Type conferance final

TYPEknow the rules and when to break them but please break them well and with

purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them

well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but

please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to

break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules

and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose

know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and

with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but

please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to

break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules

and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose

know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and

with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break

know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and with purpose know the rules and when to break them but please break them well and

typography conference

2020 Portland OregonSpring

“There’s nothing more humbling

than seeing your best quotes in a list,

and thinking they could have

been written by a coma patient

with a keyboard and spasms.”

Scott Adams

AMISS

T YPE CONFERENCE SPRING 2020 12 T YP E A M I S S

“By all means break the rules

and break them beautifully,

deliberately and well.”Robert Bringhurst

when good type goes wrong

TYPE

clear audio. What do you mean we don’t have the budget for that, well your right because this conference is actually reasonably priced. You will learn at this conference that type has a light and a dark side and please go to the light and don’t turn to the dark side. Listen, type is like good fruit and when it goes bad it starts to pollute all the good ones and before you know it you have a pile of compost that is moving and becoming new life but not the good kind. More of the devour you monstrous type. Type has a magical way of reproducing like rabbits but please try to use your powers for good. What you do influences all those who experience it and hopefully it inspires them.

Type has many “rules” and you can break them but you must know them well, before you can break them well. We will help you with rules and teach you how to break them better. Break the rules with purpose and wisdom. I know it sounds fun just going around like a vandal breaking things but please hold on a mo-ment until you learn which things to break and with which implement of destruction to use. Good type goes bad when you break the rules just to break them and don’t have a clear reason why besides it sounded fun or like a good idea at the time. The better you know the rules the better you can break them. It’s true rules were meant to be broken but you can’t rebel against a thing you don’t understand and that my friend is what we will teach you.

so you’re wondering why you should at-

tend this conference and read this? Odds are you have already made up your mind about attending based purely on the layout, typography and if we use your fa-vorite colors. I’m sure you’re thinking this is just another over priced and unthoughtful out set of lectures. Sure you have been to those silly power point lectures where they just read the presentation on screen and have the speaking ability of a drunken monkey and you wonder if they trained said drunken monkey to write the script, present it and press the advance button.

So why am I even wasting this space and time when you have probably already decided. Well besides the fact we had to fill the page with text to make it look important and there was the off chance you are still deciding to go or not and actually reading this. Those of you who have already paid, well sorry this isn’t more fluff reassuring you that your non refundable payment was a great idea before finding out the details of the conference.

This is for those on the fence about coming who need more incentive beyond flipping through the book-let and all the data, who which the pretty pages were not enough. Prepare to be amazing by laser light shows and holograms of your favorite typographers with crystal

AMISS


schedule

workshops

speakers

day 1 day 1day 2 day 2day 3 day 3

When type Is ImportantWhen should we use type and how to integrate it with all else.

Know the rulesRules are important and you help guide you on what should and should not be done.

Type is the oastThe written word is a gift to share knowledge and beauty.

When type goes wrongType is a wild animal that needs taming but once you do it does the work for you.

Frere-Jones, TobiasLubalin ,HerbertSpiekermann, EricRogers, Bruce

Break the RulesThe best rules are the ones you can bend and break for a purpose.

Type is NowWhere is type going and will print ever die.

When type goes rightHow to have beautiful type thats uses grids but is not boring.

Break rules WellHow to break type rules yet still follow them.

Type is the futureHow your type can shape the future just by what font family you choose.

Breakfast 7-7:50

Keynote 9-9:50

Workshop 10-11:50

Lunch 12-12:50

Speaker 1-1:50

Speaker 2-2:50

Speaker 3-3:50

Speaker 4-4:50

Dinner 5-5:50

Breakfast 7-7:50

Keynote 9-9:50

Workshop 10-11:50

Lunch 12-12:50

Speaker 1-1:50

Speaker 2-2:50

Speaker 3-3:50

Speaker 4-4:50

Dinner 5-5:50

Breakfast 7-7:50

Q&A 9-9:50

Workshop 10-11:50

Lunch 12-12:50

Speaker 1-1:50

Speaker 2-2:50

Speaker 3-3:50

Speaker 4-4:50

Dinner 5-5:50

Didot, FirminCaslon I, WilliamSlimbach, RobertLicko, Zuzana

Garamond, ClaudeZapf, HermanBernhard, LucianTwombly, Carol


key note day 1

FontsBodoni

Linotype Gianotten Bodoni Classic hand

Bauer Bodoni Bodoni Classic

BODONI,

1740-1813saluzzo, italy

giambattista bodoni was born on february 16, 1740 in saluzzo, piedmont, italy and died at the age of 83 in parma, italy. He was born into a printing family and began his study in Rome at Propaganda Fide, a press run by the Vatican. In 1768, he began managing “Stamp-eria Reale” in Parma, which was owned by Duke Ferdi-nand who later allowed Bodoni to open his own printing press in 1791 because the Duke wanted to keep Bodoni in his court. During this transition to his own foundry, Bodoni began to craft his own typeface. He took reference from Firmin Didot and Pierre Fournier. Wanting to cre-ate a typeface that was starkly different from his previous

style of decorative type, Bodoni studied the difference be-tween thick and thin lines. His typeface, named Bodoni, is one of the highest regarded typefaces and has been both praised and hated since it was created. Bodoni was a rev-olutionary of his time. Because of this prominence in the Duke’s court, his typeface was an international sensation during the late 1790s and early 1800s. Because of his in-ternational fame and revolutionary type, Bodoni changed typography forever. His typeface has since been recreated for use on the computer and is still regarded as one of the greatest types in history. Bodoni has been referred to as

“the prince of typography” and the “printer of kings.”

“Letters don’t get their true delight, when done in haste & discomfort, nor merely done with diligence & pain, but first when they are created with love and passion.” Bodoni

“Beauty is founded on harmony, subordinate to the critique of reason.“ Bodoni


FRERE-JONES,

LUBALIN,

1970-present

newyork, usa

1918-1981newyork, usa

tobias frere-jones was born in new york in 1970. He was an artist from his young age. He was exhibiting sculp-tures, photographs and paintings in New York since he was 14. As a son of an advertising copywriter and print buyer he was surrounded with all forms of letter forms a childhood.

That was no surprise that he studied the Rhode Is-land School of Design. As is stated by Macmillan, “An ex-ceptional student there, he drew the attention of Matthew Carter, who directed him, after graduation in 1992.”

He spent seven years at the Bureau and he learned his craft under the experienced eye of David Berlow. During that time at Bureau he created a successful typeface based on US highway signs called Interstate family. Also he cre-ated most of typefaces that are best known from Bureau like including Interstate and Poynter Oldstyle & Gothic. As is stated by (Hoefler & Frere-Jones,2010) “He joined the faculty of the Yale School of Art in 1996, where he continues to teach typeface design on the graduate level.” In 1999 he left Font Bureau and Frere-Jones.

FontsInterstate

BentonGotham

NobelWhitney

FontsRonda

ITCAvant Garde

Lubalin GraphSerif Gothic

“Does the world need any more typefaces? The day we stop needing new type will be the same day that we stop needing new stories and songs.” Frere-Jones

“So, how dumb can we afford to be and not be beautiful? And, for how long? ” Lubalin

“The only time you run out of chances is when you stop taking them.”

Alexander Pope

“It’s not about ideas, it’s about making ideas happen.”

Scott Belsky

“ “Design’s most humane functions is, to help readers avoid reading.“ Ellen Lupton

“Do the stuff you enjoy, as opposed to the stuff

you think you should be doing.”Evan Spiridellis

held his first job at reiss advertising in the 1940s. Soon he moved to another advertising agency, Sudler & Hennessey. He worked there for 20 years before leaving to start his own firm, Herb Lubalin, Inc in 1964.

His firm became a hot spot for talent and innovation. He began using full age typographic titles, which was a new idea at the time. As he worked with type, he didn’t see it as typography, but rather, designing.

Worked with Ralph Ginzburg on three different magazines over the course of a decade. Eros was the first

magazine to be launched in the trio; it was all about love and sex. It was run for only four issues before it’s closing, due to the controversy it attained, and obscenity charges against the publisher. Second was Fact, a political jour-nal. This journal too didn’t last long, and was folded three years after it’s start.

The final magazine that Ginzburg and Lubalin worked on together was Avant Garde. Avant Garde was launched in 1968 and contained coverage of arts and cul-ture. This magazine was filled with Lubalin’s ingenuity.


“When you’re ready to quit, you’re closer than you think.”

Bob Parsons

“Don’t worry about people stealing your design work,

worry about the day they stop.”Jeffrey Zeldman

SPIEKERMAN,

ROGERS,

1947-present

stadthagen, germany

1870-1957linwood, usa

bruce rogers was born may 14, 1870 in linwood, indi-ana. Throughout the course of his childhood, Rogers’ fa-ther taught him to draw and encouraged him to pursue studies in art. At the age of 15, while attending high school, Rogers hand-lettered, decorated, and illustrated a copy of William Cullen Bryant’s “Forest Hymn.” This was the start of his personal exploration that led to a legendary career in bookmaking.

Rogers studied art at Purdue University, close to home in Indiana. His first job was with a newspaper

called Indianapolis News, where he worked as an illustra-tor. Later, Rogers worked for a magazine called Modern Art, where he was exposed to and influenced by the Arts and Crafts movement. In 1895, Rogers moved to Bos-ton where he met George Mifflin (of Houghton Mifflin) and was offered a job at the Riverside Press. For twelve years he produced more than 100 Riverside Press editions, many of which are now very valuable.

FontsMetaUnit

OfficinaInfo Text

Axel

FontsCentaur

MontaigneRiverside Modern

MetropolitanBrimmer

“Take the problem apart, look at the parts and then put them back together.” Spiekerman

“The first requisite of all book design is orderliness.” Rogers

“A typeface is an alpahbet, in a straight jacket.”Alan Fletcher

Erik Spiekermann, a typographer, information ar-chitect, type designer, graphic designer and author, was born in Stadthagen, Germany on May 30th 1947. His love for type and design started when he was twelve years old; owning a little printing press and teaching himself how to set type. He studied Art History and English at Free University in Berlin; making a living as letter press printer and hot-metal type setter. In 1972, he moved to London where he worked as a freelancer and teacher at The Lon-don College of Printing. In 1979, he moved back to Berlin

where, with two partners, he founded MetaDesign (Ger-many’s largest design firm). He also worked on famous projects that included corporate designs for Audi, Skoda, Volks wagen, Lexus, and Heidelberg Printing; as well as way-finding projects: BVG (Berlin Transit), Düsseldorf Airport and many others. In 1988, he started FontShop, a company for production and distribution of electron-ic fonts. Spiekermann, board member of ATypI and the German Design Council, holds an honorary professor-ship at the Academy of Arts in Bremen.

“The essential part of creativity is, not being afraid to fail.”

Edwin H. Land


“Don’t spend so much time trying to choose the perfect opportunity,

that you miss the right opportunity.”Michael Dell

DIDOT,

CASLON I,

1764-1836paris, france

1693-1766cradley, uk

firmin didot was born in France in 1764 into a fam-ily of prestigious printers who ruled the industry for two centuries (18th and 19th) in France and were known as the king’s printers. The legacy began with François Di-dot , Firmin’s grandfather, who started a printing busi-ness in 1713 called the “ House of Didot”. Firmin’s father François-Ambroise Didot is responsible for developing the typographic measurements of points and picas, that we still use today, along with many other innovations in type. The printing press started by François was handed

William Caslon showed promising talent as a young boy. As an apprentice to an engraver Caslon learned how to engrave letters and names into gun bar-rels and locks. After starting his own engraving business he met a bookbinder named John Watts, who employed him to letter book covers and bind books. William Bow-yer, a renowned London printer, noticed Caslon’s work in a bookstore. He offered to show young Caslon the local type foundries and printers. Bowyer encouraged him to start his own type foundry in London, offering financial

down to Firmin’s brother Pierre and Firmin assumed re-sponsibility for the type foundry started by his father.

Firmin became a notable printer, engraver, and type founder. In 1811 he was made the printer to the Institute Francais. And In 1814 Napoleon appointed Firmin Direc-tor of the Imperial Foundry. Firmin Didot’s most influ-ential work was the creation of the typeface Didot. It was the first modern roman typeface designed to be elegant yet practical, drawing from the age of enlightenment in which the typeface was created.

backing for the endeavor. Caslon abandoned his engrav-ing career to begin a small type foundry. Four months in, the foundry no longer needed the financial support of Watts or Bowyer.

His first big job came from the Society for Promoting Christian Knowledge. They employed Caslon to design an Arabic font for a New Testament print. When he of-fered the specimen sheet he signed it in all caps roman type. That signature became popular among typographers.

FontsDidot

Linotype DidotFirmin Didot

Didot LPInitiales Grecques

FontsCaslon

Big CaslonCaslon Ornaments

Caslon GotischOld English text

FIRMIN

WILLIAM

“I believe a style has its preferred size range, and outside of that range it’s not really itself.” Didot

“When in doub use Caslon. ” Caslon

“If i had asked my customers what they wanted, they would have said a faster horse.”

Henry Ford

“I`m also interested in calligraphy and occasional book-burning.”Sergej Malinovski

“When you have rich exchange of ideas, stuff happens.”

Andrew Lacy


key note day 3

FontsFutura

PlakArchetype Renner

Renner Antiqua Tasse

RENNER,

1875-1956wernigerode, germany

during his life renner worked as book designer, typeface designer, teacher and author in germa-ny. He became the principal of the Printing Trade School in Munich in 1926 and worked alongside notable faculty such as Jan Tschichold. Today he is most remembered for his typeface Futura.Futura was presented as Die Schrift unserer Zeit (“the type of our time”). Like this phrase suggests Futura is a representation of German design philosophies of the era. A prominent idea from this era of design is that form follows function.Designed in 1927 and commercially released in 1936

Futura’s letter forms are based on geometric shapes and are free from ornaments or unnecessary elements. All strokes of the typeface have a unified line-weight with no visual contrast between thick and thin.

Futura was made possible by new type founding technologies which lead to both a rise in competition be-tween foundries to produce new typefaces and the abili-ty to mass produce lead type that could be distributed to many print-shops.

Today Futura is considered the first successful geo-metric san-serif typeface. Even after 80 years from its conception Futura is commonly used in modern design.

PAUL“We should direct our view outwards, away from ourselves, into the world, not into the distance, but onto those things that are neat, within a hand’s reach.” Renner

“A whole out of diversity, a unity and not to reduce a whole to diconnected parts.“ Renner


“For every complex problem there is an answer that is clear, simple, and wrong.”

H. L. Mencken

“Grow a thick skin and be prepared to take criticism.”

Mark Forrester

SLIMBACH,

LICKO,

1956-present

evanson, usa

1961-present

bratislava, czechoslovakia

In 1956, Robert Slimbach was born in Evanston, Illi-nois. Not long after he was born, his family moved to Southern California. He went to college but didn’t develop an interest for typefaces until he ran a small screen print-ing shop making posters and greeting cards. Through this job he came in contact with Autologic Incorporated in Newbury Park, California. After training from 1983 to 1985, Slimbach started working for Autologic as a type de-signer. There he continued his training as a type design-er as well as a calligrapher. After working with Autologic

Zuzana Licko was born in 1961 in Bratislava, Czechoslovakia and emigrated to the U.S. in 1968 when she was a child along with her family. She studied architecture, photography and computer programming before earning a degree in graphic communications at the University of California at Berkeley in 1984. While at Berkeley, Zuzana took a calligraphy class, which happened to be her least favorite

he was self-employed for two years. While self-employed he developed two new typefaces, ITC Slimbach and ITC Giovanni for the International Typeface Corporation in New York.

Slimbach joined Adobe Systems in 1987 where he developed some of his most well-known work. Since he started working there he concentrated mainly on developing and designing typefaces for digital technology. He greatly was influenced and inspired by classical sources.

due to the fact that she had to write with her right hand even though she was left handed. This experience later influenced her when she started working on type design, which was more computer-based. Zuzana is the co-founder of Émigré Magazine, together with her husband Rudy VanderLans. Emigre Magazine was founded in 1984 and began to acquire more attention.

FontsMinion

Adobe GaramondMyriad

Adobe JensonUtopia

FontsMrs. Eaves

Mr. Eaves SansJournal

NarlySoda Script

ROBERT“Typefaces are usually lost underneath the virtousity of the deisgn in foundation of technical percision and amibition, and a concern for partical and lasting usability.” Slimbach

“A mystery is the most stimulating force in unleashing the imagination.” Licko

“Don’t try to be origial, just try to be good.”Paul Rand

“Human nature has a tendency to admire complexity but reward simplicity.”

Ben Huh


“Not having a clear goal leads todeath by a thousand compromises.”

Mark Pincus

“Words are, of course, the most powerful drug used by mankind.”Rudyard Kipling

GARAMOND,

ZAPF,

1480-1561pairs, france

1918-present

nuremberg, germany

Claude Garamond started out as a punch cutter. He was a student under Antoine Augereau. He worked as a student and apprentice until 1538, by which time had be-come a master. In 1540, Claude Garamond was commis-sioned to cut Greek letter punches, for King Francis I of France. Garamond ended up in the publishing trade. He published his first book, David Chambellan’s Pia et reli-giosa meditation, in 1545.

The Grec de Roi was one of his original typefaces, but what we have today are many different fonts, based off of

He went to school in 1915 where he first started getting involved with type by inventing cipher text al-phabets to exchange secret messages with his brother. He self-taught many art skills while working, including lithography and calligraphy. He worked as a re-toucher for four years on an internship, and after his internship ended he spent his time working with typography and writing songbooks. He designed types for various states of printing technology, including hot metal composition, phototypesetting, and digital typography for desktop pub-

his originals. Throughout the 20th century various type designers have used Garamond’s typefaces as inspiration for their own. Garamond is generally regarded as a font that is readable, and easy on the eyes. Garamond’s design followed that of the humanist style, with angled axis, crisp terminals, and long extenders. Though forgotten for sev-eral centuries after his death, Garamond made a strong return in the 19th and 20th century as foundries began to replicate his work.

lishing. He married calligrapher and typeface designer Gudrun Zapf von Hesse in 1951. He began working on ty-pography in computer programs in the 1960s.

Honorary Designer for Industry by the Royal Society of Arts and has won innumerable awards, some of which include the SOTA Typography award, the Order of Merit and the TDC medal. He is an honorary member of over twenty-four societies across the globe and is Hon-orary President of the Edward Johnston Foundation.

FontsGaramond

Grec de RoiGranjonStempel

ITC Garamond

FontsOptimaPalatina

ChanceryITC ZapfZapfino

CLAUDE

HERMANN

“The art I practice is but a small thing.” Garamond

“Typography is two-dimensional architecture, based on experience and imagination, and guided by readability.” Zapf

“Criticism is the best sign you’re onto something.”

Michael Lopp Rands

“Steal from anywhere that resonates with inspiration

or fuels your imagination.“ Jim Jarmusch


“Fail often so youcan succeed sooner.”

Tom Kelly

“If everyone is trying to prevent error, it screws things up.”

Edwin Catmull

BERNHARD,

TWOMBLY,

1833-1972stuttgard, germany

1959-present

concord, usa

Lucian Bernhard was born with the name Emil Kahn on March 15, 1883 in Stuttgart, Germany. At age 22, he changed his name to a more common name, Lucian. As his friends and family would account, Bernhard was known to always recount the stories of his life in different ways depending the situation he was in or the mood he was in.

Lucian Bernhard dipped his toe into several different media within the profession of commercial art. In 1922, he left Berlin for New York City where he established the

Carol Twombly was one of the first world known female type designers. When she first attended college at Rhode Island School of Design her major was sculpture but soon realized it wasn’t for her. Her professor, Charles Bigelow, influenced her to become a type designer. After she graduated, she worked under Bigelow and joined a digital typography group at Stanford.

Carol started working for Adobe in 1988 and creat-ed dozens of fonts while there. Twombly was influenced by classical Roman engravings and it’s apparent in her

design studio Contempora. Over the years, he generat-ed packaging, typefaces, textiles, furniture, interior de-sign, posters, and logo trademarks for various clients. A summarizing elegy of his life’s work can be found in the following quotation from the book Graphic Design His-tory: “...though he was extraordinarily prolific and left be-hind some significant artifacts, Bernhard was never quite as inventive as when he was eighteen and inadvertently created that paradigm of economical design, the Priester Match poster.”

typefaces Lithos, Trajan, and Charlemagne; which were released in a single package through Adobe in 1989. She was later influenced by William Caslon’s typefaces from the 1700’s and created her own named Adobe Caslon. In 1994, Twombly received the Charles Peignot award from the Association Typographic Internationale. This award is rarely given to type designers, and only to those who have contributed greatly to the type world. Twombly was the first woman and only second American to receive this award.

FontsLucian Gothic

FrakturPrivat

Bernhard ModernLilli

FontsTrajan

MyriadAdobe CaslonCharlemagne

Chaparral

CAROL

“You see with your eyes, not your brain.” Bernhard

“Communicating through graphics, by placing shapes on a page and offering a welcome balance between freedom and structure.” Twombly

“Rules can be broken, but never ignored.”David Jury

“Success breeds complacency, complacency breeds failure,

only the paranoid survive.”Andrew Grove


Name, Last/First

Mailing Address

Whole Conferance 1,000$

Key Notes Only 300$

Meals 150$

Stay at Hotel 120$

Company Discount 20% off

Video per Speaker 40$

Email to [email protected] or mail to TypeAmiss2016, 1234 42nd, Portland, OR, 98685

Two spaces between sentences.Repent of this sin by using only one space.

Dumb quotes instead of smart quotes.Evil: "Thou shalt not misuse type" § Good: “Thou shalt not misuse type”

Dumb apostrophe instead of smart apostrophe.Profane: Don't use prime marks § Sacred: Don’t use prime marksBy the way, apostrophes always face this way: Pot o’ gold.They never face this way: Pot ῾o gold.

Failing to tuck periods/commas inside quotes marks.Immoral:“I love type so much”, she confessed.Chaste:“I love type so much,” she testified.

Failing to kern display type.Unseemly gaps can impede readability and be distracting to the reader.Adjusting the spacing between letters will assuage your guilt.

Using a hyphen instead of an en dash.Use and en dash to indicate a duration of time instead of the word “to”: the 8–10 commandments, not 8-10 commandments.

Using two hyphens instead of an em dash.An em dash signifies a change in thought—or a parenthetical phrase—within a sentence.

Too many consecutive hyphens.It is sinful to have more than two hyphens on consecutive lines of type,and even that should be avoided.

Large amounts of bold text in uppercase letters.it becomes really difficult to read

Large amounts of revered type ARE HARDER TO READ. Type on a busy background is all unreadable.

Using process colors for body text.It is harder to read, but more importantly, it is hell to register on press.

Underlining titles instead of italicizing them.Thou Shalt Not: The Holy Bible Thou Shalt: The Korán

Failing to eliminate widows.A widow is a word that sits on a line by itself at the end of a paragraph. Avoid this or risk being cast into a lake of fire and brimstone.

Failing to eliminate orphans.An orphan is the last line of a paragraph that sits at the top of a column or page. Type does not like to be alone.

Rivers in justified text.Unsightly large spaces between words occur if the line length is too short or the point size of the text is too large.

GLOSSARY NE Airport Way NE Airport Way NE Airport Way

NE Lombard Street NE Lombard Street NE Lombard Street NE Lombard Street

NE Prescott Street NE Prescott Street NE Prescott Street NE Prescott Street

NE Sandy Boulevard NE Sandy Boulevard NE Sandy Boulevard I-20

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Portland Airport

Marriott Hotel & Conference

Hilton Hotel

attendance application

map

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typography conference

2020Portlan

d O

regon

Sprin

g

AMISS

Shawn Randall

525 South Center Street #214 SPORexburg ID

, 83460

Nathan Cow

les455 W

est 5th South #15Rexburg ID

, 83440

Documents

Type conferance final