typography Final

Typography Final Portfolio Max Budds

Table of Con

2

ntents

MAX BUDDS | DIRECTOR | SCREENWRITER

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My name is Max Budds, ever since I was a child I found myself doodling in notebooks during class to pay attention or copying down fonts that I liked just to prove to myself that I could write in different styles.

I noticed that I was constantly drawn to lines and that lines create everything. From the designs we wear to the typefaces we see on the daily, lines are what keep the world going round.

And as nerdy as that may be, in my defense, it is pretty cool when you think about it.

character study The Letter ‘G’

History of the Letter ‘G’

G

enerally

speaking,

there

are no launch dates for the letters of our alphabet. For

the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C.

Of course, the story begins a bit

earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”).

They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upsidedown V looked like the hump of a camel.

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CASLON T YPEFACE

Considered the first original to 1880s. Currently the Caslon

English typeface, it shares many font is in wide use and considered characteristics of the Dutch Baroque the standard for typesetters and type fonts of the era, and may be a printers.

The

rule

of

thumb

variation on the Dutch Fell type fonts continues to be, when in doubt cut by Voskens or Van Dyck at that use Caslon. time. From 1725 through to 1730 three books printed by William Bower used roman and italic fonts cut by Caslon. The fonts were popular throughout

the

British

Empire

including the American Colonies, where they acquired their distinctive appearance from the exposure to salt air during the voyage from Britain.

The popularity of the font

diminished upon Caslon’s death but revived during the British Arts and Crafts movement of the 1840s

character study

N

o one knows why ‘A’ is the

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BASKERVILLE HISTORY John Baskerville was a 17th century publisher who developed many innovations across

contemporary on the North American side

character study

The History of the Letter Z The twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet.

They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning.

Around 1000 B.C. the Phoenician zayin became the Greek “zeta.”

The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to

the Z we currently use.

In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface).

The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks.

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Monaco is a monospaced sansserif typeface designed by Susan Kare and Kris Holmes. It ships with OS X and was already present with all previous versions of the Mac operating system. Characters are | (Vertical bar), I (uppercase i) and l (lowercase L).[citation needed] A unique feature of the font is the high curvature of its parentheses as well as the width of its square brackets, the result of these being that an empty pair of parentheses or square brackets will strongly resemble a circle or square, respectively.

Monaco has been released in at least three

font that still appears in the ROMs of even New World Macs, and is still available in recent macOS releases (size 9, with disabled loosely similar to Lucida Mono and created as a TrueType font for System 6 and 7; this is the was designed to be used with the Macintosh Programmer’s Workshop IDE; it was essentially a straight conversion of the bitmap font into an outline font with the addition of some of the same disambiguation features as were added to the TrueType Monaco.

character study “The Exclaimation Point”

The History of the Exclaimation Point In the seventeenth and eighteenth centuries, quotation marks, the apostrophe, the dash, and the exclamation point were added to the basic set of punctuation marks in consistent use. The initial configuration of the exclamation point, which is descended from a logotype for the Latin word io (“joy”), was a capital I set over a lowercase ’o’. As with the question mark, the design of the exclamation point was gradually streamlined to its present form.

Our repertoire of punctuation continues to expand. As recently as the 1960s, a new mark called the interrobang was proposed. A ligature of the exclamation point and question mark, the interrobang would serve as a way to punctuate sentences like, “You did what?!”

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History of Copperplate Typeface

P

icture this: you are walking down the street with a friend, bragging about your extensive knowledge of type gleaned from the weekly

blog installments

(I

assume this is a main topic of

conversation among all of our readers).

Your

friend

immediately challenges you to defend your claim, pointing to lettering on a nearby glass door and demanding that you identify it! the unexpected pressure!

How

to react under

Fortunately,

if the text in

question is written onto the glass door of a business, chances are pretty good that the text in question in

Copperplate Gothic,

one of the fonts most widely used

in advertising and on storefronts.

As

you undoubtedly recall from your extensive

“gothic” is merely another term to indicate sans-serif. In this sense, Copperplate Gothic is a unique typeface, in that it is not truly sans-serif, but rather contains small serifs, which “round off” each letter. It was designed in 1903 by Frederic W. Goudy. Goudy is the third most prolific American type designer, who is best known for Goudy OldStyle as well as Copperplate Gothic, and for coining the evidently well-known phrase: “Any man who would letterspace blackletter would shag sheep,” study of our past

Tuesday

posts,

equating bad typography with bestiality as only a type designer can.

The

font is reminiscent of the work of

engravers, by its nomenclature, and includes elements inspired from a diverse range of sources, including stone carvings and classic roman influences. result is a very clean, imminently readable

The font.

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Drop Cap

O

Blackletter The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering.

nce upon a time, there was a letter at the start of the first paragraph of a text. It was bigger than the other letters, and, sometimes, it had different colors from the black of the text. It could even hide some symbol or some illustrations and was a way to introduce the reader to the text that followed. At that time, books were hidden in the darkest rooms of religious places or castles, and the only light available to help readers when the sun was down was a candle and its dancing flame.

Hairline Rule

Distressed The age of digital type has brought with it many advancements and timesavers, but too much perfection can get boring.

When your eye craves type that exhibits the inconsistencies of the human hand and the natural wear and tear of age, it’s time to explore distressed typefaces.

With their irregular contours and weathered appearance, these designs are a great way to return a natural, handmade charm to typography.

Raised Cap

E ven before Gutenberg invented the craft of

typography, fancy initials were used to begin chapters and decorate pages in medieval manuscripts. And while Gutenberg didn’t create initial letters to complement his fonts, he did leave a space in his typeset pages so these typographic embellishments could later be drawn in by hand.

Cursive

Woodtype

While the history of recorded writing goes back thousands of years, we’ll focus solely on how cursive writing came about. Historians believe the Romans were one of the first to use written forms for corresponding and recording transactions., such as sales or stock. In the 600s, writing consisted mostly of upper case letters with some lower case letters mixed in, and it showed the telltale flow and curve of cursive.

Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.

Reveresed Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.

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In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths.

Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device. Hair or hairline is also a type of serif, the minimum thickness for a serif.

Serif Serifed typefaces were popular much earlier than sans-serif typefaces and include semi-structural details on many of the letters. People often refer to them as feet, although that is in no way a proper anatomical term when referring to typography.

Their are many different classifications for serifed typefaces, often named for their origins, including Grecian, Latin, Scotch, Scotch Modern, French Old Style, Spanish Old Style, Clarendon and Tuscan.

Some of these classifications can also be placed into broader classifications of typography including the styles below.

Ligature Display Type

Decorative

A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text.

While serifed and sans-serif typefaces can often be used for text typesetting, there are a vast majority of fonts and typefaces whose legibility wanes when used in smaller point sizes. These typefaces are often developed with a specific use in mind and are designed for larger point size use in headlines, posters and billboards. Decorative is less of a classification and can include a wide variety of typefaces underneath the umbrella of the term.

Ampersand

Fraction A more attractive choice is to use fonts that have “expert sets,” or fraction fonts.

Families such as Centaur, Bembo and Minion offer these supplementary fonts which contain fractions, as well as other seldom-used but important characters, in a range of weights. The upside is that the fractions are design-sensitive and blend beautifully with the rest of your work. The downside is that you have to change fonts to access them.

Tracking Tracking (also known as letter spacing) is the adjustment of space for groups of letters and entire blocks of text. It can make text appear more airy or more dense and affects the appearance and readability of text. Tracking can be applied to small portions of text or an entire block at a time.

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

An example is the character æ as used in English, in which the letters a and e are joined. The common ampersand developed from a ligature in which the handwritten Latin letters e and t were combined

Calligraphy Letters associated with the art of calligraphy and the fonts developed from their production can be classified as calligraphic. Calligraphic letters can be, although do not have to be, classified as Chancery, Etruscan or Uncial. Chancery letters have slightly sloping narrow letters and were influential in the development of serif italics. Etruscan faces do not have lowercase letters and are based on an early form of Roman calligraphy in which the brush was held at a steep angle. The Celtic style, Uncial letters are created from holding the brush at an almost horizontal angle.

There is only one case in Uncial designs, although they did become the basis for the development of the roman lower case.

Ampersand. A stylized character of the Latin et used to represent the word and.

Definition: The typographic symbol used to designate the word and (& ) is the Latin symbol for et which means and. The name, ampersand , is believed to be derived from the phrase “and per se and.”

Egyptian Font In the early 1800s, when Napoleon returned from his three year expedition of Egypt all things Egyptian became the rage. The world was transfixed by cartouches, papyrus and the Pyramids. The type founders of the time chose to capitalize on the trend by naming their new font styles the Egyptian Hieroglyph Slab Serifs. I suppose the base of a cartouche does in some ways resemble the slab of a slab serif—but really there was no such thing as this type style, at least not in Egypt.

Didone

Dingbat The word “dingbat” is sometimes used to describe an addle-brained person, but typographically speaking, dingbats have both feet on the ground. A dingbat is a decorative element available in font format. Dingbats can be graphic elements such as squares, triangles, hearts, checkmarks, pinwheels, lightning bolts, arrows or stars. They can also be small illustrations of anything you can imagine: a pointing finger, a pencil, a pair of scissors.

The Didone font styles, which originate in France, first became popular at the turn of the 18th century.

The Didone name comes from combining two popular Didone typefaces, Didot and Bodoni, together.

The Didone typestyles, also called Moderns or Neoclassicals, have never really gone out of style since they are practically synonymous with elegant and sophisticated type design. You can see Didone typefaces in use on the cover of most major fashion magazines. Luxury brands like Cartier and Christian Dior use Didone typefaces for their logo.

Logo Development

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MODERNIST, FUNCTIONALIST, PURIST Crouwel is a modernist and impressed by a typeface like Helvetica, which was more neutral than any other typeface. “A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”* In his work Crouwel chose sans-serif faces that allowed numerous combinations, like Gill (Van Abbe museum) and Universe (Stedelijk). The essential information was set in one returning typeface and the title of the exhibition slightly reflected the feel of the exhibition. He looked at the work of the artist, got an impression and tried to translate it typographically. An example of this way of working is found in the exhibition about Leger. Leger’s work could be recognized by its heavy lines around the images. This influenced him to create the word Leger with thick black lines so it would dominate the poster. Crouwel always searched for the abstract, something that would strike the eye.

Wim Crouwel’s ‘New Alphabet’

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abcdefghijklm

mnopqrstuvw xyz Postmodernism’s New Typography In an act of rebellion against the prevailing Sans serif aesthetic, designers looked to celebrate creativity in their digital fonts

I

n today’s digital world, most words we read reach us via computer, television or smartphone. Even hardcover books are designed with the help of digital technology. Typographers have meticulously sculpted each individual letter, whether on the page or the computer screen, all with the help of copious mouse clicking.

It wasn’t always this way. Through the early 1960s, before the advent of digital technology, typographers used metal type, often hand drawing on graph paper and using photocopiers or ink transfer to create typefonts. From the end of World War I until the 1960s, “Sans serif” fonts, distinguished by their lack of feet, or “serifs” on the ends of each letter, ruled typography’s proverbial roost. Sans serif fonts had existed as early as William Caslon’s 1816 “English Egyptian” type, a round, simple lettering that faded into obscurity almost as soon as it was invented.

In the wake of World War I, typographers connected to the German-based Bauhaus design school found aesthetic value in utilitarianism over artifice and adornment.

Coinciding with this stylistic break were major advances in digital technology.

Dutch designer Wim Crouwel was at the forefront of the movement with his 1969 “Visuele Communicatie Nederland, Stedelijk Museum Amsterdam,” one of five posters featured in the Cooper Hewitt’s installation.

At the time, computer imaging, then in its infancy, used a dotted matrix to create images. This raised the question of how computers could represent the sharp edges of certain fonts. Crouwel’s poster makes the issue explicit through lettering comprised of fluorescent pink dots. Each letter has rounded edges; set off against a barcode-like grid (“gridnik” was Crouwel’s reported nickname), the lettering was a startling departure from the modernist code and set a precedent for new typography.

“The meaning is in the content of the text and not in the typeface�

Crouwel 24 24

Postmodernism in graphic design for the most part has been a visual and decorative movement.

Postmodernism was not a style, but a group of approaches motivated by some common understandings.

It wasn’t a theory, but a set of theoretical positions, which have at their core a self-reflexive awareness of the tentativeness, the slipperiness, the ambiguity, and complex interrelations of culture and meaning.

Some argue that the “movement� had little to no impact on graphic design.

More likely, it did, but more in the sense of a continuation or re-evaluation of the modern.

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table of contents Introduction

A look into Wim Crouwel’s design technique and ideaologies

The Work of Wim Crouwe

Examples of Wim’s creations

A New Alphabet

Wim’s creative new way to look at letters

s Type Timeline

A look at type throughout history

el

s

About MOCT Get to know us

The career of Dutch designer Wim Crouwel spans six decades and covers an extraordinary journey from designer, teacher, curator to museum director.

Based on modernist principles, Crouwel’s lucid and systematic approach to design is underpinned by a grid-based methodology. His process, logical yet experimental, distils a subject down to its absolute essence and in doing so he achieves great impact and purpose in both his exhibition and print design. Through his long and productive career he has produced exemplary work in exhibition design, and designed posters, calendars, typefaces, trademarks and stamps.

Modernism

The formal nature of Swiss design deeply affected Crouwel — clarity, structure and the employment of grids became key aspects in his visual language. Strong relationships were formed with like-minded Swiss designers early in his career and he became good friends with Gerard Ifert, Karl Gerstner and Josef Müller-Brockmann.

intro

Total Design

Crouwel was one of the five founders of Total Design, a multidisciplinary design studio set up to work on major design commissions. The name Total acknowledges the mixed skill-set of the partners. Together their diverse experience enables them to execute both complex and wide-ranging projects for a variety of clients, from industry, trade, government and cultural sectors.

Experimental Typography

Crouwel is recognised for the creation of radical, modular letterforms. Pushing the boundaries of legibility, Crouwel’s innovative type was often supported by easily read sans serif typefaces within a carefully structured framework. His typefaces were digitised by the Foundry in the late nineties and are available for designers to use digitially from the type library.

Designer, Director, Teacher

In 1985, Crouwel’s career took a new direction following appointment as a director at the Boijmans van Beuningen Museum in Rotterdam. In this role he commissioned the British studio 8vo to fulfil the design requirements of the museum. He retired from this position in 1993. Crouwel continues to design intermittently on a diverse range of projects for both graphic and exhibition design commissions.

the work of wim crouwel

Wim’s New Alphabet

In the infancy of digital typography— lead blocks or by machines that gene giving way to text set on screens—C interesting experiment. Early comput monitors—rendered images in fairly l curvilinear letterforms difficult to rec to redesign the alphabet using only h is, in Crouwel’s words, “over-the-top used,” a statement on the impact of n typographic tradition. In 1988, howev stylized version of the font on the cov band Joy Division. New Alphabet was 1997 by Freda Sack and David Quay o Crouwel’s original studies.

—as lead type, set by hand in heavy erated lines of metal type, was Crouwel saw an opportunity for an ter screens—cathode ray tube (CRT) large pixels, making traditional construct, and so Crouwel set out horizontal lines. New Alphabet p and never meant to be really new technologies on centuries of ver, Peter Saville Associates used a ver of Substance, an album for the s digitized for contemporary use in of The Foundry, closely based on

Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe.

But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why?

If you’re interested in learning more about typography, you’ve come to the right place.

Here’s how it all went down:

B

a Guttenberg invented Italics begin to be movable typefaces, used as way to fit giving the world a more words onto cheaper way to obtain a page, saving the written word. Up the printer money. until this point, all Today, we use italics written materials were as a design detail done by hand, and or for emphasis were very costly to when writing. purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.

Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.

John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.

William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.

Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes

Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contrasts were more extreme than ever before, and created a very cool, fresh look.

W cr wi It at th no typ tim m we ac

,

s.

William Caslon IV reated the first typeface ithout any serifs at all. was widely rebuked t the time. This was he start of what we ow consider Sans Serif pefaces. During this me, type exploded, and many, many variations ere being created to ccommodate advertising.

TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font?

Before you jump in, let’s clarify the terminology used.

Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font.

Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography.

Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.

The Helvetica typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography.

In the infancy of digital typography—as lead type, set by hand in heavy lead blocks or by machines that generated lines of metal type, was giving way to text set on screens—Crouwel saw an opportunity for an interesting experiment.

About the MOCT

The Museum of Contemporary Typography is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The MOCT is home to more than 2,000 works of art in the MOCT collection, which is one of the world’s most prominent collections of postwar and contemporary typographical art.

The 120,000-square-foot building features two floors of gallery space and is the headquarters of The MOTC Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The MOTC has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.

colophon Âť

about this brochure

design by Max Budds

M u s e u m o f C o n t e m p o r a r y Ty p o g r a p h y 21 S Grand Ave, Los Angeles, CA 90012 www. t he m u s e umo f co n t e mpo raryt ypo g raph y.o rg

T

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 something 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 44

typographers, like others, ough follow or to blaze the trails they Typography thrives as a share are no paths at all where there desires and directions. A typog determined to forge new route move, like other solitary travell through uninhabited country a against the grain of the land, cr common thoroughfares in the before dawn. The subject of thi not typographic solitude, but th travelled roads at the core of th each of us are free to follow or

leave when we choos paths are there and they lead. That fr the tradition is dead.

Originality much origina way back to ea or overgrown. If guide, by all mean you wish. That is pr road: to reach individ of departure. By all means brea

ht to be at liberty to y choose. ed concern and there are no shared grapher es must lers, and rossing silence is book is he old, wellhe tradition: paths that not, and to enter and

se - if only we know the d have a sense of where reedom is denied us if concealed or left for

y is everywhere, but ality is blocked if the arlier discoveries is cut f you use this book as a ns leave the road when recisely the use of a dually chosen points ak the rules, and break

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

By Milton Glaser

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 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.

pop! volume eleven visual project in this issue:

lawrence ferlinghetti lebron james kristen stewart hayley williams sam smith mac miller andy warhol

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pop!

volume eleven visual project in this issue: lawrence ferlinghetti kristen stewart lebron james hayley williams

sam smith andy warhol mac miller

pop! volume eleven visual project

andy warhol lebron james

in this issue:

sam smith kristen stewart

lawrence ferlinghetti mac miller

hayley williams

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andy warhol

pop!

kristen stewart

lawrence ferlinghetti

sam smith

hayley williams

visual project

volume eleven mac miller in this issue:

lebron james

pop!

hayley williams kristen stewart lebron james andy warhol sam smith mac miller

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lawrence ferlinghetti

visual project volume eleven in this issue:

lawrence ferlinghetti kristen stewart pop! volume eleven visual project in this issue:

lebron james hayley williams andy warhol sam smith mac miller

in this issue: mac miller

visual project

lawrence ferlinghetti andy warhol hayley williams sam smith

visual project

volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven

visual project

pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!

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kristen stewart lebron james

volume eleven visual project in this issue:

lawrence ferlinghetti lebron james kristen stewart hayley williams sam smith mac miller andy warhol

pop! pop!

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colophon | about this portfolio

deisgned by Max Budds