The Art of Typography spring 2017
2
TAoT: Portfolio

INTRO
ypography plays an important role in Graphic Design. It allows the designer to play every aspect of a text. It can turn a single word into art. From tracking, kerning, and leading to alignment, width and weight. Typography is endless. A designer will use a typeface as the main source of inspiration. Typography offers the audience a new way of reading text. It doesn’t have to be your average newspaper letter. It can be a billboard or a magazine cover. A great typographer will make sure the typeface is portrayed as art by itself.
CONTENTS 6 8 10 12 14 16 18 20 22 4
TAoT: Portfolio
Fonts Used
Brochure (Back)
Typographical Terms
Typographer Bio
Character Studies: A
Sketchbook: A
Character Studies: T
Sketchbook: T
Character Studies: @
Sketchbook: @
Character Studies: &
Poster
Logo Design
POP
Ubiquitous Type
POP
Brochure (Front)
POP
24 26 28 30 32 34 36 38 40
P
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0
FONT DESIGNER
aul Friedrich August Renner (August 9, 1878 – April 25, 1956) was a typeface designer. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. He was born in Wernigerode, Germany and died in Hödingen. He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He disliked abstract art and many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional and the modern. He attempted to fuse the Gothic and the roman typefaces. Renner was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers throughout the 20th century and pographers throughout the pographers throughout the 20th century and century and today. The typeface Architype Renner is based upon Renner’s early experimental exploration of geometric letterforms for the Futura typeface, most of which were deleted from the face’s
character set before it was issued. Tasse, a 1994 typeface. Renner was a friend of the eminent German typographer Jan Tschichold and a key participant in the heated ideological and artistic debates of that time. Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. It is based on strokes of near-even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses a single-story ‘a’ and ‘g’, previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals.
THE MUSEUM OF
MODERN TYPOGRAPHY
APRIL 25TH
presents an exhibit of
J U LY 2 9 T H
RENNER 1 9 6 2 G ra n d Av e , Los A nge le s, C A 90015
www.mmtLA.com
Black Letter Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It continued to be used for the Danish language until 1875, and was used for the German language until the 20th century. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English language, which predates blackletter by many centuries, and was written in the insular script, or in Futhorc runes before that. Drop Cap n desktop publishing, the first letter of a paragraph that is enlarged to “drop” down two or more lines, as in the next paragraph. Drop caps are often seen at the beginning of novels, where the top of the first letter of the first word lines up with the top of the first sentence and drops down to the four or fifth sentence.
I
Distressed
DISPLAY TYPE
Type used to attract attention, usually above 14 points in size. Type fonts such as Avant Garde, Caesar, Garmond, that are usually larger than text fonts and give distinctive personality to a printed or displayed (on the computer monitor) publication.
Decorative
Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes. The use of decorative characters was applied to the page design of books, and usually limited to ornamenting title pages, chapter headings, and initials. In the 19th century, the proliferation of Slab Serif typefaces did not ultimately satisfy the insatiable public appetite for distinct and ornate types.
Typefaces that replicate the irregular contours of brush strokes and other writing implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps. Some typewriter fonts are designed to be slightly distressed or grungy like the sometimes messy type from an old manual typewriter.
Egyptian Font Also called Slab Serif and square serif. Typestyle recognizable by its heavy, square serifs. Slab serifs form a large and varied genre. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs.
Wood Type
Type made from wood. Formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical. 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.
Em—Dash
The dash is a punctuation mark that is similar to a hyphen or minus sign, but differs from both of these symbols primarily in length and function. The most common versions of the dash are the en dash (–) and the longer em dash (—), whose names historically were loosely related with the length of a lower-case n and upper-case M, respectively, in commonly used typefaces.
Dingbat
In typography, a dingbat is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames. The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions designated for alphabetical or numeric characters.
Calligraphy
Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable. Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.
REVERSE TYPE In printing, refers to type that drops out of the background and assumes the color of the paper. Reverse text is not suitable for reading type because of its poor legibility even in normal lighting conditions
Didone
Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: ... (The serifs have a constant width along their length.) Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
Ligature Æ æ Œ Two or more letters are joined together to form one glyph or character. Definition: Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.
A
Raised Cap
n oversized letter at the start of an article or paragraph is known as an initial cap. The more common term is dropped cap, although drop caps are just one style of initial cap. The purpose of initial caps is to draw attention to the text and draw the reader into the narrative.
Cursive
Cursive, is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. The writing style can be further divided as “looped”, “italic”, or “connected”. The cursive method is used with a number of alphabets due to its improved writing speed and infrequent pen lifting. In some alphabets, many or all letters in a word are connected, sometimes making a word one single complex stroke.
T r a c k i n g Used in digital typography to mean overall letterspacing. In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.
Serif
Sans serif typefaces, as the name implies, do not have serifs but open and close with no curves and flourishes. In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface. A typeface without serifs is called sans-serif or sans serif, from the French sans, meaning “without”.
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. Hair or hairline is also a type of serif, the minimum thickness for a serif.
Fract
on
In typesetting, a single keystroke or keystroke combination that builds customized fractions. It can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions, by stacked or nut fractions, or by horizontal fractions.
fonts used uring the past ten weeks, these are the fonts I used to create every piece of work. Every typeface had an intention. It definitely helped bring my work to life. It is my job as a designer to always be truthful and give credit to the artists who brought to us the world of typefaces.
6
TAoT: Portfolio
֍ Helvetica Neue
֍ Courier New
֍ Bebas Neue
֍ Script MT Bold
֍ Avenir
֍ vtks distress
֍ Aulayrs
֍ Luna
֍ Futura
֍ Winter Calligraphy
֍ Arapey
֍ Modern M
֍ AR JULIAN
֍ Roadway
֍ Arial
֍ Stylish Calligraphy
֍ Baskerville Old Face
֍ Times New Roman
֍ Driftwood
֍ Typo Grotesk
֍ Georgia
֍ Zurich Extra Condensed
֍ Libre Caslon
֍ Century Gothic
֍ Prata
֍ Didot
֍ Franklin Gothic Book ֍ Bodoni ֍ Aqua Grotesque ֍ Blood and Blade
typographical terms Black Letter
uring our typography class, we were asked to analyze and understand what each of these typographical terms mean. It was important for us to also know what they look like when used in sheet and experiment with them. It was very helpful because now I have learned typographical terminology for future reference in my career.
Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It continued to be used for the Danish language until 1875, and was used for the German language until the 20th century. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English language, which predates blackletter by many centuries, and was written in the insular script, or in Futhorc runes before that. Drop Cap n desktop publishing, the first letter of a paragraph that is enlarged to “drop” down two or more lines, as in the next paragraph. Drop caps are often seen at the beginning of novels, where the top of the first letter of the first word lines up with the top of the first sentence and drops down to the four or fifth sentence.
I
DISPLAY TYPE
Type used to attract attention, usually above 14 points in size. Type fonts such as Avant Garde, Caesar, Garmond, that are usually larger than text fonts and give distinctive personality to a printed or displayed (on the computer monitor) publication.
Decorative
Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes. The use of decorative characters was applied to the page design of books, and usually limited to ornamenting title pages, chapter headings, and initials. In the 19th century, the proliferation of Slab Serif typefaces did not ultimately satisfy the insatiable public appetite for distinct and ornate types.
Egyptian Font Also called Slab Serif and squa nizable by its heavy, square ser large and varied genre. Some s Rockwell have a geometric desi tion in stroke width: they are so sans-serif fonts with added ser
Type made from wood. Forme display sizes more than 1 inch metal made casting impractic for letterforms and illustratio first known Chinese wood blo The forerunner of the block p wooden stamp. The image on often that of the Buddha, and
Em—Da
The dash is a punctuation m a hyphen or minus sign, but these symbols primarily in le The most common versions dash (–) and the longer em d historically were loosely rela a lower-case n and upper-ca commonly used typefaces.
Distressed
Typefaces that replicate the irregular contours of brush strokes and other writing implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps. Some typewriter fonts are designed to be slightly distressed or grungy like the sometimes messy type from an old manual typewriter.
8
TAoT: Portfolio
In typography, a dingbat is an or spacer used in typesetting, often ation of box frames. The term co computer industry to describe fo and shapes in the positions desi numeric characters.
are serif. Typestyle recogrifs. Slab serifs form a such as Memphis and ign with minimal variaometimes described as rifs.
Wood Type
erly used for the larger h where the weight of the cal. Wood has been used ons dating back to the ock print from 868 CE. print in China was the these stamps was most was quite small.
ash
mark that is similar to t differs from both of ength and function. of the dash are the en dash (—), whose names ated with the length of ase M, respectively, in
Dingbat
rnament, character, or n employed for the creontinues to be used in the onts that have symbols ignated for alphabetical or
Calligraphy
Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable. Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.
REVERSE TYPE In printing, refers to type that drops out of the background and assumes the color of the paper. Reverse text is not suitable for reading type because of its poor legibility even in normal lighting conditions
Didone
Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: ... (The serifs have a constant width along their length.) Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
Ligature
ÆæŒ Two or more letters are joined together to form one glyph or character. Definition: Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.
Raised Cap An oversized letter at
the start of an article or paragraph is known as an initial cap. The more common term is dropped cap, although drop caps are just one style of initial cap. The purpose of initial caps is to draw attention to the text and draw the reader into the narrative.
Cursive
Cursive, is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. The writing style can be further divided as “looped”, “italic”, or “connected”. The cursive method is used with a number of alphabets due to its improved writing speed and infrequent pen lifting. In some alphabets, many or all letters in a word are connected, sometimes making a word one single complex stroke.
T r a c k i n g Used in digital typography to mean overall letterspacing. In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.
Serif
Sans serif typefaces, as the name implies, do not have serifs but open and close with no curves and flourishes. In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface. A typeface without serifs is called sans-serif or sans serif, from the French sans, meaning “without”.
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. Hair or hairline is also a type of serif, the minimum thickness for a serif.
Fract
on
In typesetting, a single keystroke or keystroke combination that builds customized fractions. It can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions, by stacked or nut fractions, or by horizontal fractions.
character studi he Character Studies of the letter A assignment was about conducting a small research on a certain letter or character from our alphabet. We learned about where its origin, transformation and design. Additionally, we selected a font and found out about its history. All of this information was then put together as a spread.
10
TAoT: Portfolio
ies: a
character studi he Character Studies of the letter T assignment was the same as the one of the letter A. We conducted a small research on the letter T and found out where it came from. Not only that but we also learned about its transformation and design. Additionally, font I selected to research on was Times New Roman. All of this information was then put together as a spread.
12
TAoT: Portfolio
ies: T
character stud his time, for the Character Studies assignment we took it on the character known as “at,� @. We followed the same process as the others: we found out about its origin and its meaning. We realized that there are a lot of different designs taken upon this symbol. For the font this time, I used Helvetica Neue and found out its origin.
14
TAoT: Portfolio
dies: @
character stu or the Character Studies assignment we took it on the character known as “Ampersand,� &. We followed the same process as the others: we found out about its origin and its meaning. As previously said, we also realized that the ampersand has a lot of designs. Every typographer took their own interpretation and made it unique. For the font this time, I used Arapey and found out its origin.
16
TAoT: Portfolio
udies: &
logo design 18
TAoT: Portfolio
hroughout the ten weeks of class, our teacher made us play with the use of typography and incorporate it into logos. The top row contains 3 logos that I created for the Ampersand Design Studio, the last one became my final product. The middle row contains my logos, but as you can see I opted for a different version. The last row contains the logos for the Museum of Modern Typography, the last one is my final design.
Ampersand Design Studio
Los Angeles California
Ampersand Design Studio LOS ANGELES, CALIFORNIA
AMPERSAND DESIGN STUDIO los angeles, california
L
GRAPHICS
A
Laura Agüero
G R APH IC DESI GN E R
Ubiquitous type biquitous Type is one of my favorite assignments ever. We were asked to photograph something that had typography in it and then find out what font was used and study the purpose of its use. I thought it was very creative of us to look at billboards or signs like that. Often times we read things but we don’t pay attention to the font or the layout. With this assignment, I found out about Zurich Extra Condensed and I loved it.
20
TAoT: Portfolio
BROCHURE
DESIGN bout halfway the quarter, we were assigned to create a brochure for ourselves. The ultimate purpose was to able to put together enough information to promote ourselves as a brand. Whether we decided to represent ourselves as a company or an individual, we had to find the core of our main inspiration. Why do we design the way we design? At the end, the result was pretty amazing. I learned a lot about myself as a designer.
22
TAoT: Portfolio
front
BROCHURE
DESIGN bout halfway the quarter, we were assigned to create a brochure for ourselves. The ultimate purpose was to able to put together enough information to promote ourselves as a brand. Whether we decided to represent ourselves as a company or an individual, we had to find the core of our main inspiration. Why do we design the way we design? At the end, the result was pretty amazing. I learned a lot about myself as a designer.
24
TAoT: Portfolio
back
typ ow we decided to take it into the actual typographers. We were asked to select a font and find out about its creator. For this assignment I picked Futura who is created by Paul Renner. I didn’t know that Futura was used in so many different logos. Now I can look at things and try to figure out what font the designer used for that piece of work.
abcdefghijklmnopq ABCDEFGHIJKLMNOPQR
abcdefghijklmnopq ABCDEFGHIJKLMNOPQR
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
26
TAoT: Portfolio
pographer bio P
qrstuvwxyz RSTUVWXYZ
rstuvwxyz RSTUVWXYZ
9 0 9 0
FONT DESIGNER
aul Friedrich August Renner (August 9, 1878 – April 25, 1956) was a typeface designer. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. He was born in Wernigerode, Germany and died in Hödingen. He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was brought up to have a very German sense of leadership, of duty and responsibility. He disliked abstract art and many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional and the modern. He attempted to fuse the Gothic and the roman typefaces. Renner was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are Typografie als Kunst (Typography as Art) and Die Kunst der Typographie (The Art of Typography). He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers throughout the 20th century and pographers throughout the pographers throughout the 20th century and century and today. The typeface Architype Renner is based upon Renner’s early experimental exploration of geometric letterforms for the Futura typeface, most of which were deleted from the face’s
character set before it was issued. Tasse, a 1994 typeface. Renner was a friend of the eminent German typographer Jan Tschichold and a key participant in the heated ideological and artistic debates of that time. Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. It is based on strokes of near-even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses a single-story ‘a’ and ‘g’, previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals.
sketchbook: letter a or this assignment we were asked to play around with sketching. Our teacher wanted us to approach designing characters or logos with our drawing skills. At the end, we get to practice drawing and just simply trying a new (classic) way to design something. The first one we did was for the letter A. This was assigned along with the Character Studies.
28
TAoT: Portfolio
sketchbook: letter t or this assignment we were asked to play around with sketching. Our teacher wanted us to approach designing characters or logos with our drawing skills. At the end, we get to practice drawing and just simply trying a new (classic) way to design something. The first one we did was for the letter T. This was assigned along with the Character Studies.
30
TAoT: Portfolio
sketchbook: @ symbol or this assignment we were asked to play around with sketching. Our teacher wanted us to approach designing characters or logos with our drawing skills. At the end, we get to practice drawing and just simply trying a new (classic) way to design something. The first one we did was for the @ symbol. This was assigned along with the Character Studies.
32
TAoT: Portfolio
poster 34
TAoT: Portfolio
he following assignment was inspired by the previous project, Typographer Bio. This time, we were asked to first create logos for the Museum of Modern Typography, and then to create a poster that advertised an event. This event was an exhibition about the typographer that we researched about for the previous assignment. In that case, my poster was on Paul Renner and his notorious creation, Futura.
THE MUSEUM OF
MODERN TYPOGRAPHY
APRIL 25TH J U LY 2 9 T H
presents an exhibit of
RENNER 1962 Gra n d Av e , Lo s Ange l e s, CA 9001 5
www.mmtLA.com
pop! pop! pop! pop! pop! 36
TAoT: Portfolio
ast but not least... POP. This assignment was one of the most creative and bizarre ones ever yet. It’s basic: Helvetica Neue, regular or bold, 12 pt or other, lines, color, opacity, 20% gray. Very specific instructions were given, but a very broad way to design it. Here are the top five.
larry rivers jasper johns volume seven
in
is
th
su
is
e:
frank o’ hara
issue one visual project
roy lichtenstein andy warhol
pop
W E E K 1
W E E K 5
visual project
jasper johns
frank o’ hara roy lichtenstein
volume seven
pop issue one
in this issue:
38
TAoT: Portfolio
andy warhol
poppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppoppop
visual projectvisual projectvisual projectvisual projectvisual projectvisual projectvisual projectvisual project
issue oneissue oneissue oneissue oneissue oneissue oneissue oneissue oneissue oneissue one
roy lichensteinroy lichensteinroy lichensteinroy lichensteinroy lichensteinroy lichensteinroy lichenstein
jasper johnsjasper johnsjasper johnsjasper johnsjasper johnsjasper johnsjasper johnsjasper johns
larry riverslarry riverslarry rivers larry riverslarry riverslarry riverslarry riverslarry riverslarry rivers
volume seven volume seven volume seven volume seven volume seven volume seven volume seven
in this issue:in this issue:in this issue:in this issue: in this issue:in this issue:in this issue:in this issue:
andy warholandy warholandy warholandy warholandy warholandy warholandy warholandy warhol
frank o’ harafrank o’ hara frank o’ harafrank o’ harafrank o’ harafrank o’ hara frank o’ harafrank o’ hara
W E E K 7
W E E K 8
jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop
jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop
jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop jasper johns larry rivers andy warhol visual project issue one frank o’ hara volume seven in this issue: roy lichtenstein pop
40
TAoT: Portfolio
W E E K 1 0
42
TAoT: Portfolio