4/22/2024
ALTAIFI, LEEN MAAN A (0367698)
Bachelor of Design (Hons) in Creative Media, Taylor's University
Advanced Typography: Task 1: Exercise 1 & 2
Table of Content
1. Lectures
2. Instructions & Tasks
- Exercise 1: Typographic Systems
- Exercise 2: Type & Play
3. Feedback
4. Reflections
5. Further Readings
1. Lectures
Week 1 (4/22/2024):
This first face to face lecture was an introduction to the module and our first task. We are instructed to watch the InDesign Formatting lecture tutorial video to do the task.
Notes: The door is what attracts the person to enter the building; the door is the main factor that attracts the viewer; hierarchy of design is important.
Lecture 1 Notes; AdTypo_1_Typographic Systems:
Typographic systems are set of rules that guides exploration of ideas and decision making. Additional criteria include: hierarchy, order of reading, legibility, and contrast.
“An understanding of systems of visual organization gives the designer and in-depth knowledge of the design process. The traditional ties that bind design education and the visual process to the rigid horizontal and vertical grid systems of letterpress are no longer the sole means of order. It is possible for the designer to use a more fluid means to create typographic messages through the eight systems of typographic organization. These systems expand the visual language of typographic communication and invite the reader into the text.” (Elam, 2007)
1. Axial System: all systems are organized to the left or right of a single axis; information is placed on different sides of an axis. The axis line is not necessarily one straight line, it can be bent.
2.
Radial System: elements are extended from a point of focus; it can either be one single point of focus or multiple points.
3. Dilatational System: All elements expand from a central point in a circular fashion. You can have multiple circular rings with information from either sides of the line.
4. Random System: Elements appear to have no specific pattern or relationship, however, there is still a method in midst of the chaos.
5. Grid System: A system of vertical and horizontal divisions. This is one of the common types of systems in design because it is fairly simple and easy to use.
6. Transitional System: An informal system of of layered banding; the information is segregated in different layers of bands.
7. Modular System: A series of non-objective elements that are constructed in as a standardized units.
8. Bilateral System: all text is arranged symmetrically on a single axis.
.png) |
| Fig. 1.0: Examples of 8 types of Typographic Systems (24/4/2024) |
Week 2 (4/29/2024):
When it comes to principles of design composition such as: emphasis, isolation, repetition, symmetry and symmetry, alignment, perspective...etc.; they seem more relevant to imagery rather than units of information, therefore, some of these principles are easier to translate in textual information than others. Examples of easily applicable principles of design composition are emphasis and rule of thirds.
 |
Fig. 1.1: Demonstration of Emphasis (right) and Rule of Thirds (left) (3/5/2024)
|
The 8 typographic systems we've covered are the most pragmatic systems and the grid system which is the most used of all 8, because reading is most preferred (by people) in an ordered/organized way. However, chaos was born in the post-modernist era as a retaliation to that order and randomness, asymmetry, and creativity were explored while readability was pushed to the back seat.
Another system is the Environmental Grid; this system is based on the exploration of an existing structure (such as a building or monument) or numerous structures combined.
 |
Fig. 1.2: Example of Environmental Grid System (3/5/2024)
|
 |
Fig. 1.3: Example of Exploration with Grid System (3/5/2024)
|
It is possible to base your typographic design composition on existing systems, such as what Mr. Vinod did in his own system "Form and Movement" which is based on the exploration of the existing grid system. It allows us to explore the multitude of options the grid system offers.
Week 3 (5/11/2024):
To study the context of typography, we must study handwriting; handwriting is important because the first mechanically produced letterforms were designed to imitate handwriting, including the materials used in handwriting: bones, charcoal, plant stems, clay, papyrus...etc.
A big shift in the Latin alphabet occurred with the Phoenicians 1000 BCE, where alphabets went from visually representing objects to representing sounds, which evolved to the Latin alphabet we know of now.. However, the Phoenicians were not the first. In ancient Egyptian hieroglyphics 2600 BCE, it is shown that the ancient Egyptians to some extent had alphabets that represented the sound of the words as phonograms.
 |
Fig. 1.4: Evolution of the Latin Alphabet (10/5/2024)
|
Type has long evolved after that, however, in the 8th century which was considered as Europe's dark ages, people were generally illiterate and writing was strictly kept alive for religious scripture. Therefore, type did not evolve as much as it could have at this time.
Type was evolved due to practicality, resources, and speed at which a person writes.
The first introduction to printing was in the 11th century, pioneered in China but achieved in Korea using their creation of the new script Han'gul in bronze. China failed their attempts at movable type for printing due to the number of characters in their script. Later on in the 14th century, the earliest printing in Europe occurred.
Due to the rise of the British empire in the 19th century and colonialism, the European academic process would create disciplines of their own interpretations of African, Asian, or middle eastern cultures without ever visiting these areas and understanding the context. Therefore, most of the historical evidence produced in this period was through colonial lenses and self-serving ideas for their empire. This is the reason why they often fall short on giving credit to the ancient Egyptians their inventions and big influences in the Greek civilization, which is known to be credited for all their inventions on influences in modern Europe.
 |
Fig. 1.5: Evolution of the Middle Eastern Alphabets and Chinese Script (10/5/2024)
|
Historically, the first writing scripture that was used commonly in south and south east Asia was Kawi, of Indian origins. Jawi was later on introduced in south east Asia along with Islam. Ancient Hindu societies were classist, so the lower class did were generally illiterate and did not write Kawi, so in order to convert people and motivate them to Islam, they taught them how to read and write. It took a while to supplant Jawi in areas, but in some areas it never did so completely. After British colonization, the Malay peninsula used Latin, or what is now the English alphabet, for the Malay language.
All systems of writing have some form of influence; to claim originality is inaccurate. History gives us context and designers an opportunity to research and help communicate and understand our collective heritage.
In the east, due to rapid technological advancement in the west, it was difficult to incorporate their native languages to typefaces. But today, as they are developing, more and more vernacular script is becoming digitized and incorporated in software keyboards and becoming programmed.
Creativity, originality, and inspiration should begin by observing our surroundings and look inward to our vast heritage.
2. Instructions & Tasks
Module Information Booklet
Exercise 1: Typographic Systems
For this exercise, we are to explore 8 systems which are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral. The exercise task is to be done using Adobe InDesign only. Size 200 x 200 mm. In addition to black, you can use one other color. Graphical elements (line, dot, etc.) can be used but limitedly.
Research:
Before getting into designing, I researched some existing designs using the 8 systems to further understand how the systems are applied, and to get some inspiration. The title I chose was "Russian Constructivism and Graphic Design", so I also looked up references regarding that topic to generate ideas related to the topic.
 |
Fig. 2.0: Russian Inspiration (4/29/2024)
|
Process:
When deciding which pop of color to use, I took in consideration of which color is both relevant to the subject and aesthetically pleasing to my eyes, so I went with red. Red is one of the colors that represent Russia, and I believe the powerful color goes very nicely with the contrast of black and white.
 |
| Fig. 2.1: Compilation of Progress on InDesign (4/29/2024) |
When I was feeling stuck with designing the "Russian Constructivism..." title, I tried exploring a little with another title to see if creativity will flow. However, I ended up sticking with the initial title I chose.
 |
| Fig. 2.2: Attempt at a Second Title "All Ripped Up: Punk Influences on Design" (4/29/2024) |
Attempts:
My first attempt at any system was the Axial system, I was just starting to get the hang of applying the systems and its rules. It's one of the relatively simple systems compared to the rest, so I struggled in exploring creative ideas.
Fonts used: Bodoni MT Bold, Bodoni MT Regular.
 |
| Fig. 2.3: Axial System, Attempt 1 (4/29/2024) |
I revisited my first design on the axial system because I wasn't convinced of how it looked. I changed the fonts and text color of some texts, as well as the addition of a graphical element on top of the title to capture attention and emphasize it. Fonts used are ITC New Baskerville Std Bold, and Futura Std Book.
 |
| Fig. 2.4: Axial System, Updated Attempt (4/30/2024) |
As for the
Transitional system, both attempts have the theme of the flow of information from top left to bottom right, but expressed very differently. I'm not very fond of the one on the left due to lack of exploration and its composition. Now that I look at it, the square on the bottom right corner serves no purpose. I added the circular corners on the one on the right was to emphasize the text in the middle, but I'm not quite sure if it is emphasizing it or taking the attention away.
Fonts used on the left: Helvetica Neue Regular, Janson Text Std Roman
Fonts used on the right: Gill Sans MT Regular, Futura Std
 |
| Fig. 2.5: Transitional System, Attempt 1 (4/29/2024) |
The Bilateral system is also one of the simpler systems; since it is just one axis, it was pretty limiting. The first one to the left was my attempt at making it look like the Russian flag. I was contemplating if whether the one on the most right should be bilateral or axial because it applied to both systems.
Fonts used on the left: Bodoni MT Regular, Compressed, Bold
Fonts used on the middle: Bodoni MT Regular, Compressed, Bold
Fonts used on the right: Universe Std 75 Black, Futura Std Book, Futura Std Bold.
 |
Fig. 2.6: Bilateral System, Attempt 1 (4/29/2024)
Out of the three, I like the one on the right the most because I feel it's the most dynamic. And I feel the system is more apparent in it due to the obvious mirror design of it. I changed the bold black title into a strong red one, and rearranged some the order in the text layout.
 | | Fig. 2.7: Bilateral System, Updated Attempt (4/30/2024) |
|
The Modular system was relatively easy and fun to explore around with since we are dealing with units. When I was just starting to explore the system I went with the safer option which is the one on the left. Then I explored more with graphical elements and hierarchy of information with the one on the right.
Fonts used on the left: Serifa Std Bold, Roman, Light
Fonts used on the right: Adobe Calson Pro, Bold, Regular. Futura Std Medium
 |
Fig. 2.8: Modular System, Attempt 1 (4/29/2024)
|
The Grid system is similar to the modular system, but instead it was 3 by 3 grid system instead of 4 by 6, so the lines of text were longer due to more characters. I focused a lot on symmetry on these 2 attempts, but with the exception of the title in the one on the right.
Fonts used on the left: Helvetica Neue Medium Condensed, Janson Text Std Roman
Fonts used on the right: Gill Sans MT Regular, Janson Text Std Roman
 |
Fig. 2.9: Grid System, Attempt 1 (4/29/2024)
|
When receiving feedback from the lecturer, he mentioned that the red is too strong of a color to be the background of text. It may look clear in my screen, but the text may not be clear to other viewers, and in the case of printing, it may not appear at all, so I have to keep that in mind. Thus, I removed the red square in the center.
 |
| Fig. 2.10: Grid System, Updated Attempt (4/30/2024) |
For the
Random system, I was inspired by Russian graphic design. I tried to design the composition as if it was an abstract geometrical art piece. I'm afraid I didn't artistically explore the creative freedom on the random aspect of the system, I was too caught up on making it readable that it turned out too orderly. This will definitely be revisited.
Fonts used: Universe Black, Serifa Std, Gill Sans MT Regular.
 |
Fig. 2.11: Random System, Attempt 1 (4/29/2024)
For my second attempt at the random system, I was more experimental. I still tried to maintain my initial idea of being inspired by abstract Russian art composition, but simultaneously with more randomness. I used a variety of fonts including, ITC Garamond Std Bold, Helvetica Neue Regular, Janson Text Std Bold, Futura Std Light, and Adobe Calson Pro Regular.
|
 |
| Fig. 2.12: Random System, Attempt 2 (4/30/2024) |
I was a bit confused at first on what the Dilatational system entailed, but after further research and looking at my seniors' work, I think I understood it. My first attempt was the one on the right; I tried to make everything equally spread out and balanced. The left one was my attempt at exploring the system further and taking a bit of a risk with the design, but it is still quite safe in my opinion.
Fonts used on the left: Gill Sans MT Regular, Bold
Fonts used on the right: Universe Std Bold, Roman
 |
Fig. 2.13: Dilatational System, Attempt 1 (4/29/2024)
|
For both my attempts at Radial system I had the common theme of rays coming out of the circle. I feel the one on the right is too plain and lacks creativity, whereas I prefer the one on the right due it being more dynamic.
Fonts used on the left: Gill Sans MT Regular, Bold
Fonts used on the right: Gill Sans MT Regular, Bold. Univers Std Light.
 |
Fig. 2.14: Radial System, Attempt 1 (4/29/2024)
I made a subtle change to the design on the right, as it is what I chose out of the two for my final design. I changed the angle of the text "The Design School, Taylor's University" for it to be more symmetrical with the other texts and be more balanced.
 | | Fig. 2.15: Radial System, Updated Attempt (4/30/2024) |
|
Final Typographic Systems Submissions:
.jpg) |
| Fig. 2.16: Final Axial System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.17: Final Bilateral System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.18: Final Dilatational System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.19: Final Grid System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.20: Final Modular System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.21: Final Radial System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.22: Final Random System Submission JPEG (5/2/2024) |
.jpg) |
| Fig. 2.23: Final Transitional System Submission JPEG (5/2/2024) |
Fig. 2.24: Final Typographic Systems Submission Without Guides PDF (5/2/2024)
Fig. 2.24: Final Typographic Systems Submission With Guides PDF (5/2/2024)
Exercise 2: Type & Play
Finding type – We are asked to select
an image of a man-made object (chair, glass, etc.) or structures
(buildings), or something from nature (Human, landscape, leaf,
plant, bush, clouds, hill, river, etc.). Ensure that the image does
not contain many different elements. And we are expected to analyze, dissect and identify potential letterforms
within the dissected image. The forms would be explored and
ultimately digitized. It is expected that through a process of
iteration the forms would go from crude representation to a more
refined celebration that would reflect to a degree its origins.
Research:
I researched through a lot of different images that I felt had potential, namely images from nature. That includes: mushrooms, fabric and paper creases, cells, and rocks.
 |
| Fig. 2.25: Images of Repetition in Nature (5/2/2024) |
Extracting the Letterforms:
Initially, I went with the creases of fabric, so I went ahead and dissected the image. I found what could be letters N, K, T, E, A.
 |
| Fig. 2.26: Process of Identifying Letterforms (5/2/2024) |
After identifying the letters, I outlined the shapes with resemblances to letterforms.
 |
| Fig. 2.27: Process of Exploring Letterforms (5/2/2024) |
After extracting all the letters I can find in the cloth creases image, I wasn't satisfied with how it looked, so I decided to try again with another image; I chose an image of neurons.
 |
| Fig. 2.28: Extracting Letterforms from Image of Neurons (5/5/2024) |
Designing the Letterforms:
I looked at many fonts that could be the potential direction I'm heading towards, but I ended up with choosing Bell MT Italic as my reference font. I sketched out a direction of how I want the font to look by combining my extraction and the reference font together.
 |
| Fig. 2.29: Initial Sketch for Creative Direction (5/5/2024) |
After identifying and extracting the letterforms (which can be seen in Fig. 2.29 on the top left), I place the reference font as a guide for refining the letter forms. I used the pen and warp tools to manipulate and modify the shapes.
.jpg) |
| Fig. 2.30: Process of Refining Letters 1 (5/5/2024) |
Bit by bit, I make sure not to modify too much before copying and pasting the modifications incase I needed to go back to an older version. Following the direction of the reference font, I changed the the width, height, and angle of the strokes, as well as emitted some features from the extracted letterforms.
 |
Fig. 2.31: All Modifications Done on the Letters (5/5/2024)
|
Final Type Refinement:
 |
| Fig. 2.33: Final Type Refinement (5/5/2024) |
Designing the Poster:
I searched for interesting images related to neurons to use for the poster, I mostly found these through Pinterest. For my first attempt, I ended up choosing the human with the wired headset because I thought it looked the most intriguing and movie-like.
.jpg) |
| Fig. 2.34: Compilation of Neuron-Related Images. (5/10/2024) |
When choosing the image, I immediately had the idea in my head to integrate the wires with my font. I edited the image a bit by reducing the saturation of the colors and adding a blur/glow effect for added dramaticism.
.jpg) |
| Fig. 2.35: Process of Poster Attempt 1 (5/10/2024) |
We had worked on the poster during class, so in the midst of working on this poster, I did the mistake of choosing an image that is related to the subject I based my font on, but not exactly it. The lecturer instructed us to specifically choose the object we were studying, but I decided to complete this one anyway for fun and practice.
 |
| Fig. 2.36: Poster Attempt 1 (5/10/2024) |
For my second attempt, I chose an image that actually depicts neurons this time. Because of the nature of this image, I felt like I could be more creative in the way I incorporate the type with the neurons. Using the same colors in the image and the paint brush, I paint over the text to match the texture and shading of the neurons, and I blended the tips and ends of the letters on to the background.
.jpg) |
| Fig. 2.37: Process of Poster Attempt 2 (5/10/2024) |
I also emphasized the glow on the type and there is a sort of gradient shadow from darkest bottom to lightest top to signify importance of the text, and so the credits at the bottom would be visible. Here is the final integration between the type and the image:
 |
| Fig. 2.38: Final Text and Image Interplay (5/10/2024) |
After finishing the poster in Photoshop, I edited in the text and movie logos to make the poster look more legitimate as a film poster in Illustrator.
 |
| Fig. 2.39: Process of Poster in Illustrator (5/10/2024) |
Final Finding Type Submissions:
 |
Fig. 2.44: Final Poster Submission (5/25/2024)
|
|
3. Feedback
Week 1:
E-portfolio feedback; prevent spreading out images of lectures to avoid having a long post and infinite scrolling.
Week 2:
General Feedback: graphic elements shouldn't take all the attention; it should be minimal. Bilateral is sort of a mirror, one axis with elements in right and left. Beware of overlapping, it must be following all the circumference and guides.
Form follows function; the design needs to have a function. Good designs materialize before adding graphical elements; graphical elements shouldn't make the design, it enhances the design.
keep the eye in the artwork; placing the main focus on a corner leads the viewer outside of the artwork. Why do we need to keep the eye in the artwork? to keep the focus of the viewer on the artwork to stay on the artwork a little longer.
It is bad design to cut it a strong 45 degrees; it makes it radical in a negative sense. Don't split the page in 2 colors, it causes dissonance.
Specific Feedback: The red color I used was too strong, it hinders the readability on the title in my grid system, but the lecturer liked the composition; it reminded him of a swastika. My random system is too orderly and doesn't have enough random exploration. redo.
Week 3:
General Feedback: Make sure to maintain the width, thickness, and characteristics consistent among all the letters; compare the letters to each other. The final type design should still reflect the image it is extracted from.
Do not randomly choose the reference font, it has to relate to the extracted letterforms. Ensure all the letters are in the same baseline and cap-line.
Specific Feedback: Letter forms are consistent and okay overall; nothing more to comment from the lecturer. The poster image I initially chose was not directly related to the object I based my font on, so I had to redo it.
Week 4:
General Feedback: The main focus of the poster is supposed to be the type, therefore the choice of the image of the poster should not take away the attention of the type. Make sure readability and functionality are prioritized before design and aesthetics. Ensure the hierarchy of information is right. i.e. Title should be the most attractive, clearest, and biggest.
Specific Feedback: The interplay between the letters and background is good; they are well integrated. The size of the background is acceptable because the title is clear and well emphasized.
4. Reflections
Experience
Working on these 2 exercises was both challenging and fun. By the time we were assigned these exercises, I had not designed for a good 2 months or so, and my basics from Typography class in my first semester was nearly all forgotten; safe to say I was rusty. I felt behind and frustrated over not being able to design how I would've liked to, but I tried to be patient and work my way back up slowly. However, with the workload from this module and other ones I have, I regained my work-life balance and began delegating more time efficiently towards work.
Observations
Since the nature of our exercises were to observe and find repeated patterns in our day to day lives, it feels as if I've trained my eye to do so. Because of my background in portrait art (and by nature of being human with the ability to recognize faces), it's innate for me to create the form of a face in any object. What this exercise did, however, was make me train finding letters in any objects. I thought of those 2 as similar.
Findings
Watching the lecture of week 3 about historical context and creativity opened my eyes to certain things and made me reflect internally. When I think of inspiration, I always look at contemporary artists, but I never thought to look back to my heritage.
I resonated with a specific story the lecturer gave; his friend did contemporary art and was based in India. In India, his work was considered modern and exemplary, however, when he moved to Germany and was asked about his work, "What is Indian about your work?", he couldn't answer, because he was inspired by western influences. I am the same. I feel like I have developed my own personal art style in a sense of developing the taste of what I like and dislike, and it does reflect me personally to some extent, but not my heritage. I realized that, for as long as I can remember, I rejected my culture due to personal prejudices, but now I've come to appreciate it. And maybe one day, I could incorporate my heritage in my art.
5. Further Readings
Week 1: 24/4/2024
Typographic Systems by Kimberly Elam
 |
| Fig. 5.0: Cover of Typographic Systems by Kimberly Elam (27/5/2024) |
|
We have learnt about the 8 types of typographic systems in depth both theoretically and practically. However in Kimberly's book, it covers in more detail about challenges faced when working with these systems.
 |
Fig. 5.1: Examples of Leading (27/4/2024)
|
Within any project there are constraints and options that provide variations. Lines of a message must be broken down at will to change a single line into multiple lines, creating changes in grouping and the way which lines are read. Leading is an important variable; it changes position, textures, and tone. Increasing the leading, word and letter spacings, it lightens the tones of the text and vice versa.
The circle, a wildcard element in design, can be used anywhere in a composition. It is used as a tool to guide the viewer's eye into emphasizing a certain point, or contributing to visual organization and balance.
 |
Fig. 5.2: Examples of Nonobjective and circular Elements (27/5/2024)
|
Nonobjective elements should be used carefully and with caution; it mustn't overwhelm the message or distract the viewer. However, when used properly, it can sharpen the composition and enhances the functions of design principles; the form follows the function. Examples of nonobjective elements are rectangular strokes or lines, circles, and tone.
Week 2: 30/4/2024
Finding Type Article
Mr. Vinod instructed us to read his article about our second exercise to fully understand the task at hand. This task is meant to teach strong fundamentals in design such as conceptual thinking, observation, experimentation, exploration, crafting, and more.
Design in todays contemporary world involves a lot of branding; branding of movies or games are an important and new focus in the creation of uniquely customized letterforms.
 |
| Fig. 5.4: Movie Poster examples (30/4/2024) |
The steps of the process are as follows:
1. Find an image
2. Deconstruct the image
3. identify letterforms from image
4. Extract letterforms
5. Identify a reference font
6. refine letterforms
The image chosen must be in repetitive nature, in order to find patters and so the extracted letterforms would be consistent.
Choosing a reference font is used as an art direction that guides you to where you want to head, but not fully copying it.
Refining includes introducing consistency in height, width, and contrast, retaining or removing characteristics, and deciding which areas require simplifications.
Week 3: 6/5/2024
A Type Primer by John Kane Book
 |
Fig. 5.5: A Type Primer by John Kane Book Cover (10/5/2024)
|
The 10 typefaces: Bembo, Garamond, Janson, Caslon, Baskerville, Bodoni, Serifa, Futura, and Gill Sans represent 500 years of type design. The designers behind these font sought to achieve 2 timeless goals, and they are to have easy readability and appropriate expression of contemporary aesthetics. They have remained in use for centuries, and are still considered successful expressions of how we read, write, think, and print.
To carefully study these 10 fonts is to develop essential skills as a typographer. Once you understand how to fully utilize these fonts appropriately, it paves the way for understanding and appreciating other typefaces.
An alphabet is a series of culturally agreed upon marks (letters) that represent sounds. Being able to read and write meant knowing the thousand of marks that represents all the things in the world, without having to visually represent it, such as the early forms of writing systems; a picture of a bull represented a bull independent of pronunciation.
The industrial revolution changed printing and typesetting from man's product to power-driven machinery's products. The advanced technologies made it possible to print thousands of copies in the time it formerly took to make dozens. This caused a dramatic increase in the literacy rates as more people had access to writings due to widespread distribution of newspapers and text in products.
Typefaces no longer seemed adequate for the medium of advertising, therefore louder and bolder typefaces were introduced. The first to experiment with a 'fat face' was Robert Thorne in 1803, hundreds of boldfaces followed. One variation of the boldface was losing serifs all together, hence sans serif was introduced by William Caslon in 1816. It featured no change in stroke weight, and was reserved strictly for headlines.
back to top
Links you may want to visit:
.png)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg){kind=spacer}
.jpg)
.jpg)
.jpg)
.jpg)
Comments
Post a Comment