one of the most commonly used typefaces on the planet with most of us seeing it everyday without
even noticing, it’s on logos, on traffic signs and even the font used in our iPhone’s. The reason that Helvetica was so successful was because it basically defined the modernist style, before curved serif font were used making adverts hard to read and often confusing to look at, after Helvetica ads got more snappy and bold whilst still been visually pleasing.
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A B E F I J M N Q R U V Y Z
C G K O S W
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MODERNIST’S
Paul Rand was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and Steve Jobs’s NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.
His work mainly consists of typography, where he plays with certain letter styles, positions or angles to make them a unique focal point of the images. In true modernist style he uses bold flat colours, keeping things simple and clear.
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PAUL RAND - ARMIN HOFFMAN
Hoffman began is career in 1947 as a teacher at the Allgemeine Gewerbeschule Basel School of Art and Crafts, becoming an instrumental artist when it came to shaping the “Swiss Style”. He created a huge body of work throughout his life although is most famous for his posters due to his extreme modernist
style keeping things in there simplest forms usually sticking to strong contrast monochrome. Again he mainly sticks with fonts such as ‘Helvetica’ and ‘Akzidenz Grotesk’ although he did experiment with more unusal typefaces such as those that were created in the Bauhaus (Right).
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MODERNIST’S
Muller Brockmann is possibly the most famous modernist designer due to his use of the grid system, making it accessible to anyone who wanted to neatly lay out a page. He was both a graphic designer and teacher who studied at the university of Kunstgewerbeschule in Zurich. He later
opened up his own studio and began selling commissioned work. He is best recognised for his use of clean typography, particularly ‘Akzidenz Grotesk’ and simple block shapes which can be seen across all his work as he it not only the designer of many posters and other adverts but books and magazines too. His work continues to inspire graphic designers to this day.
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MULLER BROCKMANN - MAX BILL
Max Bill, along with Joseph Muller Brockmann is possibly one of the most well known graphic designers. His style was heavily influenced by the neww Swiss Stylealthough he was working at the other side of the world in America. His most well known work is probably the advertisments he comissioned for the Olympics in the latter part of the twentieth centuary.
Although his work is heavily influenced by modernist designers such as Muller Brockman and Armin Hoffman his personal style is different. He uses much bolder brighter colours giving giving his work a more posative tone. Other designers used a more minimalist style with more negative space whilst Bill’s work has much more substance on the page.
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MODERNIST’S
was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos.During his 40-year career Bass worked for some of Hollywood’s most prominent filmmakers, including Alfred Hitchcock and Martin Scorsese. Bass designed some of the most iconic
corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industry logos of the era.
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SAUL BASS - ADOLPHE CASSANDRE
Cassandre studied at the École des BeauxArts and at the Académie Julian. His style of work which was inspired by cubism and surrealism quickly became popular and with a few years after studying he gathered enough money to open his own graphic design suite where he commissioned work for huge companies at the time. His is considered to possibly be one of
the first modernist graphic designers as they typefaces used along with the block colours would have seemed revolutionary at the time, especially as typefaces such as ‘Helvetica’ simply hadn’t been made. His colour palate is also simple and eyecatching, although some pieces used gradients many didn’t which again was a large step towards modernism.
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POST MODERNIST’S
Sagmeister is a New york based graphic designer who works in a post modernist style. He is most famous for his covers and advertising posters which usually comprise of photographs which Have been drawn over, although he does paint onto his models, including himself.
Although his I personally don’t favour his style as much I still admire the thought processes and effort that is easily visible within his work. The use of Photography defines him as a post modernist, even setting him apart from other post modernist designers.
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SAGMEISTER - NEVILE BROADY
Broady is an English graphic designer who specialises in working with typography. He created many commissioned pieces for the music industry, creating album art for artists such as Cabaret Voltaire and Depeche Mode. His post modernist style of work can easily be seen within the photographs and typefaces he uses. His colour palate is usually bright and eye-catching with strong
block colour being used in images and tonal blurred photographs being used in others. I feel this style could work within a magazine as it would immediately catch the viewers attention although it would have to be adapted to be more legible.
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POST MODERNIST’S
David Carson is an American graphic designer and art director. He is best known for his innovative magazine design, and use of experimental typography. His “Invention” grunge typography, I feel sets him appart from other typographers as it is seemingly “thrown’ across the image, creating a whole new illegible focal point.
His use of colour is also unique as the bright flourecent colours immidiatly catch your attention. I feel that if I was to follow this style I would Have to look more into typefaces, attempting some hand drawn ones myself.
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DAVID CARSON - ANDY WARHOL
Andy Warhol was an American artist known for is influence on the “Pop art” movement. He is most famous for portraits of well known figures such as Marilyn Monroe. He also painted everyday objects such as the famous “Campbells soup tin” transforming the ordinary into the extraordinary. He used bold bright flat colours define tone within his pieces, building the painting up layer by
layer to create unique results that proved hugely popular at the time. His style is recognised world wide and can easily be interpreted in many different ways. This style could possibly be incorporated into a post modernist style cover.
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MODERNIST MAGAZINES
Neue Grafik was a magazine created by the graphic designer Joseph Muller Brokmann along with various other editors which reviewed graphic design related subjects on a bi monthly basis, spanning over seven years form 1958 until 1965. The magazine was unique at the time because of it’s clean but eye-catching
design. The interior of the magazine reflects the cover with it’s clean layout, with evidence of a grid easily seen throughout. The neutral colour scheme given to each copy easily makes it identifiable, as is present throughout the entire book. The magazine differs from modern magazines due to the lack of photographs and a bold mast head.
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At first glance it appears that the magazine has been striped back to its simplest form although in reality its incredibly complex.
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MODERNIST MAGAZINES
I found this magazine whilst browsing the internet and was struck by the strong modernist style which also resembles some modern magazines. The photographs used are clean and stick to a strict colour palate of either monochrome or bright hue’s which are reflected across the pages giving each topic a unique colour scheme.
The wide use of Helvetica also resembles the modernist era and is a style i would like to replicate within my final magazine layout.
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MODERNIST MAGAZINES
Collect magazine is a current magazine based in the USA which focuses on healthy living within the community. Although this magazine has nothing to go with graphic design the cover is striking, catching the viewers attention without the use of eyecatching sale tickets and other gimmicks.
The interior reflects the cover keeping a clean well spread out page which flows easily. This modernist style could easily be implemented into my magazine along with influences from “New Aesthetic� magazine.
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MODERNIST MAGAZINES
‘The Modernist” magazine uses the same masthead across all its issues although where it sits on the page is different although the cover is always modern and simplistic. Unlike most magazines the cover does not use a photograph, instead the visual aspects are made up of shapes. Inside the magazine it’s a similar story although typically with more colours and
photographs. The magazine itself Focuses on all aspects of modern design, from architecture to product design. Although the magazine is in a modernist style the serif font the mast head is typed in isn’t usually associated with modernism.
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MODERNIST MAGAZINES
“Luxe� magazine is one of Americas largest Architectural magazines. they tour around the country finding the most unique and interesting buildings. The style of the magazine is consistant throughout all issues, with a grid system clearly in use. The cover is made up of a large string photograph, either picturing the interior or exterior of a property. the mast head
is consistent in its positioning and size although the colour does slightly change depending on the cover photo. The interior follows the similar style of large photographs with minimalist amounts of text.
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POST MODERNIST MAGAZINES
Ray gun magazine was an alternative American rock magazine which was first published in 1992 and was lead by the post modernist designer David Carson. The result was a distinct abstract style which wasn’t always readable to the viewer. Another unusual aspect of this magazine was that the mast head is different in
every copy, making each issue completely different to the last. Whilst this technique is unique and creates a distinct outcome I feel that it wouldn’t work well with my final pieces from my previous projects.
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POST MODERNIST MAGAZINES
Fuse was a Toronto based non profit magazine which focused on all aspects of arts and culture. Throughout its 38 year history, the focus has been the interchange between art, media, and politics. The magazine published its final issue in 2014, under the editorial direction of Gina Badger. The post modernist style is eye catching with its use of contrasting colours. Although
this magazine predominantly post modernist it does have modernist aspects such as the text on the front cover, which is arranged within a grid making it clearer and easier to read than the “Grungy” “Raygun” magazine.
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POST MODERNIST MAGAZINES
WET was a publication of the 1970s and early 80s. Founded by Leonard Koren in 1976 it ran thirty-four issues before closing in 1981.The magazine was based around the topic of bathing featuring women win lingerie. The Unique design striked the viewers, attracting there attention with the post modernist design. The use of bright ‘In your face’ colours helped with its success.
The cover pages would usually portray something that may be considered vulgar at the time such as the two pigs mating. Although I do like the style I feel that it wouldn’t work with my other pieces of work meaning the magazine wouldn’t flow properly.
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CURRENT MAGAZINES
Eye magazine was first published in London 1990 and was founded by Rick Poynor, a prolific writer on graphic design and visual communication. The magazine features a constant mast head making the magazine a recognisable brand. Although the mast head is the same its colour varies depending on colours within the current front cover. Although at first glance the magazine
appears to favour a modernist style it actually has elements of both modernism and post modernism within aspects such as the bright often abstract front covers and the layout inside. I feel that this style of magazine could be achieved using my previous projects, using bold photography with a unique layout
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CURRENT MAGAZINES
I-D magazine is known for its innovative styles in typography and photography, It has grabbed the attention of some huge names which have helped with the magazines success. The magazine was first published in 1980 and celebrated there 250th issue in 2004 with the magazine still going strong today. Like ‘Eye’ magazine it combines both the modernist and post modernist style,
mainly using powerful typography to convey a message across rather than large blocks of text. The interior follows this trend. This magazine could be recreated using my previous two projects, incorporating elements of both. This style would offer a magazine whilst still being easily ledgible.
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CURRENT MAGAZINES
Wired is a monthly American magazine which focuses on all aspects of American culture. The covers are made up of bright bold HD photographs that picture famous celebrities. The magazine has proved hugely popular helped by its well known celebrity status. The instantly recognisable masthead is the same across all issues although it is positioned in different places,
in front or behind images and in different colours. The cover has a stronger post modernist style than ‘Eye’ and ‘I-D’ magazine, using much more intricate images with more text scattered around the cover. This is because of the magazines success, the cover is littered with offers and news bulletins, appealing to its different audiences.
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LAYOUT IDEAS
When looking of ways to layout the information within my magazine i noticed that my frend hasd bought a new Nokia Windows phone. This phones OS is unlike many others as it displays all the information on the home screen on ‘Live tiles’ these are basically coloured blocks that can be moved around, displaying different bits of information such as the
weather, messages and email as well as many other use full snippets. I felt that thius could be a good way to display information in a magazine due to its modernist simplistic style. Not on every page though as I feel that this style may get repetitive. I would use large double page spreads and floating snippets of text to break up the layout.
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MAGAZINE FONT - HELVETICA HELVETICA LIGHT: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA LIGHT OBLIQUE: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA REGULAR ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA BOLD OBLIQUE ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 For my final magazine I have decided to use the font ‘Helvetica’ because its basically a modernist icon. The typeface is easily readable and will fit well with the modernist style of the magazine. Above I have shown the different variations of Helvetica, including the numbers and full alphabet. I also plan on using a mixture of capitals and lower-case letters to add emphasis to
titles. I plan to use Helvetica throughout the magazine as the only font, even the mast head will be made using Helvetica.
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HELVETICA NEUE ULTRA LIGHT: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE THIN: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE LIGHT: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE REGULAR: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE MEDIUM: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE BOLD: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 HELVETICA NEUE CONDENCED BLACK: ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789
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EXISTING MASTHEADS
Above is the mast head for the EYE magazine which was first published in 1990 in the UK. Unlike many other magazine that use bold sans serif fonts which are in the viewers face. Instead Eye magazine uses a more subtle masthead.
flicks off surrounding the rest of the word. Throughout the different issues of eye magazine the logo stays the same although changes colour in order to either match the colour scheme of the cover image or to stand out from the background.
The Eye logo resembles the ‘@’ logo as it is encapsulated where the end of the ‘E’
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The fuse magazine logo is completely different to the Eye magazine. The font is still sans serif but is in capitals oppose to lower case. Although all the letters are capitals the ‘F’ is larger and continues out over the other letters in a way encapsulating the mast head in a similar way to the Eye magazine. The masthead moves around the cover from issue to issue with the colour
changing in order to make the mast head stand out from the background. The logo is also one of the main focal points on the page with the mast head itself being the largest element on the page making the magazine easily recognisable.
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EXISTING MASTHEADS
Vogue is one of the first magazines been first published in 1892, the magazine focuses on fashion although it focuses on many other aspects. The mast head itself remains very simple, jut having a typographic mast head without any underlining or punctuation. The typeface itself is called ‘Didot� and is a serif style font which is more commonly associated with
older texts. The font is easily recognisable and again between issue to issue it changed colour although stays in the same position. Sometimes the main image on the cover is placed over the masthead.
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ID magazine was first commissioned in 1980 in the UK, with it focusing on fashion it was an instant success. The masthead itself is a typographic one, been primarily made up of a lower case ‘i’ and an ‘D’ with a hyphen separating the two. Some people have commented saying that the logo itself looks like an emoticon, in particular a happy face. On the magazine cover itself the mast
head is just the typographic elements with its colour changing to either compliment or contrast with the image on the cover although it always stays in the same position. In other documentations published it is surrounded by a star which further makes the logo stand out.
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MASTHEAD 1 N E W
VISUAL LANGUAGE
For my first masthead design I decided to look back to my research, in particular the ‘New Aesthetic’ magazine masthead. The typography is encapsulated within a border, with fifty - fifty contrasting black and white.. I decided to change the colour scheme of the typography running down the left of the page to make it stand out and possibly match colour schemes with the background
image or typography. I would position this at the top of the cover with possibly a white border to make it stand out.
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MASTHEAD 2
NVL My second masthead design is made up of circular elements instead of rectangular ones. I decided to just include the initials oppose to writing out ‘New visual language’ . The circular logo could be positioned in either top corner of the page making it stand out from the background.
it conveys the magazines name it remains recognisable. The colour could be changed to match the background images and patterns.
The contemporary style means that whilst
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MASTHEAD 3
NVL
NEW VISUAL LANGUAGE
Continuing from the last masthead I decided to take forward the idea of using the brand initials as the main part of the masthead. I decided to as a slim line underneath the initials adding a splash of colour with the full length name of the magazine underneath.
cover whilst still standing out as the line colour could be changed as well as the typography.
As this masthead is arranged in the centre it could be positioned anywhere on the
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MASTHEAD 4
NEW VISUAL LANGUAGE Moving on again I simply went with a full typographic logo simply showing the name of the magazine. I decided to use capitalised Helvetica as it would stand out easily from the background. A thin bar that ran along underneath adding colour to the mast head. The masthead would have to be positioned on either the left or right side of the cover.
I reduced the leading between each line to compact the masthead as well as adjusting the kerning.
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MASTHEAD 5
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2015 NEW VISUAL LANGAUGE I then moved back to the idea of using circular elements within the masthead. I then decided to incorporate the initials subtly arranging them around a cross in the centrer.
this mast head I feel it does not match the modernist style of my magazine as there are few circular elements within the magazine itself.
I decided to incorporate the logo into the masthead showing that it is an established brand. Although I do like the style of
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MASTHEAD 6
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EST 2015 This masthead design is a combination between my other two circular designs. I decided to take the simple typographic ‘NVL’ lettering and edit it in a way that makes it more unique. I added a white border around the letter ‘V’ making it stand out from the ‘N&L’. By changing the colour as well I feel that this was a strong development from the first version. I then
used a similar border to my fifth mast head design adding two solid inner rings and a large outer dashed ring with curved edges. I added the lettering ‘New Visual Language in Helvetica along with the date the magazine was first published although I could change this to the issue number.
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PAGE LAYOUTS: CONTENTS I decided that the contents page needed to be simple and easy to understand whilst relating with elements within the magazine itself to draw the viewer further into the book. from my original rough sketches I created these four layout designs incorporating images and panels of colour. I I decided that using colour ‘panels’ would be a good way to display both images and text whilst giving the page an overall colour scheme which will link with photographs and typography. I fell that the first and fourth designs are strongest at this point although this could change depending on the other pages.
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PAGE LAYOUTS: PAGES 3 - 4 For this page design I decided that colour would play a large roll using strong reds and blues to contras each side, almost like a boxing match as many people either prefer modernist or postmodernist styles. I decided to interoperate a photograph of two well known designers, Max Bill and Nevile Broady to break up the solid chunks of colour. In the layouts I have experimented putting the photographs both within and out of the colour panels which add a new feel to the page especially when the text is wrapped around the photograph. At the moment I feel that the second design is the strongest although I may take a more minimalistic approach for the final piece.
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PAGE LAYOUTS: PAGES 5 - 6 For my Swiss style page I decided to take a more minimalistic approach to the layout. I wanted to incorporate the Swiss flag as the bold reds are recognisable with the movement. I also wanted to include a photograph of a well known swiss designer such as Joseph Muller Brockmann to brek up the colours in the page. I experimented with two different photographs at different times in his life, playing with the positioning of the text as well. At the moment I feel that the second layout is strongest due to its minimalist style although the third and fourth layouts could work well with other pages.
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PAGE LAYOUTS: PAGES 7 - 8 After a brief introduction to the magazine I then needed to introduce my City in Flux work. I decided that using a large photograph would be the best way to do this, arranging the text in some way around the image. I experimented with floating panels although I felt that it somehow didn’t flow well with the photograph. I then experimented laying the text out along the top and sides as well as a 50/50 page split. I used a splash of colour in the typography to lift the page although I may change this. I feel that the second layout may work best with the magazine although it needs adjusting as I’m still not happy with the layout.
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PAGE LAYOUTS: PAGES 9 - 10 On the next double page spread I decided to look into another of my images from my city in flux project. I chose one of my strongest images and took the colour scheme for the page from the yellow within the ‘Danger of Death’ sign located in the centre of the image. I then experimented with different text layouts referring back to using the colour panels along with a strong title. I experimented with single page and double page spreads although at this point I feel that the first layout is the strongest. The tile grabs the viewers attention whilst not totally distracting from the main focal point.
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PAGE LAYOUTS: PAGES 11 - 12 I decided to carry on a similar theme from the previous page experimenting with different layouts using coloured panels. Instead of keeping the exact same layout I changes the shapes and order giving the page a new feel as well as adding new different images to break up the page whilst sticking to the same colour scheme. I experimented with adding colour to the typography to elevate the page although I’m not sure if this was successful. At this point I feel that the second layout is possibly the strongest although it needs altering further for the final magazine.
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PAGE LAYOUTS: PAGES 13 - 14 To mark the end of my city in flux work I decided to use another large landsape double page image. Again I took the colour scheme from the photograph, experimenting with a more simplistic design aswell as the coloured times. Despite using the coloured times on the previous two pages feel taht a more minimalistic stryle would fit better allowing the photograph to ‘talk’ for the page. At this moment I feel that the second or first images are the strongest layouts although this could change when designing the final magazine.
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PAGE LAYOUTS: PAGES 15 - 16 To introduce my Earth Artefact work I decided to go with a very modernist minimalistic style. I took a map of the solar system that I had created earlier and used it as a double page spread, clearly showing the solar system in a minimalistic style. I experimented with just adding a title to keep the design as simple as possible although I felt this was too bland. In the third and fourth layout I decided to add more colour and type to the page. In the third layout I faded the image out to the right making way for a small column of text and a bold title which picks out the reds. The fourth layout pushes the image to the bottom leaving room for the coloured panels.
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PAGE LAYOUTS: PAGES 17 - 18 For the next double page sread I decided to use a similar layout to my city in flux pages. I experimented with both the colour panels and a minimalistic design which emphsised the images of ther planets. I picked out colours from the image and incoporated it into the type although this could be changed. At the moment I feel that the second design is the best although it needs heavliy altering for the final piece.
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PAGE LAYOUTS: PAGES 19 - 20 Again I decided to follow a similar layout to the city in flux pages although this time I decided to emphsise the images by experimenting with a full black background. In the third layout I feel that the white really stands out off the page with colours picked out from the page subtly lifting the page. I feel that the third layout is the strongest at the moment although the second page is also strong.
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PAGE LAYOUTS: PAGES 21 - 22 To break up the pattern of my previous projects I decided to add a page in deadicated to the font Helvetica wich is especially fitting as I have decided to produce my magazine in Helvetica. The colourscheme for this page had to be red to relate to the swiss style. I experimented whith placing the text as well as something iconic that could go on the oposit page. I added the cross from the swiss logo as well as large letters and plays on the word helvetica itself. at the moment I feel that the first and second pages are the strongest.
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PAGE LAYOUTS: PAGES 23 - 24 To add a splash of colour to my magazine I decided to use either bold yellow or cyan to really elevate the page. I decided that I would place the alphabet of my letters on one full page leaving the other to describe the process I went through to create the font. In the layout itself I have experimented with an existing layout which uses block colours whilst I experimented with using large versions of my letters and large fonts.
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COVER DESIGNS 1
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City in Flux The latest word on the street
Earth Artefact “Can anybody here us?”
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Alexander Nicholson
University of Huddersfield