Game Concept: GroovyLessons Digital Documentation

Digital Documentation

Riah Goodison

Groovy Lessons!

Making learning fun and cool

All work copyright@ 2010 by Riah Goodison

Written by Riah Goodison

Contents

1Groovy Lessons!

3Game overview

3Philosophy

3Philosophy 1

3Philosophy 2

3Philosophy 3

3Common questions

3What is a game?

3Why create this game?

3What do I control?

3What is the main focus?

3What’s different?

4General features?

4What does it run on?

Game Overview

Philosophy

Philosophy point 1

What I am trying to do is get a educational game into the competitive world of gaming. In today’s world we see nothing but a large sum of main steam games for example World Of War Craft, call of duty and so on. I aim to create a educational game that can be accepted by a large amount of schools and can make learning fun and cool.

Philosophy point 2

My aim is too make the user play the game everyday day to help further their learning and gain more experience in a fun and cool way.

Philosophy point 3

The game shall be made colourful and the end user shall get awarded praise for how well they did, Also this game can played on both Mac or PC.

Common Questions

What is the game?

This game is a fun educational game. This means it isn’t one of those boring learning programs. This is one of those games that make a certain boring subject fun. You can say it’s a mix between learning and having fun.

Why create this game?

I have decided to make this game because I believe that most of the educational games out there are boring and are just normal main stream educational games. I also believe many children would enjoy and learn more if it was something fun. So if this game is successful enough we could see an improvement in the classrooms.

What do I control?

The user will control very easy buttons for example; where they want things to go, the background, the sound and the speed.

What is the main focus?

The main focus of the game is to learn and also have fun. “Making learning fun and cool”.

What’s different?

The difference is with this game compared to any other educational game is that this games objective is to enhance the user’s learning skills while having fun. At the end of the game the user can walk away knowing they have achieve something, making them go back to the game to learn and achieve more each time.

General Features

- 2D Director coded game

- mouse movement

- customizable buttons

- sound

What does it run on?

- Mac OS X

- Windows vista

- Windows 7

History of Typography

The printed word has been in existence for hundreds of years and the written word has been in existence for thousands. As technology grows, recent years have seen the movement of type from print to the computer screen. One area of design that has trailed more than any other in the transition to the web has been typography. The first versions of HTML did not even allow web designers control over what typeface they were to use for their page. However, with the entrance of CSS, or cascading style sheets, a whole new era of web typography began. For the past few years’ designers have had the ability and tools to orchestrate typography back into design in the medium of the web. An understanding of typography in the past gives us a good basis to understand what works well in an online environment.

Back to the Future: The Effects of Internet Typography

Typefaces

Typeface is a specific size and style of type within a type family. The two main styles of typeface used on the web are serif and sans serif. Times New Roman is a common example of a serif font often used in print and the typeface used in this paper. Serifs are the decorations or small lines on each of the letters that in theory help the flow of the letters as the eye moves across the text. Serif fonts are most often used in print. There are many ongoing debates as to whether serif or sans serif fonts are more legible on the screen; this writer believes that sans serif fonts are the best option for the screen. Verdana was designed for use with the screen and is the most common sans serif typeface used today on the web. “Each typeface has a unique tone that should produce a harmonious fit between the verbal and visual flow of your content”.

Three factors determine a great typeface: generous x-height, generous width and letter spacing, and generous punch width. See Figure 2, where good x-height, letter spacing and punch width are shown with the sans serif font Verdana.

Size

Typeface size plays an important role in the domain of web typography. Type size is the tool by which a designer gives page content a distinct structure. The contrast between the sizes of headings, body text and footers forms the clarity and overall impression of the page.

The font point given by the designer, such as 14-point, determines the size of the typeface on the screen. Readers do have the ability to specify type size in their own browsers trumping the size set by the designer. The W3C recommends using the “em” unit when specifying type size. Em, also pronounced “M”, is the point specified by the user multiplied by the amount of Em specified. For instance, if a user set his font size to 12-point and the designer specified a 2em size, then 24-point type would be displayed on the page.

Anti-Aliased vs. Aliased Text

With modern operating systems like Windows XP and Mac OS 10, users have the ability to select a display option called anti-aliased text. This is a great option in terms of design because it uses color variations to make jagged or stair stepping angles seen in aliased text look smoother. “In letterforms, aliasing is especially problematic because the stair stepping interferes with the smoothness of curvature required to define so many individual characters”. See Figure 3, where the left letter shows how anti-aliased text is displayed and the right letter shows aliased text. The effect is more flattering to larger text. This provides a more pleasing view for the user during reading. However, a disadvantage of anti-aliasing is the effect it has on smaller text. It tends to create a blurred or distorted effect to smaller text.

The designer should keep in mind that he or she cannot rely on users having anti-aliased text enabled on their machine. Often the results of typeface selections can be unattractive if this is not taken into account.

Screen Color

The difference between print page and the web lies in the method used to display colors on the medium. Print media uses the subtractive color system, which is how humans see most objects in natural light. Consider how we see green grass. Natural light, containing the full color spectrum, hits the grass and all of the colors but green are absorbed. Therefore, we see green grass. Natural light hits the printed page reflecting the colors that we see, whether it is black and white newspaper text or a glossy colored magazine ad. The primary colors used in subtractive color are cyan, magenta, and yellow. Computer screens, on the other hand, work differently. They use additive light. Rather than absorbing and reflecting light, additive color emits light. See Figure 4; on the left, where all the colors are mixed, white is produced by additive color. On the right, black is produced by subtractive color.

On the screen, black text on a white background is difficult to read for long periods of time. Any student who has written a paper at 2 a.m. in a dark or semi-dark room knows this. Web designers would be wise to choose combinations such as lighter text on a darker background.

Spacing

There are three types of spacing: leading, kerning and word spacing. Leading is the spacing between lines of text. It plays an important role in the legibility of the text. See figure 1, where the second example is much easier to read because of appropriate leading. Kerning is the spacing of letters within words. Kerning is not very effective with body text, but can have a rather pleasing effect with headings. Word spacing is just that, the spacing between words.

Generally it is more important to choose the right typeface when considering the proper word spacing instead of changing it manually. Good spacing has a direct effect on the legibility of typeface. The most important aspect of spacing to consider when designing for the web is the consistency of your choices. Inconsistency in spacing often breeds confusion among readers. Strive to keep the reader focused on the text and lead them fluently across the words.

Alignment

Alignment is a major factor when considering the look and feel of pages on the web. On the web, body text should be left justified and titles or headings should also be flush left. Only in rare cases does a designer require justified text. In these cases, the width of the text must be wide enough to provide the proper word spacing in the text and titles or headings should be aligned center. A significant factor with alignment is the margins around the text. Margins represent the spaces between elements on a page. They help keep text in sections distinct from other elements on the page or the browser window. Margins, when used consistently, provide unity and structure for pages on the web.

Designers wanting to create more freedom between elements should use larger margins to create space. If they want to create a more constricted look, they should use smaller margins to create a sense of intimacy. Until the future of typography changes, designers should avoid using justified text due to the inability of hyphenation on web pages. This causes the look of pages to suffer due to differing spaces between words.

Limitations

Since the implementation of font tags and CSS, designers can specify any typeface for their web pages, but many computers only have the default fonts installed on them. If the typeface specified is not on the web user’s computer, the default font is shown on the browser. While designers can choose multiple fonts the browser may use in the order given, the control over the look of the web page is not as strong as it is with print media. The best way to achieve the most desired look is to specify the generic font such as “sans serif” at the end of the list. In this case, the browser will display the text in any sans serif font accessible. No matter how hard a designer tries to develop the perfect combination of typeface and size, the user can still designate any typeface and size he or she wants, and there is nothing the designer can do about it. Because the designer does not have complete control over the finished product on the web, it is often seen as a disadvantage compared to print media. However, this concept of “user control” can be perceived as a strong point of the web. There is no other communication medium that gives this much control to the end user. The best device designers can use is to merely offer a blueprint for the design and leave the final say up to the reader.

Conclusion: The Future of Typography

One way designers have worked around the limitations of web typography is to use image and Flash text replacement techniques to display custom typefaces, which allows for more control over the page. A recent Flash replacement method is SIFR (or Scalable Inman Flash Replacement pronounced siffer). SIFR gives access to embedding custom typefaces in web pages without the user having it on their machine. Another tool that can be used is Microsoft’s Web Embedding Fonts Tool (WEFT), which stores fonts on a web server to be available for download when needed. This tool has not caught on because no browsers other than Microsoft’s IE have implemented the technology. Even though these techniques give a glimpse of the future, it is merely a quick fix to the current limitations of web typography. When these new techniques are fully developed, a new era of web typography will be ushered in.

Link: http://ezinearticles.com/?A-History-of-Typography&id=239551

History/timeline of Graphic Design: Typography/Type

Tools and materials determine the look of writing. Clay, sticks, sharpened bones and plant stems, stylus, feathers and later cast metal were used to make marks on papyrus, animal skins ‹vellum and parchment› and paper.

C

1

.lay Bullae

8000 BC—3100 BC

Mesopotamia

ion changed from nomadic hunters into a more agricultural society and began to trade goods, it was necessary to find a way to record transactions. Small portable clay tokens were made in specific shapes to represent objects in approximately sixteen economic categories, sheep, grain,oil etc. The tokens were stored in clay ball-shaped envelopes, bullae, which were impressed on the outside with the shapes of the tokens found within.

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As civiliza

t0 BC the tokens themselves were eliminated and the just the shapes of the tokens were drawn on clay tablets. (This was still not a system of writing — writing is used to represent language not as an accounting tool). The end of using tokens coincided roughly with the emergence of a system for graphically recording spoken language.

2.

Cuneiform

3100 BC

heir work as they wrote or to keep the clay from being smeared.

3Hieroglyphics

2613-2160 BC

art of relief carving, in fact the Greek translation of the term means "sacred carving." Hieroglyphics adorned the walls of tombs to connect the mummified dead to the divine world. The system was a mixture of both rebus and phonetic characters —the first link to a future alphabetic sys

A writing system is fused with the

Cuneiform, the oldest known form of actual writing, was written with a wedge shaped stylus pressed into wet clay tablets. The characters started out as pictograms but later were rotated onto their sides, abstracted into symbols and organized into horizontal rows. Cuneiform was written from left to right, perhaps as it helped a right-handed writer to see
ttem. Write like an Egyptian at this link Below are excerpts from "Die Schriftenwicklung" (The Development of Writing) Hs.Ed.Meyer, Graphis Press, Zurich, Switzerland, 1958 The complete digital version of this book has been placed on the web by Dean Allen on his "Evolution of Western Writing." See the Catich Collection stone-carved Capiltaiis Monumentalis 4. Early Greek 5th C. BC Early Greek was written in straight rows but read in alternate directions, reading from left to right and then switching to right to left —"boustrophedon" or "as the ox plows." Most scholars believe that the Greek alphabet was borrowed from the Phoenicians and passed on to the Greeks who added vowels. 5. Early Roman Lapidary 2nd Century BC

dered by many to embody the ultimate resolution of Latin letterform evolution. They have been studied by numerous type designers for almost 20 centuries—with many spinoff fonts

As copied from the Greek style, the first Roman stone carved letters were of equal width and were without serifs. Rudimentary word spacing begins with dots used to divide words. 6. Classical Roman Lapidary 1st C. AD The first serifs are theorized to originate with the stone cutter's horizontal finish of the carved line to decrease the chance of a stone splintering at the end of a line and/or to mimic the thickness of the initial brush drawn guides. "The lapidary stone-engraved letters were painted on stone with a square-cut tool and then incised; from such means resulted the thick and thin variations of the strokes and the serifs." Trajan's Column 113AD The letters in the inscription at the base of this monument are cons
iincluding the famous Edward Johnston, Eric Gill and Carol Twombly reinterpretations. Father Edward Catich, an calligrapher, authority on stone incising and authority on the Roman alphabet, theorized that serifs evolved from stone cutters following the form of brush painted letters in his 1968 work "The Origin of the Serif" Majuscules and Minuscules 7. Roman Capitals (above) 1st C. AD These early scripts were attempts to copy the characteristics of letters that were inscribed in stone. They were written mostly on vellum with a flat edged reed or quill nib held nearly parallel to the baseline. 8. Uncials (above) 5th C. AD Letterforms taken from the square capitals of stone carving and written majuscules. Early Christian works used this hand which was written between 2 guidelines of one uncial — the name of the Roman inch measure. 9. Half Uncials (above) 6th C. AD

a "Classical" type style.

lcuin of York

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isor to Charlemagne, he set up a school for all monks with standards for clear and legible script

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Written between four guidelines allowing for the development of ascenders and descenders. This new style was easier and faster to write than the uncial style. After the fall of the Roman Empire, the end of a central advanced culture resulted in the break down of handwriting into various regional styles, some more legible than others. 10. Carolingian Minuscule 8th C. (789)—1100's Emperor Charlemagne ‹751—814› was crowned emperor in 800. He decreed that a standard style of writing be used across the vast Holy Roman Empire as a means of unifying his reign. The "Carolingian minuscule" is thought to have been developed through the efforts of the British monk, Alcuin of York. He based his clear and distinct letterforms on classical documents from ancient Rome. Centuries later, during the Renaissance, the Carolingian hand was mistaken for the original Roman and copied a
s: 1. Uniform spelling 2. The Carolingian style of well-formed lowercase letters 3. Capitals to begin a sentence and lowercase to continue 4. Space between words 5. Standard punctuation 6. Division into sentences and paragraphs. 11. Blackletter: The Gothic Hands 12—15th C. After the death of Charlemagne handwriting became more condensed and angular. Word spacing, linespacing and letterspacing were reduced to conserve space and materials. As churches and universities increased, so did the opportunities for secular professional scribes, both men and women. Both Carolingian and Blackletter began in France and devolved into variations of regional style. Four Styles of Blackletter As stated by Robert Bringhurst in his Elements of Typographic Style, "blackletter is the typographic counterpoint to the Gothic style in architecture." There are 4 basic styles of Blackletter that emerged from 13 to 16th centuries. • Textura ‹formal› • Rotunda ‹formal› • Bastarda ‹semi-formal› • Cursive ‹informal›

t passion for seeking out and copying the ancient manuscr

Renaissance and the Humanist letter : Quill Pen & Compass 12.Renaissance Humanism "Renaissance Humanism is the spirit of learning that developed at the end of the middle ages with the revival of classical letters and a renewed confidence in the ability of human beings to determine for themselves truth and falsehood." Italian scholars, centered in Florence, sought to restore their lost heritage by reexamination of the literature of ancient Greece and Rome (studying writings including Plato and Aristotle.) The central feature of Humanism in this period was the commitment to the idea that the ancient world (defined effectively as ancient Greece and Rome) ... was the pinnacle of human achievement, especially intellectual achievement, and should be taken as a model by contemporary Europeans. Reviving the Lettera Antiqua "Graphic Designers owe a great debt to the Humanists, for it was they who created the script that became the model for small letters. The script came about through the Humani
sipts of the classical authors they admired. They were also attracted to the clear, open handwriting of the manuscripts they believed had been written in Roman times. In actual fact, the manuscripts the Humanists admired were mostly from the Carolingian period, and their script, which we call Humanistic, was derived from the Carolinigian Hand" Craig, 30 Centuries of Graphic Design page 50. Copyists used two forms of letters based upon the ancient, or "antique" Roman models—The Lettera Antiqua formata (for elaborate manuscripts) and the Lettera Antiqua corsiva (more informal) for scholastic works. (Quote Source, Leon Battista Alberti's Inscriptions on the Holy Sepulcher in the Cappella Rucellai, San Pancrazio, Florence, Christine M. Sperling) Poggio Bracciolini 1380—1450

undamentals, Huber & Headrick.)

issance architecture reintroduced the Classical Greek and Roman emphasis on symmetry, proportion, geometry and the regularity of parts from the work of ancient roman architect Vitruvius. Leonardo Da Vinci's Vitruvian Man exemplifies the blend of art and science

Ren

a

An Italian humanist and calligrapher, foremost among scholars of the early Renaissance to rediscover lost, forgotten, or neglected classical Latin manuscripts in the monastic libraries of Europe. The manuscripts he studied and copied were not from ancient Rome but actually from the Carolingian period. Niccolò de' Niccoli (Florence) A Vatican scribe whose cursive hand was adapted by Aldus Manutius in 1501 "Aldinian" and later referred to as italic. Felice Feliciano Verona. c.1460 An expert on stone lettering, he published the first geometric study of the Roman inscriptions in 1463. He employed a module of a circle enclosed by a square with two diagonal lines extending from corner to corner. Alphabetum Romanum. (above) (Quote Source, Handwriting Identification: Facts and
Fduring the Renaissance — the human figure as the principal source of proportion among the Classical orders of architecture. Leon Battista Alberti 1522—1550 Alberti believed the circle and the square are the most perfect geometrical forms and architecture and alphabet should use them as a base. He revived the Roman tradition of inscribing letters on facades.(Above) Tempio Malatestiano di Rimini - L.B.Alberti Steel Pens & Engraving 13. George Bickham The Universal Penman 1741 The Universal Penman, published in 1741, was the ultimate guide to English penmanship. Engraved by George Bickham after the designs of England's finest scriptwriters, The Universal Penman was a compilation of broadsides, each one focusing on a different art, profession, emotion, or human moral. Beside the handwriting, may of the broadsides are highlighted with engraved vignette illustrations done by Bickham.

hina and Japan for several centuries, and Europeans had printed type with carved wooden blocks for about 100 years when a modular "moveable type" system was developed in about 1450. A number of people were working

on a system of "automated writing" but the

Mr. Bickham wrote books that were not for decorative purposes only, but rather to exemplify legible and easy styles of business hand for clerks and others whose jobs necessitated a good deal of writing and record-keeping, prior to the era of the typewriter. Letterforms in Metal : Mechanical Writing Leads to a Cultural Explosion Gutenberg's system: Cast metal Moveable Type The matrix is placed into a type mold (right) and then molten metal is poured into the matrix. The caster shakes the mold to avoid air pockets. The letterform is almost instantly ready to remove. Image link from "Type Casting." Type mold The image is taken from James Mosley's typeblog about the history of typography. Type foundry Documents for the History of Type and Letterforms." 14. Johann Gutenberg 15th C. Mainz, Germany (Visit the Gutenberg Museum) Printing had been practiced in Korea,
Ccommonly accepted originator of the modular moveable type system was Johann Gutenberg. 15. Making Type Punchcutting & Type Founding (See the steps) The first step in making metal type is to carve a letter on the end of a steel bar, the punch. That letterform is struck into a softer metal, copper, to create a matrix. A jeweler by profession, Gutenberg was knowledgeable in metal carving, casting and knew which metals worked best for each stage of his process. The mixture he used for casting type was a mixture of lead, tin and antimony. He also formulated inks that would adhere to metal type surfaces and a device for printing that was based upon a grape/wine press. Please note that Gutenberg did not use roman style lettering but rather the blackletter style which he hoped would replicate handwriting. It is believed that Gutenberg designed a font of 270 characters — several variations of each letter were used to add a human factor. Screw Press image from the University of Texas Printers in Germany fled the wrath of the church and government to friendlier climes, including Italy... 18.

ann Fust and when Gutenberg was unable to repay his

Printing Technology Spreads Causing Societal Change "Within 50 years over a thousand printers set up shop all over Europe. Many groups sought to control this new technology. Scribes fought against the introduction of printing, because it could cost them their livelihoods, and religious (and sometimes secular) authorities sought to control what was printed. Sometimes this was successful: for centuries in some European countries, books could only be printed by government authorized printers, and nothing could be printed without the approval of the Church. Printers would be held responsible rather than authors for the spread of unwanted ideas, and some were even executed. But this was a largely futile struggle, and most such restraints eventually crumbled in the western world." #17 & 18 are excerpts from the Japanese National Diet Library "Dawn of Western Printing."There are plenty of examples of type styles and a Type identification Experience . 16. Gutenberg's 42-Line Bible Circa 1455 (See it here!) Despite being a clever inventor Gutenburg was not a good businessman. He borrowed heavily from Jo
h debts Fust successfully sued to take over the business. Fust then enlisted his brother-in-law Peter Schoeffler as a business partner and they produced the bible, despite the fact that is it known as the Gutenberg bible. A collection of samples printed by Schoeffler at Bridwell Library. 17. Above: Konrad Haebler's Typenrepertorium der Wiegendrucke "... we can say roughly that in the age of incunabula, about 1,100 printers used 4,600 type founts to print 27,000 titles of books and documents.

Gothic type accounts for 79% of all types used, while Roman types represents around 19%. Besides these two major founts, Greek, Hebrew ... were created... Some 1,200 Gothic type founts were used in both Italy and Germany, and some 700 Gothic type founts in France. Most of Roman types were used by Italian printers, while only a small number of German, French and Spanish printers used Roman type. Printers in England and the Netherlands seldom or never used Roman type."

Odd One Out Proposal

Final Major Project Proposal

Well for a start this assignment was one of the most open assignments I've ever had, so it was a hard choice deciding what I actually wanted todo. I did have a few idea's of what I wanted todo but I knew the subject's wouldn't have enough content to base my final major project around, also would I be interested in the subject for 6 months? So therefore I had to sit down and make a serious choice for what I want todo for my FMP.

So after sitting down and going through everything the end result was staring me in the face, this is my passion which is Graphic Design but my FMP shall be heavily influenced by Typography, I knew that the content of this subject will be

enough to base my Final Major Project on and also I know my strengths, weakness's, and what I can achieve. But I want to learn more about this subject. I really want to go into this area of typography but keeping a very strong theme of graphic design.

What is Typography?

Typography at the most basic is a combination of font size, spacing, colour and type but however typography is a form of art. Some of the very best highly artistic typography is found in advertising design for example Britain was the first country to start developing skills in Graphic Design, which is why are visual art is classy. Typographer's make an artistic statement of today's opinion's/view's of the world around us. Some extremely nice piece's of art work use type as a visual medium. The font, letter spacing, colour's, shape's and the story/point behind the piece are all important considerations for maxium visual impact. Even the smallest of points can make a huge impact in the world of today. Typography is enhanced due to the perfections and close eye to detail.

After reviewing all of this information it brings me onto the content of the final major project. It shall involve a website, interactive CD-ROM and a 3D animation. Every piece shall be a lot of information behind it but the presentation shall be up to scratch for perfection.

What I want todo for each of them is portray my opinions of the world of today from a young designer. I will be thinking outside the box to portray my views through my designs and the three main aspects of my Final Major Project.

Website idea

For my website, I am going to create an online portfolio of my designs but this shall be interactive for the end user. Why will it be interactive for the end user?

It shall be highly interactive for the end user because from the start when they go on my website it will ask them to enter the site, then once moved onto the next page all the letter's of the alphabet shall appear in different font's, then once the user has clicked on a letter of their choice the rest of the page shall become non-interactive and then a box shall appear with my designs/work in it and also a description of that letter in the world Typography but my work shall relate to the letter some how either through the name, design or both. So i'm interacting with the end user all the time while they have a online interactive experience.

Interactive CD-ROM idea

My interactive piece is going to be a vectorized image of my whole body. My body shall be filled with other vectorized images that relate to my Final Major Project subject but everything shall be extremely interactive, The way in which I intend to portray this is for example: Clicking on my eyeball then a design shall appear with a description about it, This description shall hold what influenced me, what inspired me, a detailed description about the piece and so on, So this piece shall have everything to do with my FMP but in one way shall be a portfolio but an extremely grand interactive experience for the end user.

3D Animation idea

My 3D animation was sorted straight away from when I decided on my Final Major Project subject. My 3D animation shall be a kinetic typography piece. What I'm actually going todo for it is take my opinion's on the world as a young designer and portray it through moving word's and images. The design of the animation shall be non-linear. Nothing shall have a straight line within the animation. The colour's will be kept extremely plain and also very modern but adding a splash of colour every now and again, adding a retro look but will influence the end user to keep interacting with the animation. But I want to also create a 2D animation in either after effects or motion to try out the experience of creating a 2D kinetic typography animation but I shall take my bad opinion's upon the world of today and portray them through this animation, So the 3D animation shall be inviting and colourful but the 2D animation shall be scary and uninviting.

The name of my Final Major Project

I did an experiment on facebook to see if anyone would help create a name for my FMP. Basically I typed into my status: " Riah Goodison Needs a title name for my FMP, It's based on Graphic Design but heavily influenced by typography/type design/ typeface/ fonts and so on...anyone got any ideas...or wanna help". People came out with things that related to the subject obviously but then I thought why does the name of my FMP have to do with anything with the subject. So I was listening to the album of Master Shortie which is called OddOneOut and it basically hit me and I knew exactly what to call my FMP because I'm odd to everyone else, so it just fits in perfectly. "The name of my FMP has nothing todo with my subject but has everything todo with me, it's going to be a very personal project".

I don't think I will change my idea's for my Final Major Project unless they are humanly impossible to do, I'm extremely eager to kick start my FMP off.

Odd One Out.

riah G. on Dipity.

Terms of Typography