{ brad reich }

graphic design
>> St. Kilda Film Festival 2010
> Promotional Campaign
> Billboard, poster, booklet, promotional item,
press advertisement
>> Liberty Insurance
> Re-brand
> Style guide, envelope, business card,
letterhead, With Compliments slip, invoice
 libertyins.com.au 70a Secure Ln, Dogville 0000 | 03 9435 891 LIBERTY INSURANCE

FREEDOM OF CHOICE

LIBERTY INSURANCE
FREEDOM OF CHOICE

JACOB BRACKENS | CEO

70a Secure Ln, Dogville 0000

P 9435 8912 - M 0477 883 256

F 9435 8915 - j.brackens@liberty.com.au

70a Secure Ln, Dogville VA 0000

P 9435 8912 - M 0477 883 256 - F 9435 8915
libertyins.com.au | ABN 457900311234

BILL TO P I C K - U P L O C AT I O N

70a Secure Ln, Dogville 0000 | 03 9435 8912 | libertyins.com.au

WITH.COMPLIMENTS
| INVOICE #:

POLICY NUMBER TERMS D U E D AT E ACCOUNT NUMBER

B9887 NET 30 8 - 10 - 10 7362

SERVICED DESCRIPTION TRACKING # QUANTITY RATE AMOUNT

15 - 7 - 10
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ABN 45 790 031 1432

T O TA L D U E
MAKE CHECKS PAYABLE TO:
LIBERTY INSURANCE INC.
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TERMS: This account is subject to finance charges of 1.5% per month (18% annum) of the unpaid balance, when the invoice becomes 30 days past due with a
minimum finance charge of $5.00. Account will be placed for collection when the invoice becomes 60 days past due and will be subject to an additional $25.00
collections fee. If any collection action is necessary we agree to pay Liberty Insurance Inc. all of the costs in this collection, including, but not by way of limitation,
attorney’s fees, filling and service fees and court costs, whether or not the action proceeds to judgement and collection charges.
>> Liberty Insurance
> Re-brand
> Annual Report
 14 | 15

BOARD OF DIRECTORS Bert was appointed Chief Financial Officer (CFO) in

BERTR A M POLLOCK
Chief Financial Officer
February 2001 with responsibility for Westpac’s finance,
tax, treasury, risk management, legal, strategy and
investor relations functions. He was previously Deputy
Chief Financial Officer. Bert has been with Liberty in
a variety of positions in Australia and in New Zealand
since 1982. Bert is responsible for the marketing strategies
and programs developed by PTT Transport for the mature market
segment. He has had over eleven years experience in the financial services
industry covering distribution, marketing and human resources management roles.

MORRIS FELLOWS
Group Executive, New Zealand
ADRIAN SCHEEPBOUWER
Chief Executive Officer After joining Liberty in 1994, Morris headed Human Resources for the
institutional and international bank and subsequently led a team driving
Adrian has extensive experience in the financial
the merger with the Bank of Melbourne. He later became CEO, Bank
sector, having worked in the International
of Melbourne. Morris was appointed Group Executive, Human
Monetary Fund in Washington D.C. in the
Resources in 2000. In October 2002, he was appointed CEO
1970s and the Federal Treasury in the 1980s
of Westpac New Zealand and Group Executive, New Zealand
where he headed all major areas before
and Pacific Banking. Morris also has had extensive experience in
being appointed Senior Deputy Secretary.
government at a senior level. Morris Fellows is TPG’s Executive Vice
Since joining Westpac in 1990, he has had
ANNET TE BORDES President Express. He joined GD Express Worldwide in 1992 and was
responsibility for all major operating divisions
Group Executive, appointed chief executive officer in 1994.
including Financial Services, Retail Banking,
Commercial Banking, Corporate and Institutional
Banking and International Banking. He was appointed
to the Board in November 1997, prior to being appointed
CEO in March 1999.

JEFFERY CHEETHA M
Managing Director
MICHAEL BIRRELL
Group Secretary and General Counsel
Annette joined Liberty in 2000 as Group
Secretary and General Counsel. In October
As Managing Director of SFE Corporation Ltd, the holding company
2002 she was appointed to her present Richard joined Liberty in 1997 as Senior
of the Sydney Futures Exchange, Mr Cheetham has experience
role, and is accountable for people strategy Counsel, Institutional and International
in the oversight of derivatives trading and risk management,
and management. She was previously a Banking Group and was appointed to his
public policy and regulatory issues, as well as over 20 years’
partner of Mallesons Stephen Jaques, where present role in February 2003 with responsibility
experience in corporate financial management..He brings almost
she worked extensively as a corporate for the management and delivery of company secretarial, legal
20 years’ experience in international economics and financial
lawyer and in managerial roles including and compliance services to the Westpac Board, executive
services, including corporate and investment banking, consumer
human resources and as managing partner. and business. Prior to his current appointment he was General
banking and investment management, predominantly with Boston
Ms Bordes brings legal and regulatory Manager, Risk, for BT Financial Group. Michael previously
Consulting Group and Citigroup.
knowledge to the Board, as a former practised law in private practice from 1982 and was a partner
Commissioner of the Australian Securities & at law fi rm Abbott Tout. Michael Birrell is TPG’s Executive Vice
Investments Commission and as a current President Logistics. He is also responsible for corporate strategy
Director of Australian Stock and business development.
Exchange Insurance.
>> Joan’s Patisserie
> Croissant Packaging
> 6 pack boxed packaging
>> Iron Inc.
> La Filth clothing range
> Gloves, Shoes, Glasses
>> Spicer’s Paper
> Kashmir Paper Sampler
>> Techno Animal
> Gig Poster
 THE MAGAZINE OF THE TYPE DIRECTORS CLUB
NUMBER 43 - SEPTEMBER 08
>> Hyphen
> Typography magazine layout
> Masthead, magazine

GEORGE HENSON
PUBLISHER PRESENTS
THE MAGAZINE OF THE TYPE DIRECTORS CLUB

SUBSCRIPTION FORM Three new books for the

To join the Type Directors Club, please complete this form and mail it
discerning typographer.
with your payment.
Mail the completed form with cheque made out to The Type Directors
Each of these titles also has a
Club or credit card details to: special handbound edition, with
The Type Directors Club,
Suite 44, level 9, 60 East Street,
relevant typographic ephemera.
Melbourne Victoria 3001. To order, get more information, and to join our mailing list to
On-line membership may be completed with a credit card at www.type. receive future prospectuses, please visit the website at
com.au www.HensonPublisher.com
or call us 9577 1775
For more information, contact: Carol Walker, Executive Director, Type
NUMBER 43 - SEPTEMBER 08

Directors Club, 212 983 6042, director@tdc.com.au, www.tdc.com.au Type & Typography: Highlights from Matrix, the review
for printers and bibliophiles, with introductions by John
Randle and John D. Berry – 400 pages, designed by Jerry Kelly.
NAME
$65, special edition (60 copies) $225,
ADDRESS deluxe (10 copies) $500
The Well-Made Book: Essays and Lectures by Daniel
POSTCODE
Berkeley Updike, edited & with an introduction by
PHONE FAX William S. Peterson – 408 pages, $55
special edition (40 copies) $220
E-MAIL
Gudrun Zapf von Hesse: Bindings, Handwritten Books,
TITLE Typefaces, Examples of Lettering and Drawing, with
an introduction by Professor Hans A. Halbey – 224 pages,
COMPANY designed by Hermann Zapf. $75,
special edition (80 copies) $215
ADDRESS

POSTCODE

There are four kinds of membership. All include the annual and newsletter.
Please check one.
Regular members are actively engaged in the use or design of type as
designers, production professionals, or type creators. Annual dues are $125.
Associate members have an interest in typography but are not professionally
engaged in its use or creation. Annual fees are $100.
Student members are currently enrolled in undergraduate or postgraduate
studies in graphic design. Annual fees are $40.
Sustaining members are businesses or individuals who contribute $300 or
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SIGNATURE
12
 And maybe because it’s French it makes it just that much
sexier.
Typefaces are one of the mainstays of a graphic designer’s
“diet,” so to speak. They are not only used to communicate
the written word, but to help set a mood, tone, and
personality. Considering its importance to the process
of design, have you ever stopped to think how a typeface
comes to be? How does it evolve from a “twinkle in a type
designer’s eye” to a full-blown typeface?
Although the actual process of designing a typeface varies
from designer to designer, we spoke with type designer
James Montalbano of Terminal Design about two of his
typographic creations, Giacomo and Alfon, to get some
insight into his world of typeface design.
Giacomo
Giacomo is the forerunner of this dynamic pair. A robust,
six-weight family with corresponding italics, Giacomo is an
extremely readable sans serif design with a lot of warmth,
liveliness, and personality. The weights range from a crisp,
inviting light to a chunky, assertive black.
The seed for Giacomo evolved out of an earlier effort to
draw a sans with humanist overtones,
which Montalbano had never
BY SEAN ADAMS completed. When he returned to it
years later, he had an idea where he
wanted to go with it, but he allowed
Recently, we needed to make a presentation to a large group- multiple
his vision to remain flexible and
divisions of a corporation. For the most part, everyone was receptive and
malleable. “You begin by drawing
supportive, except one woman who looked disturbingly like the Little House on
a shape on screen, then an outline,
the Prairie school marm. We said we wanted one of the pieces to be sexy-we
letterspacing. If you get it, you can feel it. When I’m
and then it becomes like plastic, like
working I feel the type, not just metaphorically, but
were referring to type issues-and she became visibly upset. She was honestly
Type is sensual and tactile. It’s not just nitty-gritty
sculpture ... you move points and
offended by this. I told our contact that I wasn’t looking for hard-core porn-I
tactically at the end of my fingers when it clicks
curves around until you find what
technical, just another element of craft. I don’t.
wanted the type to be visceral and beautiful, not clinical. I learned my lesson;
you’re looking for. It’s the kind of a
It’s easy to think about type as being cold and
typography and sexiness don’t go together for most civilians.
process where you think you’re
Noreen [Morioka] and I went back and forth about what should be on the STEP
into place or is just plain wrong. I think of
cover that would drag you across the room if you saw it on the newsstand. I
have to give credit here to our art director, Volker Dürre: His input led us to
type as a sensual object that you have
this solution. We just finished the redesign of Health and we have all of our
studies for their cover. We went to newsstands and took pictures, and then in
Photoshop we placed the Health cover in different places on the shelf-in front,
in back, to the left, to the right. It really helped us determine what elements go
to treat very well, and you only
where to call attention to the cover.
For STEP, we began with another version-a full-fledged specimen sheet that
want the best. It should be
called out the erogenous zones, emotional zones, and intellectual zones
elegant, not something
[above, left]. It ended up being much too complex to work on the cover. A
cover has to be like a poster. So we went back and thought, “How do we make
this feel like a great poster? A giant letterform will be perfect! It will draw
you’d pick up at a
people in from across the room to take a closer look” [above, right].
roadhouse bar.
The S is set in Firmin Didot - it’s 18th century French. Lou Dorfsman redrew it for
the CBS building signage, resulting in the most beautiful elevator panels on the
planet. It’s such a beautiful font-it has crispy edges, and is so refined.
‘‘the best
those
get
the in that
the
types
way
communication
process
are
do not
of
A new franklin
David Berlow of The Font Bureau had
typographic legibility at the forefront of
his mind when he began the redesign
of Franklin Gothic for International
Typeface Corporation. In addition to
their popular “retail” fonts, the Font
Bureau has a successful business
designing, manufacturing, and providing
specialized typefaces to newspapers
and periodicals. While the company has
a suite of typefaces they rely on as the
design foundation for these projects,
they wanted to add a Franklin Gothic
series to their offering. They could
have started from scratch, but Berlow
figured, “Why start from a blank screen,
when you can build on an established
foundation?” ITC was approached for
two reasons: they had one of the best
examples of Franklin Gothic in their
library, and Berlow had previously
worked with ITC on the development of
the Franklin Gothic Condensed series.
While ITC’s original Franklin Gothic
was released as two designs, one for
display setting and one for text, early
digital interpretations were developed as
3 4
’
“text/display” solutions. This is a nice
idea that provides for the same fonts
to be used from 6-point to billboard
sizes (sort of like men’s socks: one size
fits all). This can also be problematic:
Compromises in a typeface design that
allow it to perform within a wide range
of sizes almost always limit its level of
performance at any given size.
Font Bureau’s proposal was
straightforward yet all encompassing:
“Let us rework the ITC Franklin Gothic
family; enlarge it into separate text and
display designs, then let us sell it and
use it for our custom design projects.”
No quick fix
A short time into the project, however,
both parties learned that what was
supposed to be a relatively simple
reworking and respacing of the existing
letters to perform well within a specific
size range became a major design
project. “Franklin is a face that’s so
familiar and so straightforward that
you would think that you almost
can’t help but maintain its legibility
in a sensitive interpretation,” says
Berlow. “The reality, however, is much
more complicated. The devil is in
getting every detail of contrast, angle,
intersection, and overlap synchronized
within each style, across the range of
widths and weights, and between the
roman and italic designs. In truth,
a monumental task.”
Berlow dove deeply into the task of
adding new weights and proportions
to the family, taking advantage in
the display range to make very light
and very bold condensed faces that
wouldn’t work below 20 to 24 point. The
connection between the bowl and stem
of lowercase characters was designed to
have a crisper feel.
He also discovered that the ITC Franklin
Gothics required a mountain of work to
become the optimum text designs he
and ITC wanted. The end result is, in
fact, two text designs: one for use from
about 8 point to 14 point, and another
for use at very small sizes.
Design tools
The original designs proved to be
only part of the tools necessary to
complete the project. “Even though I
had thee or
ooriginal
igginal fonts
fonnts and experience
of the pre
previous
evi o s Franklin project,” says
viou
Berlow, “I still relied on a huge stack of
Franklin Gothic specimens. These were
always present when I worked on the
design. You have to be something of
a type hawk to find them, but accurate
type specimens provide the details that
separate a simple reworking from a new
interpretation.” The end result is over
70 fonts of text and display designs
developed with legibility and usability
as a primary goal. The designs are, in
fact, so different from the original ITC
Franklin Gothic that they have a new
name-simply, ITC Franklin.
www.fontbureau.com
A publisher’s view
Tyndale House Publishers also had
a need for a highly legible typeface
family, but provided Brian Sooy, of
Brian Sooy & Co., with a very different
design brief. The publisher of the New
Living Translation (NLT) of the Bible
was about to print a new edition-but
wanted to make some changes in the
design and typography. They had
many considerations on the design
starting with one thing and it turns out
to be something different.
It takes on a life of its own,” he explains.
Montalbano works by starting with a
medium or book weight to work out
the basic structure of the design. He
then goes on to create both heavier and
lighter weights, playing around with all
possibilities in between, often moving
away entirely from the weight
he started with.
“When I move from the medium to the
light or heavy weight, issues usually
come up relating to fit and shapes that
can wind up changing the entire design,”
he notes. “Experience teaches you to
let the design speak to you and tell you
what it needs to be. It needs to be able to
breathe and grow on its own.”
Montalbano designed Giacomo
without any square corners; they
are all chamfered, which contributes
to the warmth and liveliness of the
design, especially as it gets larger.
Although Giacomo is primarily a text
face, Montalbano added nuances and
details that emerge only at larger sizes,
allowing the design to have a distinct
personality when set for display. “I
designed Giacomo to work across a
broad range of sizes-as it gets bigger,
details emerge that are invisible at text
sizes. At large sizes, this design is
all about funny quirks and shaved off
corners, which make all the difference,”
he says.
The entire Giacomo family was drawn
over a period of two years, interwoven
with Montalbano’s custom type work,
which is the mainstay of his type
design business and occupies roughly
three quarters of his time. Work on his
personal designs must take second
place to his custom work, so he has
learned over time to hone his skills to
accommodate it all.
side, but thought that the type issues
were relatively simple. “We wanted
the type to achieve a better character
count,” explains Tim Botts of Tyndale.
“We wanted to maintain high levels of
legibility and have a strong presence
on the page.”
Tyndale had used ITC Giovanni by
Robert Slimbach for the previous
edition, but the electronic modifications
they imposed on the face to meet
production criteria weakened its image.
Tyndale first approached Slimbach
to redesign Giovanni but, when they
learned that he would not be able to
start on the project for three years, they
turned to another type designer.
Brian Sooy & Co. specializes in graphic
design and visual communications
for higher education, technology, and
the healthcare markets. Its principal,
however, is also an accomplished
typeface designer with over a dozen
typefaces to his credit. “There’s
something about letterforms that
are totally captivating for me,” Sooy
says. “It’s probably attributable to my
exposure to a Speedball lettering book,
Alfon
After the completion of the entire
Giacomo family, Montalbano was
playing around and adding serifs to one
of the weights, and he liked the way
it looked. “I like the proportions and
features of Giacomo, and I thought it
would be fun to create a serif typeface
that had those components.” Alfon was
not designed to necessarily be used with
Giacomo or be considered as part of a
super family, thus the change of name.
Alfon is a complementary design that
shares its structure and proportions with
Giacomo, and although it is harmonious
with its predecessor,
it is a different design.
It has four weights with corresponding
italics. Why not six like Giacomo?
According to the designer, not only is it
more difficult to make extreme weights
for a serif design, but they are not that
beautiful or even useful. “You’re really
making a tool for people, and you
want to make the tool as functional as
possible across as broad a
range as is useful.”
Type destiny
If Montalbano has a design philosophy
for his personal work, it is that one must
design for oneself. “I have no idea if
anyone will like what I design or what
they will respond to. You can’t really
design with that in mind because you
never know what people will like,”
he says.
James remembers getting in trouble in
first grade “because I drew a hooded
two-story ‘a’ or I put a little serif on a
letter. I remember my teacher saying
‘What’s that? You weren’t taught to
print that way.’ Then I’d point to the
textbook, which was probably set in
Century Schoolbook, and say ‘Well, it’s
in the book!’” It seems to have been
Montalbano’s destiny to be
a type designer.
a box of Speedball nibs, and a bottle of legibility. In addition, the “horizontally” in mind when months had passed.” He
ink at the impressionable age of 12. of the lowercase letters at the x-height says that the key to a consistent design
“We started with the idea of working was emphasized to aid the reader’s eyes was keeping good notes.
with the semibold weights of my travelling along that line. “Essentially www.briansooyco.com
typeface Veritas,” he recalls. “The I tried to distil the letterforms to their
essence,” says Sooy, “and still give the Two good views
plan was to modify this design to ITC Franklin and Lucerna are about as
meet Tyndale’s needs.” Veritas was design some distinctiveness.”
different from each other as two designs
sufficiently condensed to meet the He found that the length of time can possibly be. Yet they both meet
project brief but the hairlines and serifs the project took was the biggest Ward’s criteria for legibility, and are
were not as pronounced as the publisher hurdle to the design process. Sooy designs with spirit and personality -
wanted. After considering an adaptation recommended-pleaded- to be given the the best of both worlds.
of Veritas, it was jointly decided that opportunity to create the whole family
a completely new design would best at once, but Tyndale had not planned on
serve Tyndale. The result was Lucerna, a using the font beyond what was in the
typeface designed specifically first edition of the NLT. Initially only a
for the NLT Bible. roman and italic were commissioned.
Then, after some time they asked for a
Design considerations
bold, then small caps were requested-
“The aging population was also a factor
and finally a bold italic. “Lucerna
in developing Lucerna,” says Sooy,
became the signature font for the NLT2,”
“and the need for a heavier font to aid
Botts says. “We went back to Brian
legibility.” The individual character
several times to complete the family-
widths and how the characters would
always under tight deadlines.”
fit together in words in narrow columns
“The project stretched over 18 months,
(typical of many Bibles) were also taken
with different portions of the family
into consideration. Because Lucerna
being completed at different times,”
would be set small in many instances,
recalls Sooy. “It was a challenge to keep
Sooy designed the lowercase around a
the original intent and visual concept
large x height to ensure high levels of
7
>> Sleepwalkers
> Board game concept
> Box, board, cards, pawns,
instruction booklet
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2 - 4 PLAYERS 15+ BE THE MASTER OF HORROR MOVIE TRIVIA

Welcome to the
NIGHTMARE!
We will be happy to hear your
questions or comments about this
game. Write to: Hasbro Games,
Consumer Affairs Department, P.O.
Box 200, Pawtucket, RI 02862 or call
888-836-7025 (toll-free. Canadian
Sleepwalkers, the comprehensive horror movie trivia board game
Bri consumers please write to: Hasbro
ng that challenges you to recall your most horrifying experiences Canada Corporation, 2350 de la
fro back within the realm of the ever expanding horror genre. Province, Longueuill, QC,
m
the thos
Walk with the Torrance family through the haunted Canada J4G 1G2.
passages of the Overlook Hotel, travel the
dea e fe The HASBRO and PARKER
d a elin marshy swamplands in search of the BROTHERS names and logos are
nd gs o forgotten cannibal tribe, and cringe R & C 2010 Hasbro, Pawtucket, RI
exp f t at the sight of Tom Savini’s 02862. R denotes Reg. U.S. Pat. & TM
er i e r r o incarnations! office. All Rights Reserved.

SLEEP
enc r The registered trademark
e... Sleepwalkers, the trademark Be

.WALK
the Master of Horror Movie
Trivia, the distinctive design of

ERS
the gameboard and games cards,
and related proprietary rights are
owned by Horn Abbot Ltd, and used
in conjunction with games used
and sold under exclusive license to
Hasbro, Pawtucket, RI 02862. The
HASBRO and PARKER BROTHERS
names and logos are R & C 2010
Hasbro, Pawtucket, RI 02862.
All Rights Reserved. R denotes Reg.
US Pat. & TM Office.

SLEEP On each roll of the die, you

WALK
may select which direction
GAME PLAY ™ You can not move both forward and back you want to move Subsequent turns:
First turn: on the track in the same move. ™ You must along the track as Whenever you answer a category

EERS
RS
On your first turn, roll the die and select
which direction you want to go and either
the inner or outer circle. Bear in mind, once
you do one complete revolution, you must
proceed to the other parallel wheel and
continue in the opposite direction
to the one you travelled on
RULES OF PLAY If you
the other wheel.
For 2 to 4 players or teams/ADULTS land on a
symbol, another
OBJECT
player will ask you a
To move along the circular track correctly answering questions, and
question in that category:
to collect parts of the mosaic puzzle to correctly answering questions
The other player draws the first
in each of the seven category “headquarters” (signified by the brown
card from the box and reads the question
symbols). To win, a player (or team) returns to “The Void” hub and
next to the appropriate symbol. Answers
correctly answers the game-winning question in a category chosen are upside down on the question side of
by the other players. the each card. When done
with the question, place
EQUIPMENT
the card in the back of
SLEEPWALKERS gameboarY™question and answer cards in box
the box, behind the other
™&six-sided diZ™28 mosaic tiles & 4 mosiac puzzle slates
cards. If you answer your
SETUP first question correctly,
Select one token and seven mosaic tiles, one in each of the six category continue your turn by
symbols. Roll the die; the high roller goes first. All players start in “The rolling the die again and
Void” hub in the top left of the board and proceed around the circle. moving that number
Play moves in either direction around the track, of spaces.
clockwise or counterclockwise.
proceed to “The Void” and answer the
move the number of spaces shown on the
die. ™ Any number of tokens may occupy
the same space at the same time. ™ If
you answer incorrectly, play passes
to the player on your left.
MOVING
THROUGH
“THE VOID”
You can not land on
“The Void” until you have collected all six
mosaic tiles. If you do however have
all six tiles in your slate, you may
you attempt to move headquarters question correctly,
towards category put that mosaic tile into your slate.
symbols to try for But if you answer incorrectly, on your
scoring tiles in each next turn you must move out of that
of the six symbols. category headquarters for a question
before re-entering and trying again for
that tile piece. You do not have to try
that same category immediately; you may
move elsewhere on the board and return
to it later.
There are 9 “Roll again” spaces on the
track. If you land on one, continue
your turn by rolling the die and
moving again.
WINNING THE GAME
Once you’ve collected one symbol scoring tile in each category,
make your way to “The Void” and try to answer the game-
winning question. You must land in “The Void” by exact count; if
you overshoot “The Void”, continue to nearest symbol; then, on
your next move, try again to hit “The Void” by exact count.
When you do hit “The Void”, the other players select the category
of the game-winning question from the next card in the box.
Answer the question correctly, place your final, pawn tile in the
slate, and you win! Answer it incorrectly and you must wait for
your next turn, leave “The Void”, answer a question and then re-
enter “The Void” again - by exact count! - for another question.
NOTE: Since a player continues his or her turn until a question is
answered incorrectly, it is possible for one player to move around the
board and collect all six scoring tiles, then move into “The Void” and
win the game - all on one turn. If this happens, any player who has not
yet had a turn is permitted a chance to duplicate the feat and create a
tie. for the game-winning, final question.
THE CATEGORIES ARE SYMBOL BASED...
Full Moon - Directors 3/4 Moon - Exploitation Films
Half Moon - Controversy 1/4 Moon - Psychological Films
New Moon - Monster Films Bonus - Special Effects

on.
winning question (see right).