A Graphic Design Exhibition Guide La

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You are about to enter *a graphic design exhibition.* go ahead now, walk into the
gallery. it’s a darkened room, not small, and seems to be roughly a cube. On the walls
surrounding you are three large-scale projections, each is cycling through what appear
to be abstract graphics, scanned pages, short movies. what binds these various bits
together? well, you check out where the projections are coming from, and you find
three projectors standing on pedestals. on each is an identifying label. The first reads
VIS 215, Graphic Design. after what appears to be a room number and building name
(one eighty-five nassau street) is a meeting time. you surmise, clever visitor, that what’s
on the projected loop must be the work of a particular class in this university. in fact
it is. this first one is ‘introduction to graphic design’ and it shows a sequence of scans
of letter-sized pieces of paper, the results of a collaborative exercise where twelve
students work together in the typography studio to compose (with individual metal
letters) a text titled, ‘the crystal goblet, or printing should be invisible.’ this is the first
class assignment. the second is to set another text, this time ‘the new typography,’
using only a photocopier . . . now, you spin around ninety degrees and find a second
pedestal. its label says VIS 216, Visual Form. you know the score by now, and you can
safely assume this is another graphic design class. this is also an introduction, but
instead of letters, students deal with graphic forms (logos, icons, signs, and so on). three
assignments are shown here. the first asks students to design a graphic symbol which
means ‘stop’ without resorting to either graphic or linguistic convention. impossible, you
say! yes, well they are next asked to design a matching symbol that means the opposite:
‘go.’ the second assignment is related. these are animated gifs, meant to indicate ‘wait’
or to show that something is ‘currently in process.’ these are variations on the well-known
and not-loved, spinning beach ball of death that the macintosh shows when the system is
busy thinking. the final assignment is more open. students are asked to design a ‘model’
to understand and communicate the differences between r-g-b (additive) and c-m-y-k
(subtractive) color. . . deep breath, now turn around again and look towards the third
projection. this one feels largest, and likely because what you see on the wall is a giant
apple watch. the pedestal is labeled VIS 415, Advanced Graphic Design. collected
here is the work from two semesters of this intensive, workshop class. the assignment is
simple, and lasts the full semester — design a new face for the apple watch which tells
the time, and (by design) also changes the way you *read* the time. simple, no? the
students begin by considering, with a broad historical scope, how the representation
of time effects the ways we understand it and use it. they proceed to design their
prototypes which are here, on the wall . . . like the time on this giant apple watch,
nothing sits still in this gallery. each projection continues marching along, showing one
student at a time. and, each slide show is of a different length and they each play
on a loop, so entering the gallery you would (practically) never see the same thing twice.
it’s been seven years since these classes have been offered on campus and here *now*
in this gallery are some of the results — the assembled works of one hundred eighty-four
students ( listed on the gallery wall and the back of this small booklet) who’ve studied
graphic design at princeton university.
1

VIS 215, Graphic Design
Princeton University
185 Nassau Room 303
Mon 1:30 – 4:20 pm, 7:30 – 9:40 pm
www.t-y-p-o-g-r-a-p-h-y.org

T-y-p-o-g-r-a-p-h-y
This class will be organized as either (take your pick) a practical seminar or,
a theoretical workshop. It will not be a simple exercise in learning the tools of graphic
design but neither will it be a grand tour through its history and theory. Instead
the class will be run as half-workshop and half-seminar, usually at the same time.
Graphic design has an equally split personality — it’s both the technical execution
of writing words (images, ideas) into the world by giving them form; and it is also a
way of understanding the world through the forms of its writing. Designer and writer
Paul Elliman describes the two-way street concisely: “Writing gives the impression
of things. Conversely, things can give the impression of writing.” I’d suggest that this
reading-and-writing-at-the-same-time, or typography, is the root-level skill of graphic
design. So in this introductory class, we will focus on typography by both reading
about and making it.
The word “Typography” has split roots as well. Evolved from the Greek, “typos”
means “figure” and “grapho” means “I write.” This two-sided practice (readingwriting) I’ve just described is even written directly into the word “typography” itself.
If there is one fundamental skill that every beginning graphic design student should
master, it is this: to be able to set a text so that the form it is given works together
with the substance of the text to produce a third meaning.
In this class you will be asked to complete a series of simple, mechanical exercises
meant to foster a skill with and sensitivity to typography. You will read a series
of texts, usually on typography, and typeset much of what you read. The semester
will be divided in three parts, each one revolving around a particular typographic
technology — first, you will be using the Typography Studio with hot metal type and
letterpress printing; next, you will learn photo-typesetting using a standard xerox
machine; finally, you will produce digital typography using contemporary computer
typesetting software and laserprinting. These modes of production will be presented
in chronological order, as a compressed one semester re-enactment of 500 years of
typographic tradition. The idea is to learn something about typography (and therefore,
graphic design) by practicing it, and along the way, to understand how typographic
techniques have changed over time in order to develop a nuanced facility in using
the current digital tools. Remember, these too will be replaced by something
not-yet-known soon enough.
This is an art class, therefore the quality of your work depends at least as much
on original and inventive formal thinking as it does on thoroughly satisfying the
assignments. I will demand active participation in class discussions of both the
texts that you read as well as critiques of other students’ work. Over the semester,
I expect you to develop a comfortable hand in typography as well as a vocabulary
and critical faculty to speak about it.

2

Reading-and-writing-at-the-same-time diagrammed in The Principles
of Psychology, William James (1890)

3

VIS 215, Graphic Design
Princeton University
185 Nassau Room 303
Mon 1:30 – 4:20 pm, 7:30 – 9:40 pm
www.t-y-p-o-g-r-a-p-h-y.org

Fall 2017
September 18

Introduction
Exercise — Arrival . . .
Letterpress

September 25

Assignment 1: Letterpress begins
Lecture — “T-y-p-o-g-r-a-p-h-y”
Class meets in Typography Studio, Room 123
Demonstration — Introduction to metal type and
the Typography Studio. Begin setting type.
Reading — “A Man of Letters,” Oliver Sacks

October 2

Assignment 1: Letterpress continues
Class meets in Typography Studio, Room 123
Continue setting type, proofing and corrections.
Demonstration — Joseph Moxon, Mechanick Exercises (pdf)
Reading — “Modern typography,” “Enlightenment origins,”
“The nineteenth-century complex,” Modern Typography,
Robin Kinross

October 9

Assignment 1: Letterpress continues
Class meets in Typography Studio, Room 123
Lock-up and printing.
Lecture — “Benjamin Franklin, Postmaster”
Demonstration — Beatrice Warde, the American Type Foundry
Reading — “The Crystal Goblet,” Beatrice Warde,
“Apology for Printers,” Benjamin Franklin

October 16

Assignment 1: Letterpress ends
Re-distribute type into cases.
Exercise: A walk down Nassau Street
Reading — “Historical Synopsis,” “The Grand Design,” “Historical
Interlude,” The Elements of Typographic Style, Robert Bringhurst
Photocopier

October 23

Assignment 2: Photocopier begins
Phototypesetting in class and technical review
Film — “Farewell, Etaoin Shrdlu”
Reading — “The New Typography,” Lazlo Moholy-Nagy

October 30

Fall break

November 6

Assignment 2: Photocopier ends
Lecture — “Bruno Munari, Original Xerographies”
Reading — “Counter-Blast,” Marshall McLuhan,
“The Shapes of Words,” “Poems and Telegrams,” Bruno Munari

4

Computer
November 13

Assignment 3: Computer begins
Introduction to finer typographic setting using software including
reviews of settings and preferences, word spacing, letter spacing,
and justification
Lecture — “Muriel Cooper and the Visible Language Workshop”
Reading — “On Typography,” Herbert Bayer

November 20

Assignment 3: Computer continues
In-class work continues
Film — “Helvetica,” Gary Hustwit
Reading — “The Principles of the New Typography,” Jan Tschichold

November 27

Assignment 3: Computer continues
In-class work continues
Walk — Around Old Ivy and Through Time
Reading — from Designing Programmes, Karl Gerstener

December 4

Assignment 3: Computer continues
Individual meetings, class review
Lecture — “Mathematical Typography: Knuth, TeX & Metafont”
Reading — “My Typographies,” Paul Elliman, “2 Antitypes” and
“Typography is a Grid,” Anthony Froshaug

December 11

Assignment 3: Computer ends
Final review

Jaunary 8

Final portfolio due at 1:30 pm

5

VIS 216, Visual Form
Princeton University
185 Nassau Room 303
Tue 1:30 – 4:20 pm, 7:30 – 9:40 pm
www.g-e-s-t-a-l-t.org

G-e-s-t-a-l-t
The whole is greater than the sum of its parts?
According to a tight group of German psychologists gathered around Max Wertheimer
in the first part of the twentieth century: No, not really. They suggest that we perceive
the world in organized wholes, not in parts at all. These wholes are our primary sense
reports — they are not contingent on, nor constituted by elementary sensations. So,
then, the whole isn’t greater than the sum of its parts at all, it’s simply different from
the sum of its parts.
This was a break from the dominant scientific rationalism that worked to explain
a given reality by analyzing the pieces that construct it: principles were discovered
and stacked brick by brick, bean by bean to produce a coherent account. Instead,
for Wertheimer and his associates parts are rendered secondary. What matters are
wholes, their specific organization — a set of relations, a particular configuration,
a form, a shape, gestalt. Gestalt roughly translates from German as “shape,” and it
is the proper name given to this account of perception. It has been a central tenet of
graphic design for the last 100 years, or approximately as long as the discipline has
existed. When design is employed to the careful manipulation of the relationships
between distinct visual forms, a synthesis can be realized, with a corresponding
multiplier effect to the power of that graphic form to contain and carry meaning.
You’re probably familiar with the visual illusion (shown on the next page) of the vase
that is also two faces. It was first described by Danish psychologist Edgar Rubin in
1915 while unpacking how our brain distinguishes figure and ground in the visual field.
The positive form of the vase carries within its negative space the silhouettes of two
human faces in profile. As you read the graphic, it appears first as a vase; but when
attention is shifted to the negative spaces, another reading comes forward and the
two profiles appear. The figure and ground relation becomes fuzzy and the form flips
back and forth at the mercy of our own perceptual capacities. This effect is neither
as tricky nor as trivial as it might seem. The vase / face reversal is achieved through
careful organization (design) of precise graphic form. Balance, shape, line, positive
and negative spaces are all motivated to realize the essentially equal balance
between these two possible readings. Similar techniques and attention to graphic
form are used to encode visual messages of all varieties from corporate logos to
public signage. For example, a forward-pointing arrow is produced by the negative
space between the “E” and “x” in FedEx, making this logotype instantly recognizable.
Or, the octagonal form of a stop sign together with its all caps, sans-serif typography,
red ground and white border creates a sign whose visual form, its wholeness or
gestalt, trumps its literal message.
This is an introductory graphic design class, aimed at students with no previous
background in the subject. The course will demand a commitment to the close reading
of graphic forms to foster sensitivity to their slight differences. We will be looking
at graphics all around us, from the public environment, electronic media and the
flotsam of commercial messaging that we navigate daily. By making your own work
and critiquing the work of your classmates, you should build both a formal vocabulary
for approaching design and a literal vocabulary for speaking about it.

6

Rubin’s Vase, an ambiguous figure identified in 1915 with conflicting
figure-ground perceptual cues

7

VIS 216, Visual Form
Princeton University
185 Nassau Room 303
Tue 1:30 – 4:20 pm, 7:30 – 9:40 pm
www.g-e-s-t-a-l-t.org

Fall 2017
September 19

Introduction
Lecture — “Gestalt, or Wholeness & Graphic Design”
Exercise — Vase / Face

September 26

Assignment 1
Project introduction and review of class tools
Lecture — “A Few Forms”
Exercise — gestalt qualities, or performing “the dot essay”
Reading — “Gestalt Theory” and “Laws of Organization in
Perceptual Forms,” Max Wertheimer, “Art, Design and Gestalt
Theory,” Roy R. Behrens

October 3

Assignment 1 continues
Group review and pin-up of individual projects
Lecture — “Max Bill and Bezier Curves”
Reading — “Continuity and Change,” “Function and Gestalt,”
Max Bill

October 10

Assignment 1 (adjusted)
Individual meetings
Lecture — “The Language of Visual Thinking”
Reading — “The Language of Vision,” from Language of Vision,
Gyorgy Kepes, “Visual Thinking,” Rudolf Arnheim

October 17

Assignment 2
Review, in-class critique (Assignment 1)
Lecture — “Currently in process . . .”
Demonstration — animated gifs
Reading — A Primer of Visual Literacy (excerpt), Donis A. Dondis,
Interaction of Color (excerpt), Josef Albers

October 24

Assignment 2 continues
Project review, in-class critique
Lecture — “Apparent Motion”
Reading — Symbols (excerpt), Angus Hyland, Steven Bateman

October 31

Fall break

November 7

Assignment 2 ends
Lecture — “After Effects (on Bruno Munari)”
Reading — “A Language of Signs and Symbols,” The Triangle
(excerpt), Bruno Munari

November 14

Assignment 3
Project review, in-class critique
Lecture — “Auto-Vision”
Reading — “Structure and Movement,” Karl Gerstener

8

November 21

Assignment 3 continues
Class review and discussion
** Visiting designers: Julie Peeters and Scott Ponik **

November 28

Assignment 3 continues
Individual meetings and class discussion
Lecture — “Desktops, trashcans, and other assorted metaphors
or Why computers look like this: On Muriel Cooper and Susan Kare”
Reading — “Swedish Campground,” on Susan Kare, “Muriel
Cooper’s Visible Wisdom,” Janet Abrams, “Spatial Data
Management (Books without pages),” Richard Bolt

December 5

Assignment 3 continues
Individual meetings and class discussion
Lecture — “The NeXT Intuition”
Video — “The whole is more incredible than the sum of its parts.”
Reading — “The Next Logo” and “Intuition and Ideas,” Paul Rand

December 12

Assignment 3 ends
Final review
Reading — “Language of Vision,” from Design, Writing, Research,
Ellen Lupton and Abbott Miller, “G-e-s-t-a-l-t,” from
The Serving Library

January 9

Final portfolio due by 1:30 pm

9

VIS 415, Advanced Graphic Design
Princeton University
185 Nassau Room 303
Tue 12:30 – 4:20 pm
www.i-n-t-e-r-f-a-c-e.org

I-n-t-e-r-f-a-c-e
Dial +44 20 3598 2801, and you’ll hear:
At the third stroke, the time will be six forty-seven and ten seconds.
. . . [beep] . . . [beep] . . . [beep].
It’s a “speaking clock,” an automated electronic announcement which provides the
current time. The distinct accent belongs to Pat Simmons, a former London telephone
exchange employee who spoke the time from 1963 until 1985. Simmons followed Jane
Cain, the “golden voice” of the first British telephone time system starting in 1936.
That first setup was a room-sized electric mechanism which produced an automated
announcement from glass disc recordings of Ms. Cain’s voice, reading numbers
and sentence fragments. (Dialing “T-I-M” from any UK telephone at the time set this
elaborate machine running.) Before this, speaking clocks were delivered live by
an operator sitting in front of a clock face, answering phone calls and reading out
the time.
Of course what you hear *live* when you call the number above depends on exactly
when you call. The voice, well that’s not so live; Simmons spoke the clock only
from 1963 until 1985 and this service is a software simulation run by enthusiasts at
telephonesuk.co.uk. A speaking clock is clearly an anachronism, but, it also provides
a crisp model for thinking around something quite contemporary — the interface.
Whatever “lies between” is called interface, whatever allows us to link two
different elements, to reconcile them, to put them into communication.
This definition was offered in 1987 by Italian critic Giancarlo Barbacetto in his
introduction to Design Interface. In the book, Barbacetto chronicled the Olivetti
typewriter corporation’s early attempts in designing user controls for photocopiers,
computers, typewriters, and calculators. The volume places this design task in a broad
cultural and temporal context. Appearing opposite Barbacetto’s introduction
is a reproduction of the Rosetta Stone, offered up as a kind of original (ur-) interface,
a shared surface which facilitates communication between otherwise irreconcilable
languages and cultures.
An interface is inevitably a product of its culture — it’s made in a specific time and
place to be used in a specific time and place and design decisions reflect shared
conventions, assumptions, and histories from that setting. An interface designed
*now* will not necessarily work 20 years in the future.
“Well, of course,” you say. But it is not only technical considerations, rather cultural
assumptions which might be an interface’s Achilles heel. Imagine trying to explain
the iPhone messages interface to someone in 1971, or even in 2004. It’s a simple
enough interface, but the nuance of how it can be used would be lost in its cultural
distance. 30 years in the future, it might be similarly illegible.
“Interface” is an extraordinarily elastic word. Definitions from fields as diverse as
chemistry, theatre, fashion, and computer science describe interface as “a shared

ten

boundary,” “a contact surface,” “a border condition,” and “a process or active
threshold.” All of these definitions share a central tenet — an interface is a thing
itself. Its design decisions change not only what it looks like, but also how it works.
And, these interfaces have the possibility of conveying more than simply utility, they
may also transmit a point of view.
Interfaces surround us, manifested in compiled code, running on silicon chips, and
fronting the computer services we all use, all the time. So, we had better understand
at least a little about how they are made.
The June 15, 2015 issue of Bloomberg BusinessWeek was given over to a single
text by writer and computer programmer, Paul Ford. “Code: An Essay” presents
fundamentals of programming languages and techniques for a broad audience, with
depth and finesse. In its introduction, Ford offers a concise and surprisingly robust
definition of a computer:
A computer is a clock with benefits.
and continues . . .
They all work the same, doing second-grade math, one step at a time: Tick, take
a number and put it in box one. Tick, take another number, put it in box two. Tick,
operate (an operation might be addition or subtraction) on those two numbers
and put the resulting number in box one. Tick, check if the result is zero, and if
it is, go to some other box and follow a new set of instructions. A computer’s
processing power is even measured by the rate of its CPU, called “clock speed.”
If your computer is (already) fundamentally a clock, then clearly the telephone
service you dialed at the beginning of this essay is more of an antique curiosity than
a working tool. Even a regular wrist watch seems like a gentile affordance when your
phone, your laptop, and every message you send through these already registers the
time. And in the face of all this, the Apple Watch arrived. Is it some kind of cuttingedge anachronism?
Well, it does have an extremely challenging interface design problem. Its touchscreen
is tiny, screen real estate is limited, batteries are finite, and fingers are not shrinking
any time soon. The ways in which Watch OS software solves many of these interface
design issues is instructive. The device’s screen lights only when you raise your wrist
to look at it. The watch’s face can be almost instantly swapped out with a strong push
and a swipe. The watch reveals its full range of utilities when you press the “digital
crown” and this pulls up the Launcher, a kind of iOS home screen seen through a
roving digital magnifying lens. From here, the watch fluidly transforms itself into an
iPod, a mail reader, weather station, text messager, and so on. What is interesting
is not so much what the Watch can do, but rather how what it can do is all packaged
behind its familiar clock interface.
[...]
Standing more or less alone on a train platform in the small Swiss town of St.
Margarethen one morning last spring around 6:00 am, I noticed two station clocks in
my line of sight. These clocks were the iconic Swiss Railway Clocks designed by Hans
Hilfiker in 1944. It’s a graphically concise clock face with no numbers, only bold black
strokes marking hours, smaller (still bold) strokes for minutes, and two workmanlike arms for the hours and minutes. Seconds, however, are registered by a bright red
lollipop of a hand. Its distinctive form was added in 1953 based on the shape of an
engineer’s signalling disk used to indicate when a train is clear to depart the station.

eleven

The resulting clock face design is austere, specific, and exaggeratedly functional. It
is so particular that Apple even “borrowed” it for the clock app on iPad before being
sued by the Swiss railways and eventually settling on a $22.4M licensing fee. (The
offending interface was removed in iOS 7.)
Staring at the two clocks through my morning fog, I noticed that they were perfectly
synchronized. I suppose, this shouldn’t be surprising, particularly in a train station
(and a Swiss train station no less) where inaccurate clocks would have definite
consequences on how passengers get where they are going. But as I stood staring
at the clock close to me and the one across the tracks on another platform, I noticed
something surprising. Each time the second hands reached the top, they paused in a
decidedly long click. After which, the two continued again to sweep around the face.
The pause, it turns out, allows the clocks to synchronize with one another via an
electrical signal passed from a master clock. The second hand stops for ~1.5 seconds
to receive and process the signal, leaving only 58.5 seconds to complete the rest of
its journey. For the remainder of that minute, the clock is telling a small lie, displaying
seconds which are actually not quite seconds.
These clocks, linked and synchronized by radio, implement an accurate and
consistent clock system for the railroads. You can be sure that standing on a rural
train platform in St. Margarethen or the central station in Zürich, the clock you are
looking at tells the same time, and that the engineer driving the train which connects
the two also reads the same time.
But what the clock looks like is essential for this to work. Hilfiker’s clock face design
is typically “Swiss,” with minimal articulation, extreme contrast, and clearly rendered
functional distinctions that suggest precision, efficiency, simplicity. The bright
red second hand can be seen from a distance so you can easily scan that these clocks
are in sync. Even the once-a-minute pause, while functional, also *communicates*
accuracy.
As I stood looking at Hilfiker’s clock that morning (and the blank stare of its graphics
looking back), I was using a carefully orchestrated interface — an interface between
me and the train yet to arrive, coordinating our communication and assuring me that if
I trust it, I’ll get where I’m going. In the end, I did.

twelve

April 19, 2015 6:02 AM, St. Margethen, Switzerland

thirteen

VIS 415, Advanced Graphic Design
Princeton University
185 Nassau Room 303
Tue 12:30 – 4:20 pm
www.i-n-t-e-r-f-a-c-e.org

Fall 2016
September 20

Introduction
Lecture — “I-n-t-e-r-f-a-c-e”
Exercise — What time is it?

September 27

Assignment 1
Lecture — “Zapotecs & Pulsars”
Exercise — A clock, *now* . . .
Reading — From Sundials to Atomic Clocks, James Jespersen
and Jane Fitz-Randolph

October 4

Assignment 1 continues
Student presentations begin
Lecture — “Olivetti’s Interfaces”
Reading — Design Interface, Gianni Barbacetto, “By Design,”
Alice Rawsthorne

October 11

Assignment 2
Student presentations end
Lecture — ”Bruno Munari, c.1962”
Demonstration — Swatch, @internet time, and Ivrea
Exercise — Reading a wave
Reading — “The Tetracone,” “What is this X Hour?,” Bruno Munari,
“Reading a Wave,” Italo Calvino

October 18

Assignment 2
Lecture — “Press Start to Begin (on the Metrocard AVM)”
Exercise — Please swipe your card . . .
Demonstration — 12 o’clocks, John Maeda, Reactive Books
Reading — The Interface Experience, Kimon Keramidas,
“The Interface,” John Harwood

October 25

Field trip, New York City
“Karel Martens: Recent Work,” Clock (2016), studio visits
Reading — “A Note on the Time,” Dexter Sinister, “I am a Handle,”
Rob Giampietro

November 1

Fall break, no class

November 8

Assignment 2 continues
Project review, in-class critique
Lecture — “Hans Hilfiker and the Swiss Railway Clock”
Reading — “Einstein’s Clocks: The Place of Time,” Peter Gallison

November 15

Assignment 3
Group project review
Reading — “Material design,” Google inc., A Primer of Visual
Literacy, Donis A. Dondis

fourteen

November 22

Assignment 3 continues
Lecture — “You Will (past predictions for future interfaces)”
Demonstration — Macintosh debut keynote
Reading — Human Interface Guidelines (WatchOS), Apple
Computer, “Spatial Data Management,” Muriel Cooper, Richard
Bolt, Nicholas Negroponte

November 29

Assignment 3 continues
Project review, in-class critique
Lecture — “Eno, Bloom, and The Clock of the Long Now”
Demonstration — Christian Marclay, The Clock
Reading — “Code: An Essay,” Paul Ford

December 6

Assignment 3 continues
Individual meetings and class discussion
Lecture — “Information Landscapes”
Reading — In the Beginning was the Command Line, Neal
Stephenson

December 13

Assignment 3 ends
Final review of all work from the semester with visiting critics

January 9

Final portfolio due at 1:30 pm

fifteen

Justin Alderis, Kiana Amirahmadi, Russell Archer, Alejandro Arroyo, Lyon Aung, Tim Bauman,
Bradley Berman, Maddy Bernstein, Matthew Blackburn, Molly Bolten, Kara Bressler, Ricardo
Brown, Cecilia Buerkle, Candy Button, Erin Byrne, Tei Carpenter, Chris Chang, Michelle Chang,
Delmar Chen, Mengsi Chen, Richard Cheng, Joseph Choi, An Thien Chu, Gabriella Chu, Alexander
Chuka, Bryan Chun, Jacob Comerci, Caroline Congdon, Kiffa Conroy, Erin Curley, Caroline
Davis, Alexander Day, Ricardo de los Reyes, Benjamin Denzer, Francesco Di Caprio, Jackson
Dobies, Anqi Dong, Logan Dziak, Melody Edwards, Emily Eitches, Nick Elan, Christie Elford, Nazli
Ercan, Jose Escamilla, Dominique Fahmy, Alden Fan, CinCin Fang, Maris Fechter, Kathleen Feng,
Ferg Ferg, Dalma Foldesi, Michaela Friedberg, Melissa Frost, Max Gallin, Emily Gass, Joseph
Gauvreau, Michael Glassman, Isaac Goldman, Samuel Gonzales-Luna, Kandasi Griffiths, Dennis
Guo, Matthew Haake, Summer Hanson, Daniel He, Lily Healey, Kelsey Henderson, Elizabeth
Henry, Carola Hernandez-Cappas, Sabina Hlavaty, Leila Howard, Dora Huang, Natasha Japanwala,
Jessica Ji, Tony Jin, Anna Kalfaian, Keola Kaluhiokalani, Mihika Kapoor, Devin Karbowicz,
Bo-Won Keum, Stephanie Kim, Sydney Mieko King, Cody Kitchen, Matteo Kruijssen, Robert
Lambeth III, Eugene Lee, Michelle H. Lee, Naomi Lee, Chris Leung, Lauren Lewis, Amanda Li,
Eric Li, Ien Li, Diana Liao, Bing Lin, Ingrid Liu, Jennifer Liu, Susan Liu, Adam Locher, Tommy
Lomont, Kathleen Ma, David Mackasey, Emily Madrigal, Cameron Maple, Chitra Marti, Julia
Meng, Jose Meza, Cara Michell, Hannah Miller, Katherine Miller, John Kyle Morone, Jessica
Mulligan, Lester Nare, Caleb Negash, Jacquie Nesbit, Felicia Yan Ng, Ada Nguyen, Rosaleen
Nguyen, Chad Nuckols, John O'Neill, Juliet Oh, Karen Ouyang, Neeta Patel, Milena Phan,
Sean Poosson, Laura Preston, Kate Prucnal, Crystal Qian, Hansen Qian, Emily Redfield, Jessica
Reed, Colin Reilly, Marissa Reynolds, Grace Riccardi, Sam Ritter, Matthew Rogers, Kathryn Rose,
Maryia Rusak, Hannah Safford, Elias Sanchez-Eppler, Nicole Sato, Gabriel Savit, Eli Schechner,
Jesse Seegers, Summer Shaw, Diana Shi, Andrew Sondern, Chloe Song, Alice Stanton, Zachary
Stecker, Henry Stolz, Tehila Stone, Emily Sullivan, Andrew Sun, Janet Tambasco, Eugene Tang,
Adam Thomason, Andrew Tran, Lagan Trieschmann, Paige Tsai, Emily Tseng, Nathan Tyrell, Neha
Uberoi, Juan Sepulveda Varon, Wesley Verne, Drew Wallace, James Wang, Patrick Wasserman,
Emily Wiebe, Michael Wiest, Louisa Willis, Katherine Wolff, Brendan Wright, Jeffrey Wu,
Juliana Wu, Simon Wu, Natthamon Wutilertcharoenwong, Caresse Yan, Yolanda Yeh, Tiantian
Zha, Irvin Zhan, Demi Zhang, Jenny Zhang, Maggie Zhang, Jonathan Zong

*a graphic design exhibition* is presented by IN-FO.CO from july thirteenth through
july twenty-eighth, two thousand eighteen. the gallery is free and open to the public on
fridays and saturdays from twelve pm until six pm. with thanks to princeton university for
their support of the exhibition, otis college of art and design for their support of the
accompanying lecture series with david reinfurt, and the graham foundation for their
support of the related book a *new* primer of visual literacy, forthcoming from Inventory
Press. THE font ABOVE AND On the wall was designed by lily healey. the font that
you’re reading now was designed by neeta patel. the exhibition was
organized by david reinfurt with eric li, kathleen ma, and jonathan zong.
www.a-graphic-design-exhibition.org

sixteen



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