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michael____stevens
Michael Stevens
Yale GD MFA ‘26
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
My thesis book, A Collection of Autograph Love Letters, was produced at my Atrium desk using an automated plotting machine and BIC Round Stic Medium ballpoint pens. Over the course of seventy-six pages, the book explores themes of historical form, trompe-l’œil, facsimile, and visual indistinguishability through a roughly chronological survey of projects from my time at Yale.
The book folds to A3 and was plotted on 70 g/m² Holmen TRND. Inserted CMYK pages were printed on 60 lb. Finesse Gloss by GHP Media in West Haven, CT.
Front cover: Lady Writing a Letter with Her Maid, Johannes Vermeer, 1670–1671.
Back cover: Reverse of a Framed Painting, Cornelius Norbertus Gijsbrechts, 1670.
Special thanks to @nontsimutiti, @a___w___l, @alvinashiatey, @julian_bittiner, and my dear colleagues in the cohort for their feedback and encouragement throughout the project.
Had the privilege of collaborating with the fiercely talented @ohlookitsgracehan and @yalepaprika on Paprika! Volume 14, Issue 4: World Building. In keeping with the theme, we built the issue from the ground up: three custom typefaces, 16 pages pen-plotted, then scanned and prepared for offset printing.
Had the privilege of collaborating with the fiercely talented @ohlookitsgracehan and @yalepaprika on Paprika! Volume 14, Issue 4: World Building. In keeping with the theme, we built the issue from the ground up: three custom typefaces, 16 pages pen-plotted, then scanned and prepared for offset printing.
Had the privilege of collaborating with the fiercely talented @ohlookitsgracehan and @yalepaprika on Paprika! Volume 14, Issue 4: World Building. In keeping with the theme, we built the issue from the ground up: three custom typefaces, 16 pages pen-plotted, then scanned and prepared for offset printing.
Continuing my documentation of a semester of book(let)s, here's a specimen I made for Renommée, my revival of a hairline Egyptian by Deberny & Cie.
Continuing my documentation of a semester of book(let)s, here's a specimen I made for Renommée, my revival of a hairline Egyptian by Deberny & Cie.
Continuing my documentation of a semester of book(let)s, here's a specimen I made for Renommée, my revival of a hairline Egyptian by Deberny & Cie.
Continuing my documentation of a semester of book(let)s, here's a specimen I made for Renommée, my revival of a hairline Egyptian by Deberny & Cie.
Here is part two of the St. Peter Church commission. This panel is installed in the opposite transept and serves as the symmetrical counterpart to "The Crucifixion." It depicts the death of St. Tarcisius, a third-century Roman martyr and the patron saint of altar servers and first communicants. According to tradition, he was attacked while bringing Communion to Christians imprisoned under Valerian. Refusing to surrender the Blessed Sacrament, he was stoned. As he lay dying, an angel came to rescue the Eucharist from profanation.
The Martyrdom of St. Tarcisius, 2024
Oil on wood panel
60 × 96 in.
Here is part two of the St. Peter Church commission. This panel is installed in the opposite transept and serves as the symmetrical counterpart to "The Crucifixion." It depicts the death of St. Tarcisius, a third-century Roman martyr and the patron saint of altar servers and first communicants. According to tradition, he was attacked while bringing Communion to Christians imprisoned under Valerian. Refusing to surrender the Blessed Sacrament, he was stoned. As he lay dying, an angel came to rescue the Eucharist from profanation.
The Martyrdom of St. Tarcisius, 2024
Oil on wood panel
60 × 96 in.
Here is part two of the St. Peter Church commission. This panel is installed in the opposite transept and serves as the symmetrical counterpart to "The Crucifixion." It depicts the death of St. Tarcisius, a third-century Roman martyr and the patron saint of altar servers and first communicants. According to tradition, he was attacked while bringing Communion to Christians imprisoned under Valerian. Refusing to surrender the Blessed Sacrament, he was stoned. As he lay dying, an angel came to rescue the Eucharist from profanation.
The Martyrdom of St. Tarcisius, 2024
Oil on wood panel
60 × 96 in.
Here is part two of the St. Peter Church commission. This panel is installed in the opposite transept and serves as the symmetrical counterpart to "The Crucifixion." It depicts the death of St. Tarcisius, a third-century Roman martyr and the patron saint of altar servers and first communicants. According to tradition, he was attacked while bringing Communion to Christians imprisoned under Valerian. Refusing to surrender the Blessed Sacrament, he was stoned. As he lay dying, an angel came to rescue the Eucharist from profanation.
The Martyrdom of St. Tarcisius, 2024
Oil on wood panel
60 × 96 in.
I'm excited to share this commission, which was recently installed at St. Peter Catholic Church in Omaha, NE.
The Crucifixion, 2024
Oil on wood panel
60 × 96 in.
Special thanks to @danamdg for building the piece's Baltic birch panel and poplar frame.
I'm excited to share this commission, which was recently installed at St. Peter Catholic Church in Omaha, NE.
The Crucifixion, 2024
Oil on wood panel
60 × 96 in.
Special thanks to @danamdg for building the piece's Baltic birch panel and poplar frame.
I'm excited to share this commission, which was recently installed at St. Peter Catholic Church in Omaha, NE.
The Crucifixion, 2024
Oil on wood panel
60 × 96 in.
Special thanks to @danamdg for building the piece's Baltic birch panel and poplar frame.
I'm excited to share this commission, which was recently installed at St. Peter Catholic Church in Omaha, NE.
The Crucifixion, 2024
Oil on wood panel
60 × 96 in.
Special thanks to @danamdg for building the piece's Baltic birch panel and poplar frame.
I'm excited to share this commission, which was recently installed at St. Peter Catholic Church in Omaha, NE.
The Crucifixion, 2024
Oil on wood panel
60 × 96 in.
Special thanks to @danamdg for building the piece's Baltic birch panel and poplar frame.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Another project in my music notation class involved “adopting” a musical manuscript from the Beinecke Rare Book and Manuscript Library and writing a report based on direct, in-person observation of the physical object. I chose Beinecke MS 1159, a fragment of a neumed medieval gradual that was later repurposed as binding material for a seventeenth-century book.
What struck me most about MS 1159 was its diminutive size—the closed book measures just 105 ×140mm. To convey this scale, the Riso-printed cover of my report includes a reductive, actual-size diagram tracing the manuscript’s footprint.
Finally getting around to sharing some work from the past semester. This is a transcription I made in my music notation class which converts Pérotin’s three-voice Alleluia v/Pascha Nostrum from its original modal rhythms into Franconian ligatures. Maybe to subconsciously justify the time and energy spent, I vectorized my own set of Franconian graphemes and printed the finished transcription as a small booklet.
Finally getting around to sharing some work from the past semester. This is a transcription I made in my music notation class which converts Pérotin’s three-voice Alleluia v/Pascha Nostrum from its original modal rhythms into Franconian ligatures. Maybe to subconsciously justify the time and energy spent, I vectorized my own set of Franconian graphemes and printed the finished transcription as a small booklet.
Finally getting around to sharing some work from the past semester. This is a transcription I made in my music notation class which converts Pérotin’s three-voice Alleluia v/Pascha Nostrum from its original modal rhythms into Franconian ligatures. Maybe to subconsciously justify the time and energy spent, I vectorized my own set of Franconian graphemes and printed the finished transcription as a small booklet.
Finally getting around to sharing some work from the past semester. This is a transcription I made in my music notation class which converts Pérotin’s three-voice Alleluia v/Pascha Nostrum from its original modal rhythms into Franconian ligatures. Maybe to subconsciously justify the time and energy spent, I vectorized my own set of Franconian graphemes and printed the finished transcription as a small booklet.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
Renommée is a revival of an Egyptian hairline cut by Deberny & Cie in the early twentieth century.I first came across the typeface in a specimen book at Yale’s Haas Family Arts Library, and was immediately drawn to its eccentric proportions, from the extremely narrow lowercase f, to the vertically asymmetrical lowercase s, to the sharp angles of the capital M and V. As I looked more closely, I found the finer details of the typeface charming as well: the way the monoline forms often terminate with the subtle suggestion of a dot, and the lightness of the low-hovering accents. Currently, the character set includes uppercase and lowercase, proportional lining and old-style figures, a range of European accents, a handful of currency signs and mathematical operators, small figures, fractions, and arrows.
View Instagram Stories in Secret
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