Lai carmen portfolio

TYPOGRAPHIC PORTFOLIO

L C carmen lai graphic design

SPRING 2016 An exploration of the history, usage and terminology of type as used in graphic arts.

FASHION INSTITUTE OF DESIGN MERCHANDISING

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ABOUT ME Hello. I am Carmen Lai! Growing up, I always loved and was curious about logos and the process of creating logos. While working on this project, I got to see what my strengths and weaknesses are in Graphic Design. My style usually leans towards the simple and sophisticated side but I will work hard to diverse my styles.

L C carmen lai graphic design

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TABLE of CONTENTS 4

Fonts Used

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Logos

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Character Studies

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Poster Design

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Ubiquitous Type

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Sketch Book

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Newsletter

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Pops!

FONTS USED American Typewriter Apple Chancery Avenir Avenir Next Condensed Baskerville Bradbury-Oblique Broken Planewing Carnivalee Freakshow Champagne & Limousines Courier New Didot DIN Condensed Impact Krinkes Decor Luminari Minion Pro Mochary Quartzo Remachine Script SignPainter Tertre vtks distress Zapf Dingbats

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TYPOGRAPHICAL TERMS grotesque

cursive

A sans-serif, sans serif, gothic, san serif or simply sans typeface is one that does not have the small projecting features called “serifs” at the end of strokes.

A style of writing in which all the letters in a word are connected. It’s also known as script or longhand.

The thinnest graphic rule (line) printable on a specific output device and is also a type of serif, the minimum thickness for a serif.

A type of serif typeface characterized by thick, block-like serifs.

hair line rule

distressed Also called rough or grunge style - text looks as if it has been weathered, eroded, crumpled up, torn, smudged, overly copied, or in some other way physically stressed or aged.

Calligraphy

The art of producing decorative handwriting or lettering with a pen or brush., is about perfecting the motions of your pen.

kerning

The act of adjusting the space between characters to create a harmonious pairing.

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ligature

In writing and typography, a typographic ligature occurs where two or more graphemes are joined as a single glyph.

©

slab serif

reversed With white on black, the background prints and the text is knocked out so that it doesn’t print, letting the white background (or paper color) show through.

transitional The Antiqua or Old Style of type of the 16th and 17th centuries evolved into a serif typestyle.

TRACKING A consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text.

D

rop cap

A large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book. glyph

An elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.

display Type larger than body type, used in headings, advertisements, etc.

wood type

Movable type, whose blocks of wood or metal each contain a relief image of a character on one surface.

12 pt. rule

12 points make one pica, a unit used to measure column widths.

Blackletter This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs.

◉ bullet A typographical symbol or glyph used to introduce items in a list.

oblique A form of type that slants slightly to the right, used for the same purposes as italic type.

Swash

A typographical flourish on a glyph, like an exaggerated serif.

Serif A flare or terminating flourish at the end of a letterform’s strokes believed to originate with the Roman tendency to paint letters onto marble before chiselling them out.

cnkaie;qu dingbat

A dingbat is an ornament, character or spacer used in typesetting, sometimes more formally known as a printer’s ornament or printer’s character.

Handlettering Often hand drawn, but now with the modern age we use CAD programs such as Adobe Illustrator to convert these drawings into digital pieces.

LOGOS 6

L C C L

carmen lai graphic design

carmen lai graphic design

& & Mt t Ampersand Design Studio

L O S

A N G E L E S ,

AMPERSAND DESIGN STUDIO

C A L I F O R N I A

l o s

M

Museum of Modern Typography

M M

a n g e l e s , c a l i f o r n i a

Museum of Modern Typography

CHARACTER STUDIES The letter A

N

o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.

Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.

The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’.

The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today.

The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language.

The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories.

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EVOLUTION OF AN A

Didot

The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot, the typeface designer. The strong clear forms of this alphabet display objective, rational characteristics and are representative of the time and philosophy of the Enlightenment. Adrian Frutiger’s Didot is a sensitive interpretation of the French Modern Face Didot. Another model for this design is the Henriade, an historical printing of the original Didot from 1818.

The font Didot gives text a classic and elegant feel.

CHARACTER STUDIES The letter V

T

he letter “V” is derived from the same root as the letters “Y,” “W,” “U,” and “F.” They all come from the word waw, and thus the “V” was originally pronounced as a “W.” During the Middle Ages, the letter “V” was interchangeable with the letter “U.” Later the two were differentiated by their placement in a word. When the letter came at the beginning of a word, a “V” was used; when it came within a word, a “U” was used.

In Ancient Rome, the same symbol--V--was used for both. This letter was also used to represent the number five because of the counting practice of notching a “V” to represent five. In some Latin grammar texts, the letter “V” was called the “consonantal U,” but it became an official letter in the late 1700s due largely to the advent of the printing press which required differentiation between “U” and “V.” In modern usage, a “V” is not used like most other consonants in that it does generally not double to make a short vowel sound (as in humming and putting vs. living).

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Bodoni 72 Bodoni is the name given to the serif typefaces first designed

by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni’s typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and shis designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.

POSTER DESIGN 12

THE MUSEUM OF MODERN TYPOGRAPHY

f

Presents an exhibit of the creator of the fashion font

M o d e r n t y p e f a c e s, c h a r a c t e r i z e d b y c o n s i s t e n t l y h o r i z o n t a l s t r e s s, f l a t a n d u n b r a c k e t e d s e r i f s, a n d a h i g h contrast between thin and thick s t r o k e s, w e r e t h e f i n a l s t e p i n t y p o g r a p hy ’s t w o - h u d r e d - y e a r j o u r n e y a w a y f r o m c a l l i g r a p hy. I n t h e l a t e eighteenth century the style was perfected, and became forever associated with two typographic giants: in Pa r m a , G i a m b a t t i s t a B o d o n i ( 1 7 4 0 - 1 8 1 3 ) , a n d i n Pa r i s, Fi r m i n D i d o t ( 1 7 6 4 - 1 8 3 6 ) .

D i d o t w a s a m e m b e r o f t h e Pa r i s i a n d y n a s t y t h a t d o m i n a t e d Fr e n c h t y p e f o u n d i n g f o r t w o c e n t u r i e s, a n d h e ’s r e m e m b e r e d t o d a y a s t h e n a m e s a k e of a series of Neoclassical typefaces that e x q u i s i t e l y c a p t u r e d t h e M o d e r n s t y l e. T h e font, Didot, is used as the masthead for b o t h Vo g u e a n d H a r p e r s B a z a a r.

Didot

June 21-September 18, 2016

M M

Museum of Modern Typography

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The Museum of Modern Typography 221 South Grand Avenue Los Angeles 90012 www.museumofmoderntypography.com

Ubiquitous Type

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ypography makes at least two kinds of sense, if it makes any sense at all.

It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden.This book has therefore grown into somthing more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms.

One question, nevertheless, has been often in my mind. When all right thinking human beings are struggling to remember that other men and women are free to be different,and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose.

Typography thrives as a shared concern and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes

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The presence of typography both good and bad, can be seen everywhere.

must move, like other solitary travellers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The subject of this book is not typographic solitude, but the old, well travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose if only we know the paths are there and havea sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead.

Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well.

That is one of the ends for which they exist. Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made.

Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy.

The principles that unite these distant schools of design

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�

are based on the structure and scale of the human body the eye, the hand, and the forearm in particular and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads.

Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy the dance, on a tiny stage, of It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium.

I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.

SKETCH BOOK 16

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NEWS LETTER 22

MOTHER’S DAY POP UP AT THE FIDM ❀ ❀ MUSEUM SHOP

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Meet current FIDM student Sky Lim, and check out her unique line of leather accessories. Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafia Cooper.

CAREER CENTER

FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network.

SAVE THE DATE, INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m.

Come network with our industry partners.

ALL STUDENTS AND ALUMNI ARE WELCOME.

✏

COSTUME EXHIBITION CLOSING SOON!

Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30!

The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store!

Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.

JUNE 2016 GRADUATES!

Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.

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TRAVEL TO NEW YORK!

Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple!

Open to all majors.

Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm.edu

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WEEKLY WHAT’S FIDMGOING VISIT ON BYAROUND CAMPUS

ACADEMIC PARTNERSHIPS (TRANSFER SCHOOLS FIDM VISIT BY ACADEMIC FROM NEW YORK PARTNERSHIPS (TRANSFER AND LONDON) SCHOOLS FROM NEW YORK Representatives from the Laboratory AND LONDON) Institute of Merchandising (LIM) in Representatives from the Laboratory Manhattan, New York will be on campus Institute of Merchandising (LIM) in Monday April 25, 2016 and from Manhattan, New York will be on Regents University (formerly AIU campus Monday April 25, 2016 and London) in London, England will be on from Regents University (formerly AIU campus Friday, April 29, 2016. If you London) in London, England will be on interested in learning more about these campus Friday, April 29, 2016. If you transfer options or scheduling an interested in learning more about these appointment with the representatives transfer options or scheduling an from these schools contact appointment with the representatives Ben Weinberg in room 208A from these schools contact Ben Weinberg extension: 3405. in room 208A extension: 3405.

✍ ✍

GUESS? INC. GUESS? INC. SUSTAINABLE PRODUCT SUSTAINABLE PRODUCT LIFECYCLE COURSE LIFECYCLE COURSE In partnership with Guess?, Inc. FIDM

Inispartnership Guess?, Inc.course FIDM on developingwith a sustainability is “The developing a sustainability course Sustainable Product Lifecycle”. 15 onselected “The Sustainable Product Lifecycle”. students will be immersed in 15hands-on selectedcourse students will be immersed work, labs and field trips into hands-on course labs andcreate field enable them towork, understand, trips enableinnovative them to understand, andtoanalyze practices aiming create and analyze innovative to reduce a product’s impactpractices on the aiming to reduce a product’s impact global environment. This 8 week course onwill thestart global Julyenvironment.

2016 and willThis be held on 8 Wednesdays week course will start July 2016 from 12:00PM-2:45PM. Applications FREE EXCLUSI and will be heldfor onthis Wednesdays from VE course are available on the porta 12:00PM-2:45PM. l or in suite 201, desk 5.

Applications for this FREE EXCLUSIVE Application and written response is due course are available on the portal or in April 28th. Please contact lnavas @fidm. suite 201, desk 5. edu with questions. This course is open to all current FIDM students.

Application and written response is due April 28th. Please contact lnavas @fidm.edu with questions. This course is open to all current FIDM students.

THE FIDM BOOKSTORE

The FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup! Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!

JUNE 2016 GRADS

MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016.

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E-Exits are available online at WWW.UASEXIT.COM

COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held.

If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N.

HELP IS HERE FOR THE ASKING

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Assistance is available in writing, mathematics, accounting, statistics, critical thinking, time management, and much more.

Come to the IDEA Center, located in the Design Studio East on the ground floor of the Annex.

M – Th: 8:00 – 5:00 p.m.

F: 8:30 a.m. – 4:00 p.m. x3225 or x4558 DESIGN STUDIO EAST HOURS (computers/printers) M – Th: 7:00 a.m. – 8:00 p.m.

F: 7:00 a.m. – 6:00 p.m.

Sa: 9:00 a.m. – 4:00 p.m.

Design Studio West is now open!

Instructor-led workshops in Photoshop/Illustrator & Sketching have begun. Stop by the IDEA Centeror check the FIDM Portal for a schedule of instructors.

Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m.

WEEK OF APRIL 25-30

volume ten

WEEK 1

visual project in this issue:

frank o’ hara

andy warhol

pop!

issue nine

frida kahlo larry rivers

roy lichtenstein

jasper johns

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WEEK 2

pop!

in this issue roy lichtenstein

andy warhol

frank o’ hara

frida kahlo

volume ten

jasper johns

larry rivers visual project

issue nine

WEEK 3 pop! visual project

jasper johns

andy warhol volume ten

issue nine

in this issue

larry rivers

frank o’ hara

frida kahlo roy lichtenstein

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WEEK 4 frida kahlo

larry rivers

issue nine

jasper johns

visual project

roy lichtenstein

frank o’ hara

in this issue:

pop!

andy warhol

volume ten

WEEK 5 issue nine

andy warhol

volume ten

frida kahlo in this issue:

pop! roy lichtenstein larry rivers

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jasper johns

visual project frank o’ hara

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frank o’ hara andy warhol

pop!

frida kahlo

in this issue:

roy lichtenstein jasper johns

larry rivers

volume ten

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volume ten

in this issue:

frida kahlo

issue nine

andy warhol

larry rivers

jasper johns

frank o’ hara

roy lichtenstein

visual project

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WEEK 8 pop! pop! pop!pop!pop! pop!pop!pop! visual projectvisual project visual project visual projectvisual project visual project in this issue andy warholissue issue nine:volume nine:volume ten ten in this issue andy warhol in this issue andy warholissue nine: volume ten jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers

pop! pop! pop!pop!pop! pop!pop!pop! visual projectvisual project visual projectvisual project visual project visual project in this this issue issue andy andy warhol warholissue issue nine:volume nine:volume ten ten in in this issue andy warhol issue nine: volume ten jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers

pop! pop! pop!pop!pop! pop!pop!pop! visual projectvisual project visual visual projectvisual project visual project project in this this issue issue andy andy warhol warholissue issue nine:volume nine:volume ten ten in in this issue andy warhol issue nine: volume ten jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy roy lichtenstein lichtenstein in in this this issue issue andy andy warhol warholfrank frank o’ o’ hara hara volume volume ten ten frida frida kahlo kahlojasper jasper johnslarry johnslarry rivers rivers

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pop! pop! pop!pop!pop! pop!pop!pop! visual projectvisual project visual visual projectvisual project visual project project in this issue andy warholissue issue nine:volume nine:volume ten ten in this issue andy warhol in this issue andy warholissue nine: volume ten jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johns in this issue andy warhol frank o’ hara volume ten frida kahlo roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers roy lichtenstein in this issue andy warhol frank o’ hara volume ten frida kahlo jasper johnslarry rivers

WEEK 9 andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in volume issue ten frank nine visual o’ hara frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy lichtenstein pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! issue nine visual project in volume ten frank o’ hara frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in volume issue ten frank nine visual o’ hara frida kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in volume issue ten frank nine visual o’ hara frida kahlo jasper larry o’ frida pop!in in this this issue: issue: volumeissue issue ten frank nine visual visual project andy roy andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop! volume ten frank nine o’ hara haraproject frida kahlo kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in volume issue ten frank nine visual o’ hara frida kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop!in this issue: volumeissue ten frank nine visual o’ haraproject frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this this issue: issue: volume issue ten frank nine visual o’ haraproject project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in volume issue ten frank nine visual o’ hara frida kahlo andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! volume ten nine o’ frida andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! volume ten nine o’ frida andy warhol warhol jasper johns johns larry rivers rivers roy lichtenstein lichtenstein pop!in in this this issue: issue: volumeissue issue ten frank frank nine visual visual o’ hara haraproject project frida kahlo kahlo andy jasper larry roy pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy pop! in this issue: volume issue ten frank nine visual o’ hara project frida kahlo andy warhol jasper johns larry rivers roy lichtenstein lichtenstein pop!in this issue: volumeissue ten frank nine visual o’ haraproject frida kahlo

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L C carmen lai graphic design