Typeportfoliosngls

Page 1

typographical portfolio

the art of type

bianca gomez

BG

graphic design

fashion institute of design and merchandise


the intro 4 character studies 6 logo designs 14 sketches 18 momt logo 20

table of co


ubiquitous type 22 typographical terms 26 fidm weekly

30

history of type

34

pops! 44

ontents


the intro

spring

4 portfolio


My name is Bianca Rose Gomez, welcome to my portfolio.

Inspiration flows from various parts of my life. Everyday, I am introduced to something new; a concept, a perspective, an idea. That alone is what fuels my love for art as a whole. It’s always changing, evolving, and teaching you. To me, typography is an incredible way to express yourself. You can achieve an entire mood with the use of one perfecf font. Typography allows us to inspire others by stringing together the perfect combination of letters and colors to create a beautiful and stimulating work of art. This course has emphasized the importance of the little details we tend to overlook as young artists, and I feel that I’ve learned a lot that I will take with me throughout my career as a graphic designer.

“Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.”


character studies

spring

6 portfolio



a

CHARACTER STUDIES

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.) 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.


DIDOT

The first Modern typeface is attributed to Frenchman Firmin Didot (son of Franรงois-Ambroise Didot), and first graced the printed page in 1784. His types were soon followed by the archetypal Didone from Bodoni. The Italian type designer, punchcutter and printer Giambattista Bodoni (what a great name! [17401813]) drew his influence from the Romains du Roi (with its flat, unbracketed serifs) and the types of John Baskerville (high contrast), for whom he showed great admiration.


CHARACTER STUDIES

I

f

n its earliest years, the letter that evolved into our F was an Egyptian hieroglyph that literally was a picture of a snake. This was around 3,000 B.C. Through the process of simplification over

many years, the F began to lose its snakelike character, and by the time it emerged as an Egyptian hieratic form it wasn’t much more than a vertical stroke capped by a small crossbar. With a slight stretch of the imagination, it could be said to look like a nail. This may be why the Phoenicians called the letter “waw,” a word meaning nail or hook, when they adapted the symbol for their alphabet. In its job as a waw, the character represented a semi-consonant sound, roughly pronounced as the W in the word “know.” However, at various times the waw also represented the ‘v’ and sometimes even the ‘u’ sound. When the Greeks assimilated the Phoenician alphabet, they handled the confusing waw with typically Greek logic: they split it into two characters. One represented the semi-consonant W and the other became the forerunner of our V. (The ‘w’ sound became the Greek digamma, or double gamma, and was constructed by placing one gamma on top of another.)


Lucida Black Letter

The forceful visual presence of blackletter typestyles evolved from the early handwritten forms of liturgical writings and illuminated manuscripts. Blackletter was an elegant solution to a tricky design problem: parchment was precious and economy of space was vital, but the text also had to have sufficient oomph to hold its own against the spectacular illustrations surrounding it


?

CHARACTER STUDIES

The origins of the question mark are clouded in myth and

mystery. One of the most appealing stories links the curve of the question mark to the shape of an inquisitive cat’s tail. This feline connection is either attributed to the ancient Egyptians (who were, of course, famed for their worship of cats), or to a monk who took inspiration from his curious pet cat, and included the symbol in his manuscript. The story accepted by most involves Alcuin of York, an English scholar and poet born in 735, who was invited to join the court of Charlemagne in 781. Once there, Alcuin became one of Charlemagne’s chief advisors, and wrote a great number of books, including some works on grammar. In the early Middle

Ages, punctuation was limited to a system of dots at different levels. Recognizing the limitations of this system, Alcuin created the punctus interrogativus or ‘point of interrogation’. This mark was a dot with a symbol resembling a tilde or ‘lightning flash’ above it, representing the rising tone of voice used when asking a question. This new punctuation mark spread rapidly from the court of Charlemagne to other centres of learning. However, its use still remained haphazard, and it was often interchanged with the exclamation mark, or omitted entirely. It wasn’t until the 17th century that the question mark gained the familiar form and rules of use that we know today, and not until the mid-19th century that it first began to be referred to as a ‘question mark’.

? ? ? ? ? ?


FUTURA

German typeface designer Paul Renner designed Futura in the mid1920’s. Its geometric shapes were inspired by the Bauhaus, the German arts&crafts school/movement. The font was commercially released in 1927 with additional weights being added in the years after. Many foundries, including Adobe and URW, offer digital versions of Futura. Neufville claim to sell the most authentic version.


logo designs

spring

14 portfolio


BG BG BG Bianca Gomez graphic design

Bianca Gomez graphic design

Bianca Gomez graphic design


BG

Bianca Gomez

BG Bianca Gomez

BG Bianca Gomez


BG Bianca Gomez graphic design

(949) 636-9665 bxrose7@gmail.com biancarosedesign.com

BG


sketches

spring

18 portfolio



momt logo

spring

20 portfolio


abcdefghijklmnop onmlkjihgfedcbaa qrsqsvwxyz1234a 4321zyxwvsqsrqb 567890!@#$%^&b &^%$#@!098765c *?abcdefghijklm c mlkjihgfedcba?*d nopqrstuvwxyz1d 1zyxwvutsrqpone 234567890!@#$ e $#@!098765432 f %^&*?abcdefghi f ihgfedcba?*&^%g jklmnopqrstuvw g wvutsrqponmlkjh xyz1234567890h 0987654321zyx !@#$%^&*?abcdei

MoMT museum of modern typography


ubiquitous type

spring

22 portfolio


ubiquitous ubiquitous ubiquitous ubiquitous ubiquitous ubiquitous ubiquitous ubiquitous


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

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

biquitous Type 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 letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely

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 rightthinking 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

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

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


e

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 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 have a 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 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.


typographical terms

spring

26 portfolio


typographical typographical typographical


TYPOGRAPH GROTESQUE

Hello

Grotesque is used as a synonym for sans serif fonts in general.

CURSIVE

Hello

Script typefaces are based upon the varied and often fluid stroke created by handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. 12 PT. RULE HELLO Though 12 point has be­come the de­fault size in dig­i­tal word pro­cess­ing—and also the ba­sis of many in­sti­tu­tional doc­u­ment-for­mat­ting rules.

HAIRLINE RULE

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

SLAB SERIF

Hello

In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.Serif terminals may be either blunt and angular or rounded.

BLACK LETTER

Hello

The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) 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.

DISTRESSED

HELLO

Distressed typefaces replicate the irregular contours of brush strokes and other writing implement and capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps. REVERSED

HELLO HELLO Reversing type Is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. WOOD TYPE

Hello

Wood served as the material for some large fonts called wood type during the 19th century, particularly in the United States.

CALLIGR

He

Calligraphy is a visual art r design and execution of le instrument, brush, or othe

TRANSI

He

Transitional typefaces repr between old style and neo incorporate some characte

OBLIQ

Hel

Oblique type is a form of ty the right, used for the sam

KERN

Hel

Kerning is the process of a between characters in a pr achieve a visually pleasing

LIGAT

ff

Two or more letters combin make a ligature. In typogra represent specific sounds o æ diphthong ligature.


HICAL TERMS

RAPHY

SWASH

ello

Hello

related to writing. It is the ettering with a broad tip er writing instruments.

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

ITIONAL

DROP CAP

ello

resent the transition oclassical designs, and eristics of each.

QUE

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.

ype that slants slightly to me purposes as italic type.

In typography, a bullet ( • ) is a typographical symbol or glyph used to introduce items in a list.

NING

•

GLYPH

llo

f

ned into one character aphy some ligatures or words such as the AE or

In typography, a glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing. DINGBAT

aqwemvc

A dingbat is an ornament, character, or spacer used n typesetting, often employed for the creation of box frames.

SERIF

Hello

A serif is a small line attached to the end of a stroke in a letter or symbol.

HANDLETTERING

Hello

BULLET

llo

ATURE

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

adjusting the spacing roportional font, usually to g result.

TRACKING

Handlettering efers to the creation of hand-drawn letters to apply to an object or surface. DISPLAY

Hello

Today is a new day.

A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text.


fidm weekly

spring

30 portfolio


FIDM WEEKLY WHATS GOING ON AROUND CAMPUS?


FIDM WEEKLY

APRIL 23 - MAY 4

WHATS GOING ON AROUND CAMPUS? Phi Theta Kappa Hosts:

Phi Theta Kappa Social:

DIY AIR PLANTS

SELF DEFENSE CLASS

We’re celebrating Earth Month! Add more greenery to your apartment by decorating your own plant pottery to take home with you. Supplies will be provided.

Join PTK for this safety workshop led by Peace Over Violence. Empowerment self-defense is a set of awareness, assertiveness, verbal confrontation skills, safety strategies, and physical techniques. These enable one to successfully prevent, escape, resist, and survive violent assaults. Sign up in Room 425.

Tuesday, April 24 11:15 a.m. - 12:00 p.m. Student Lounge Patio

Friday, April 27 11:15 a.m. - 12:00 p.m. Room 500

Interested in learning what it takes to put a magazine together? Join FIDM MODETM Magazine for our first photoshoot of the quarter, a make-over! Thursday. April 26 10:30 a.m. - 12:00 p.m. Room 425 The Industry Club Welcomes:

CELEBRITY FASHION DESIGNER Intrested in being a fashion designer and entreprenuer? Hear from celebrity designer, Walter Mendez, whose creations have been featured on celebrities like Beyonce, Britney Spears, Selena Gomez, Mel B, Jennifer Lopez, Camila Cabello and more. Tuesday, April 24 2:45 p.m. - 3:30 p.m. Room 425

PINKIES UP: An email ettiquette workshop Lost for words when you have to send a professional email? No worries, we got you! Join us for tea time and learn the unwritten rules of email etiquette to make the best impressions. Tuesday, May 1 2:45 p.m. - 3:30 p.m. Room 425

Student Council Hosts:

FIDM MODETM Magazine Hosts:

A LOOK BEHIND THE MAGAZINE

The Industry Club Hosts:

DENIM DAY Wear denim with a purpose, support survivors, and educate yourself and others about sexual assualt and rape! Sign our pledge to support survivors. #endrapeculture Wednesday, April 25 All Day

FIDM MODE™ Magazine:

FIDM TOTE BAG CHALLENGE! Looking for a way to get involved in MODE™ Magazine? Here’s your chance to showcase your talent. MODE is looking for fun and creative designed FIDM Tote Bags to feature in their upcoming issue. Take the classic FIDM Tote and transform it with fabric, paint, patches, beads, rhinestones or anything that inspires you. 10 lucky winning designs will get chosen! Stop by Student Activities, Room 425 for more details to apply. Sketches are due May 3. Contest ends May 25.

CONFIDENCE WORKSHOP You got what it takes, you just haven’t realized it yet. Learn impactful ways to let your confidence speak for you. Whether you’re asking someone out on a date, going to an interview, networking or asking for a raise, confidence is key. Wednesday, May 2 11:15 a.m. - 12:00 p.m. Room 425

Phi Theta Kappa Hosts:

GIRL POWER DAY Ladies! Let’s have a serious (and fun) chat about our bodies. Remove the stigma that comes with being a woman. Embrace your femininity and feel empowered with PTK. Who runs the world?! Tuesday, May 1 11:15 a.m. - 12:00 p.m. Room 425


CAREER CENTER Indusrty Partnership on Wednesday, April 25 from 11:00 .am. - 2:30 p.m. in the Student Lounge Companies will be on campus to recruit for part time and interships positions in the Student Lounge. Come prepared to network and interview.

FINANCIAL SERVICES Effective as of July 1, 2017, failed units will be subject to a $500 per unit charge (Example: 3 units =$1,500.00). Please see Financial Services for further information.

ARE YOU WIRED? Do you have access to your email, WiFi, Adobe, eLearning, FIDM Portal, and FIDMPrints? Make sure to check the FIDM Portal or visit either eLearning (Room 403) or the Annex Copy Center to make sure you are wired for FIDM Technology this quarter!

NEED MONEY TO HELP PAY TUITION? If you are a student starting your 2nd, 3rd or 4th year, in the Summer Quarter of 2017 you may be eligible to receive a Scholarship from the FIDM Scholarship Foundation ELIGIBILITY REQUIREMENTS: • Cumulative GPA 3.0 • U. S. citizen or permanent resident. • Currently employed or interning INSTRUCTIONS & APPLICATION REQUIREMENTS • Meet with Student Advisor to obtain application in suite 401 - Now AvailableSubmit completed FIDM Scholarship Foundation Application to your Student Advisor including references and resume

Student Activities Presents:

“MAY THE FOURTH BE WITH YOU” MIXER Attention Star Wars lovers! Join us for this awesome mixer. Watch one of the classics while enjoying refreshments and snacks. The best Star Wars inspired outfit will win a prize! Friday, May 4 11:15 a.m. - 12:00 p.m. Room 425

NOW ACCEPTING APPLICATIONS FOR SUMMER 2018 & FALL 2018! Look beyond your current AA degree and consider your options to earn your Bachelor degree in: Business Management Apparel Technical Design Design Interior Design Graphics Digital Cinema Social Media Come to Suite 401 to make an appointment today! Now Accepting Applications For MBA For Summer 2018 (You need to have a Business Bachelor Degree) Contact Sang Pak in Student Advisement, Suite 401A, spak@fidm.edu, for more information

THE FIDM STORE Earth Day Sale

In support of Earth Day, our reusable drinkware is 20% from April 23 - 27! Celebrate a clean Earth and purchase a reuseable water bottle or tumbler at the FIDM Store.

GRADUATES June 2018 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: May 15, 2018 E-Exits are available online at WWW.MYLOANCOUNSELING.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please contact Evelyn Garcia at (213) 624-1200 ext 4292 egarcia@fidm,edu or stop by room 401-N.

GET YOUR MONEY’S WORTH!

UTILIZE THE FIDM LIBRARY RESOURCES Stop by the Media Room to check out DVD feature films, documentaries, runway shows, and biographies! Also discover innovative textiles, review Vogue Magazines from 17 different countries, and MUCH MORE!

SAVE THE DATE! CAP & GOWN DISTRIBUTION! Wednesday, May 16

12:30 p.m. - 5:00 p.m. Check in at Rotunda (1st Floor) Grad Carnival 1:30 p.m. - 6:00 p.m. *RSVP REQUIRED at FIDMGRADCARNIVAL.RSVPIFY.COM

STUDENT ADVISEMENT CURRENT INFORMATION

Does FIDM have your most current address, phone number, and email address? If not, please go to the Student Advisement office, Rm. 401 to update your information. Thank you.

Attention All First Year 2nd Quarter Students!

Have you met with your Student Advisor? If not, you need to schedule your appointment in room 401 as soon as possible to start planning for your 2nd yr.

LOS ANGELES Don’t delay, schedule your appointment today!


history of type

spring

34 portfolio


swissstyle cleanliness. readibilty. objectivity.

sans - serif typefaces

akidenz - grotesk helvetica univers


swiss style

&

History The Designers The 1950s saw the full emergence of a design movement that is arguably the most important graphic design style of the twentieth century in terms of its far-reaching impact, its longevity, and its range of practical applications. The style began in Switzerland and Germany and is sometimes referred to as Swiss Style, but it is formally known as the International Typographic Style. Its dominance in many areas of graphic design covers a twentyyear period from the early 1950s to the late 1960s, but it remains an important influence to this day. There are a range of specific visual hallmarks that characterize the style. These include the use of asymmetrical layouts built around a mathematically constructed grid; a clear and unadorned approach to the presentation of

content; the use of sans-serif type, generally set flush-left and ragged-right; and a preference for photography over illustration. type, generally set flush-left and raggedright; and a preference for photography over illustration. It is useful to place the development of the style in historical context as its early influences stretch back over several decades. In 1918, Ernst Keller—considered by many as the forerunner of the International Typographic Style—began to teach design and typography at the School of Applied Arts in Zurich. He never encouraged students to adopt a specific style, but he did argue that a design solution should always be respectful of content. This can be seen as an early version of the Modernist principle of form following function.


armin hofmann

s

swiss style

By the age of 27 He taught for several Armin Hofmann had already years at the Basel School of completed an apprenticeship Design and he was not there in lithography and had begun long before he replaced Emil teaching typography at the Ruder as the head of the school. Basel School The Swiss For after all, of Design. His International colleagues Style, and a poster does and students Hofmann, more than simply thought that were integral in adding to work supply information one of the and theories most efficient that surrounded on the goods it forms of the Swiss advertises; it also communications International was the poster reveals a societys and Hofmann Style, which stressed a belief spent much state of mind.” in an absolute of his career and universal designing style of graphic design. The posters, in particularly for the style of design they created Basel Stadt Theater. Just as had a goal of communication Emil Ruder and Joseph Müllerabove all else, practiced Brockmann did, Hofmann new techniques of photowrote a book outlining his typesetting, photo-montage philosophies and practices. His and experimental composition Graphic Design Manual was, and heavily favored sans-serif and still is, a reference book for typography. all graphic designers.


swiss style

josef müller-brockmann Josef MüllerBrockmann was one of the leading pioneers of the Swiss Modernism — a graphic method utilizing a grid-based design that eliminates needless artistic expression. Unlike much of today’s graphic design, Müller-Brockmann’s work reflected an ethos rooted in minimalism. It was understated and didactic, but it was also beautiful and iconic. Indeed, throughout his career he was justly regarded as one of the most talented and resourceful advertising and design artists in Switzerland. And he could do it all, designing concert and exhibition posters, brochures, typefaces, dinnerware and even stage design. In 1954’s Graphis Magazine, Issue 53, he was asked about which of these

activities were his favorite and offered no definitive answer. He liked them all and viewed himself as a problem solver. He is the author of The Graphic Artist and his Design Problems (1961) and History of Visual Communication (1981). He has contributed to many symposiums and has held one-man exhibitions in Zurich, Bern, Hamburg, Munich, Stuttgart, Berlin, Paris, New York, Chicago, Tokyo, Osaka, Caracas and Zagreb. In 1987 the State of Zurich awarded him a gold medal for his cultural contribution. The work of Müller-Brockmann is legendary and he is best remembered for his commercial work for IBM, Geigy, Olivetti, Rosenthal and the Swiss Railway. He kept working, travelling and exhibiting his work until he died in 1996.


swiss style

Swiss Style

Posters


swiss style


swiss style


swiss style


swiss style


pops!

spring

44 portfolio


issue one literary journal in this issue: volume seven

pop!

picasso frank ocean frida kahlo ayn rand lil peep

week 3


pop! issue one

picasso

literary journal

frida kahlo

volume seven

frank ocean

ayn rand

in this issue:

lil peep

BG week 5


pop! issue one picasso

literary journal frida kahlo

volume seven

frank ocean

in this issue:

ayn rand

lil peep

week 6


pop! pop! pop! pop!

issue one

literary journal

volume seven

in this issue:

picasso

frank ocean

frida kahlo

ayn rand

lil peep

week 8


pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! issue one picasso

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

literary journal frank ocean

pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! volume seven

frida kahlo

ayn rand

in this issue: lil peep

week 9


the end

bianca gomez

BG

graphic design

fashion institute of design and merchandise


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