Posts Tagged ‘typography’

HAHA WOW GIF

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I’m still having fun with these animations. For those that have asked, I’m doing these with Photoshop. They’re just simple frame by frame animations set at .1 seconds/per frame. I like that fact that I don’t really know how they are going to turn out until I finish them. This one turned out better than I was hoping!

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Mad Men S7E12: This Business Doesn’t Have Feelings

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Prints and more available through Society6. / Daily Drawing #1878. / Support this daily drawing project on Patreon!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 12:

Episode title: “Lost Horizon.” Maybe based on the 1933 novel by James Hilton, which was the origin of Shangri-La.
Episode timing: Well, they’ve moved into the McCann building. Don was supposed to be driving Sally to school. And Bert Cooper said he wasn’t ready to say goodbye to the summer, so… August? September?

This was a really bleak episode for something that takes it’s title from where Shangri-La originated, jeeze. I guess it’s a pretty bleak series. We knew this.

So the troops have mostly moved over to the McCann building. Seems like for a while (a couple seasons) each episode has been a month after the previous episode.

Don’s new office is about the same size, or maybe even bigger. The first thing he does is test the windows will throw the suicide theorists into a tizzy. Don then goes up to see Hobart and Ferg and gets pumped up. He’s getting welcomed to the club, apparently, and he seems to take a shine to it. Unfortunately, Hobart and Ferg seem to have given the same speech to Ted Chaough (Don hears the same thing said to Ted that was said to him about “taking them up a notch”). So what does that make Don? How many white whales does Hobart have? Also, Conrad Hilton might be back! In the meeting with Miller, Don realizes how much of a part of the machine he is. The meeting is made up of only half the creative directors at McCann. Ted is buying into all this, but is still amused at Don walking out of the meeting. I thought the image of Don looking out the window in the meeting was pretty corny. The VP of Connelly Research has eyes that are very close together.

Seems like this may have been the Goodbye to Joan episode. She’s getting a settlement of $250K to leave McCann, so I’m not sure what else there is to see. She got a bum rap and hit the McCann glass ceiling pretty hard. The episode started with Joan’s welcome wagon at McCann, two copywriters hoping to work with her. “If it’s in it, near it, or makes you think about it, we’re on it.” Joan takes a pass at asking Don for help in the elevator, though she hints at something being wrong. She asks Ferg for help, maybe thinking she still had juice. Ferg takes it as an opportunity to hit on her. Then she takes it to Hobart who, actually seems to be kind of a dick. She was going to take McCann to court, but Roger made her see the sense of settling for half the money that’s owed. $250K in 1970 money is about $1.5 million in 2015 dollars, so she’s still doing pretty good. “Who told you, you got to get pissed off?” “I thought you were gonna be fun.” Ferg is a slime. When Roger has to convince Joan to take the money, she obviously feels like she’s giving up more than half her money. At SCP, she was making a career and getting gratification from her than her looks for the first time. McCann took that away. “”It’s only about the money.”

It occurs to me that this may have been the Goodbye to Roger episode, too, though I hope not. He and Peggy drinking in the SCP office was a fun romp (especially the Peggy rollerskating around the office). Roger needed someone to talk it all out with, to say goodbye with. “We all have regrets.” “No, I did it, I just needed a push.” He tells Peggy a story about the Navy, he was scared, and just needed a push. I’m not totally sure how this applies. If I had more time, I bet I could figure it out. Who knew Roger could play the organ! Peggy walking into the office with the sunglasses, cigarette, and painting was pretty awesome!

Something else occurred to me during the Peggy/Roger scene, though. SCP wasn’t great for women or minorities, but it was certainly better than McCann. Joan and Peggy were able to grow their roles at SCP, but we’ve already scene Joan pushed down, and Ferg hinted Peggy would be, too. They think Peggy is a secretary and can’t even get her office set up. In any case, “You’re very amusing.” Roger’s secretary, Shirley, implied that SCP was an alright place to work.

This couldn’t also be the the Goodbye to Betty episode, is it? When Don goes to pick up Sally, she’s reading a Freud case study, “Dora,” which is about a woman diagnosed with hysteria, with loss of voice as a symptom. Telling!

So than Don decides to go to Racine (Hey, Bert!) looking for Diana, but “she’s a tornado, leaving a trail of broken bodies behind her.” Don wants to find her because, “she seems so lost.” I don’t know if I realized before that she’s the female Don Draper. Or rather, the messed up Don from a few years ago. I don’t really want to talk about this very much.

The scene where Don is about to pee, and then a quick cut to Roger pouring a bottle, I see what you did there, Mad Men.

Why is the SCP office in such shambles? I understand everyone just moved out, but I don’t understand why ceiling panels are missing.

Freaking Harry Crane.

Last song: Ground Control to Major Tom, I don’t think Major Tom ever did come home.

Mad Men S7E11: It’s Gonna Be Great

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Prints and more available through Society6. / Daily Drawing #1873. / Support this daily drawing project on Patreon!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 11:

Episode title: “Time and Life.” (Time Life Building) I’m exhausted and this might be sloppier/less informative than usual.
Episode timing: No clue! When are applications due for Greenwich Country Day?

So, Lane Pryce (Jared Harris) directed this episode. I think this was his first. There were a few really great shots (Pete and Ken in the opening scene, Don, Roger, Ted, Joan having a drink in Don’s office, and the partners after the Hobart meeting.), but I don’t know if that was his doing.

Well, here we go again. The agency is changing! Ohnoes. It’s as if this hasn’t happened once a season since… I don’t know. The agency is getting adopted, absorbed, eaten, swallowed, dissolved by McCann Erickson. “They waited so long, I thought we were safe.” The Partners see this as a bad thing, McCann tries to spin it as something good. “I shouldn’t have to sell you on this. You are dying and going to advertising heaven.” I don’t know what to think! From Ted’s perspective, someone else will be in charge and he’ll be able to just work. Roger’s losing his agency and namesake, and Joan, as far as I can tell, is thinking only about that meeting from earlier in the season where Peggy and her were sexually harassed. “Need you to be the voice of the bright side.” “For the first time I feel like whatever happens is supposed to happen.” “They don’t know who they’re dealing with.” I’m not really sure what Don thinks except he generally does not work well with a boss so we can guess. It just feels redundant, this storyline, and I wish there could be some tension and something happen, without it being more agency upheaval.

(I think Harry Crane was somehow a partner at one of the previous agencies and decided not to sell or something, this makes me chuckle.)

The Partners come up with a plan to keep the agency together by moving to California with the conflicting accounts. “We’ve done this before.” They all feel pretty, pretty, pretty good about it, butttttt Hobart cuts them off and says they’re coming to McCann and that’s it. (“I shouldn’t have to sell you on this. You are dying and going to advertising heaven.” This was just one meeting in tonight’s episode that did not go as planned. Roger and Pete try to convince Ken to move with them. Pete and Trudi try to convince Greenwich Country Day to accept their daughter. (This was funny in that the headmaster kept giving different reasons why he wouldn’t accept her, but the real reason is a centuries-old feud between the Campbells and the McDonalds.) And The Partners telling the agency that they were being absorbed, and them being comically ignored. Basically, no one’s buying what they’re selling anymore. They’re out of touch, which is about the worst thing you can be as an advertising agency. It seems sudden for them to have lost it so quickly, maybe they’ll get it back at McCann.

The other seemingly big storyline was Peggy telling Stan about having a child. Pete sees a kid hug Peggy and gets a look. He remembers. I thought the baby was living with Peggy’s sister at one point, but that is hazy. “You do what you want with your children, I do what I want with mine.” “I don’t know, but it’s not because I don’t care. I don’t know, because you’re not supposed to know, or you can’t go on with your life.” “You don’t know lots of things about lots of people.” Peggy’s mad at that lady for yelling at her, but won’t let Stan judge her for the decisions she makes. It’s complicated and I guess I don’t have a ton to say about it.

I say it every other week, or maybe more, but I can’t get over the fact that the “Don Draper is really Dick Whitman, and shh, no one knows,” storyline isn’t a storyline anymore. There are subtle references every now and then, but it’s just not a source of tension anymore. Why?

Don and Roger messy at the bar was fun. Roger mentions how there will never be anymore Sterlings because his daughter is his only child, like he was. “No more Sterling Cooper, and no more Sterlings.” Obviously, the loss of the Sterling Cooper agency hurts for this reason. Don says something about aspiring to be like Shakespeare or something, and Roger says this drive is what he envies about Don. Don says he envied Roger not having to have this drive. Just a quick little scene about being born rich and born poor, I guess.

Lastly, if you’re still reading, when Don starts to tell The Partners about moving to the west coast, he shuts the curtains. Joan tells him to open them to keep the calm. This struck me as a nod toward transparency being the right way. I wonder if this is a recurring theme I haven’t noticed before, or if it’s a new theme to keep an eye on.

Last song: Money Burns a Hole in my Pocket by Dean Martin

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Who is this guy?

After starting his career as a graphic designer at award-winning studios in New England, Chris accidentally became an illustrator. He’s pretty happy about that. This strange transformation was a result of his daily drawing project that he started in late 2007, in fact he’s still posting a new drawing every day.  Chris holds degrees in Visual Communication Design and Art History from the Hartford Art School at the University of Hartford, where he is currently pursuing his Masters Degree in Illustration. He has been the recipient of Gold Awards, Silver Awards, Excellence Awards, Judge’s Awards and the Spirit of Creativity Award from the Connecticut Art Director’s Club as well as BoNE awards from the AIGA and a Silver Award from Gaphis. In addition his work has been published in numerous books and publications including Print Magazine and Communication Arts. His client list includes; Converse, Nike, Chronicle Publishing, Boston Magazine, McDonalds, Scholastic, Harvard Business School Publishing, Warner Music Group, Republic Records.

Represented in France by: Valérie Oualid

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