Posted by: benshelor | October 28, 2008

“Helvetica” Critique

The documentary film “Helvetica” presented an interesting and informative view/s on the world of art and advertising in which we find ourselves every day. Advertising in particular has become a major part of modern America (and the rest of the industrialized west and the modernizing world) and is the main avenue for subtle artistic expression and design meant to convey certain emotions. While overall design plays a major role in bringing the eye of the viewer to the work and making them read the words on the page/sign, the type face in which those words are written is a subtle yet quite important feature of the design. Certain type faces convey different meanings; Helvetica is a simple, calm, conservative, and modern type that has become the distinctive feature of the public face of some of the world’s largest companies.

The film followed the development of the face from a Swiss type foundry to the computerized design and implementation of type used today. In contrast to other type faces used in the past, Helvetica (as it was eventually named after some intervention from the German mother company who owned the Swiss type factory) was very simple and legible and represented the end of a line of thinking and design in the creation of type. It was the ultimate expression of simplicity and function in a modern age driven by marketing and capitalism in which name recognition and branding can mean death, survival, or prosperity for a company. The 1950s saw a complex coagulation of different faces, colors, and designs in advertisements, but a mere two decades later, everything had become much more simple and instructional (take, for example, the design of Coco Cola ads from the 1950s to the 1970s). With the simplification of the type came the simplification of the ads and the design for the masses, and vice versa. Helvetica became the face of “modern” companies in the 1960s like American Airlines and Lufthansa (Germany’s national airline) – chic, clean, and recognizable designs that still represent these companies today. The face instills in the viewer confidence in the company’s stability, permanence, and prominence. The economic boom of the 1990s saw the greatest rise in the use of Helvetica- companies designed to capitalize on the growth of the technology sector and the wealth of those benefitting from that growth embraced the type as a fashionable representative of the technology that had fostered the jump in wealth.

While the face has represented the upmost in clean, fashionable, western design, there was naturally a reaction against Helvetica by those in the art and design world that viewed the face as boring and overly simplistic. Artists like David Carson reacted against the modernist movement (that had embraced Helvetica) and designed faces and work that was more complicated and visually intriguing (although, some argue, defeating the purpose of design by making the work more difficult to read). This post-modernist movement saw type not merely as conveying the literal message of the words but as a means for displaying emotion more complex than stability and simplicity for some works. They saw Helvetica as a non-descript and boring face suitable only for non-descript, boring ideas or words.

Helvetica’s adoption by so many modern artists and graphic designers speaks to its simplicity and functionality- a face that has in the last five decades come to represent the modernization of the world and the capitalism that has funded and driven that modernization. With the design of something as fundamental and elemental to our society as the 26 letters of the alphabet, the type face Helvetica has become the visual manifestation of principles that have driven societal development.

Posted by: benshelor | October 28, 2008

BLISS Poster

Posted by: benshelor | October 21, 2008

Movie Poster

Posted by: benshelor | October 20, 2008

Advertisement Critique

The advertisement for Bendix-King Avionics in the May 2008 issue of the AOPA (Aircraft Owners and Pilots Association) shows the darkened image of the face of a pilot with new and enticing avionics displays reflected brightly in the lenses of his sunglasses. In large white letters, the ad says “confidence sharpened by experience.” At the top are a brief description of the product and the logo of the Bendix-King company.

The ad makes excellent use of contrast and color to draw the viewer’s attention to the appropriate portion of the work. While the focal point is small, it is centrally located and clear to any observer. The intense blue color of the majority of the ad is calming and cool, reflective of the calm, collected mentality required of pilots (and the underlying image that pilots will be made even more confident with the use of this new equipment) and the blue of the sky in which pilots carry out their work. The earthy reds and greens (of the map and the panel display reflected in the glasses) compliment the blue tone of the background and make the focal point stand out even more. The relatively small size of the focal point (the only portions of the new product that are actually visually displayed) gives the ad a mysterious quality that makes the viewer want to see more. Contrast is also seen with the dull, rather dark background and the bright white of the words on the page. As the eye of the viewer moves down the page from the focal point, they are immediately drawn to the words. “Confidence” and “experience” are two words that pilots attributes that pilots strive for and the ad is complimentary to the viewer (an image tailored to the audience of the magazine- almost exclusively pilots and aviation enthusiasts) while highlighting the advantages of the system. The largest word on the page, “Experience,” also refers to the reputation and history of the manufacturer, an attempt to instill trust in the readers and pilots considering buying the product.

The ad also displays the use of asymmetrical balance. While the human face is usually close to symmetrically balanced (in this case, even more balanced with the addition of sunglasses and a headset), the use of the text on the left side of the work distracts from the symmetrical balance and creates a more visually interesting and intriguing experience.

This advertisement is effective because it gives a sense of mystery and awe to the product. While the ad is focused on showing the advantages of a new system, only small portions of it are shown to the viewer, intriguing the viewer to look for more. While this aspect certainly provokes some viewers who are interested in the technology, the lack of flare and visual excitement outside of the focal point may make some readers simply skip over the ad without a second thought. Perhaps the addition of some larger pictures displaying just what the system is capable of would stop and attract more viewers to the ad as they were casually flipping through the magazine.

Semiotics plays an important role in the piece. The pilot depicted is wearing an aviation headset made by Bose, one of the best and most expensive available today used by professional pilots. His sunglasses are of typical aviation style and his look is that of an aviator who is wealthy, experienced, competent, and healthy. These paradigmatic relations between the objects in the picture and the potential buyers of the product (readers of the magazine that might own their own aircraft or encourage their employers to purchase the equipment) underscore the intent of the ad to somewhat mysteriously provoke the viewer into further investigation.

One of the most interesting, engaging, and fascinating pieces of art ever created is the famous “Drawing Hands” of Dutch artist M.C. Escher. This 1948 work is almost photographic in its accuracy of the images of the hands rising off the page and drawing one another and uses many of the elements of design to create the desired effect.

The images of the hands are an amazing study in the use of line and contrast. Although the piece lacks color (other than the many shades of gray), Escher skillfully used contrast and shading to create the illusion of texture and dimension in a two dimensional work. The hands are so stunningly realistic that they viewer feels as though he/she could reach into the picture and touch them, and, as in many works of Escher, feels as though they are seeing the work through the perspective of the artist as though the viewers themselves were creating the work. The soft, curved lines of the human form contrast with the sharp, artificial lines of the pens used to create the drawings and strike a balance between the natural and the man-made. Escher uses line and color not only to outline the objects on the page but also to create color/shading differentials that themselves creates lines and differentiate between portions of the work. For example, on the top of the hand, lighter shading creates differentiation between the fingers, not the use of dark line as is commonly thought. Short, light lines across the back of the bottom hand create texture accurate to that of skin and add to the pieces realism.

“Drawing Hands” is also a study in the use of light. The shading done on each hand that makes them seem so realistic is the result of the light conditions under which the viewer sees the piece. The shadows under the hands are consistent with a light source behind and to the right of the viewer/artist. The shadows beneath and across the hands are what changes this piece from another semi-realistic rendition of reality to a stunning creation of the human mind that is almost of perfect mirror of the world in front of us.

The piece is not symmetrical but nonetheless exhibits excellent artistic balance and proportion. The similarities of the hands on both sides of the page keep the viewer interested and engaged in the whole peace, not just the portions to which the eye immediately jumps. The hands are almost identically sized, exhibiting the use of accurate proportion so as not to draw substantially more attention to one than the other. The focal point in the piece is the hand on the left side because of its dark shading (a contrast to the rest on the paper and background) and because of the western tendency for the eye to move from left to right and top to bottom. The slight line of shading running diagonally across the middle of the piece has some function in separating two similar objects. Unity can be seen clearly in the piece: the two hands are extremely similar and the piece is calm and peaceful to the eye.

Escher’s “Drawing Hands” is an excellent piece of visual art because it accomplishes two of the major goals of art: it is fascinating and thought provoking. The piece requires a second look because of its stunning realism and upon closer examination, the thought process goes wild. The viewer admire Escher’s skill and takes into account just what has been accomplished with only pencil and paper to make this image seem as if one could reach out and touch it. It makes the viewer think of the amazing capacity of the human mind and capabilities to create a work that is simply breathtaking in its complication and skill.

Posted by: benshelor | October 15, 2008

The Principals of Design

The principles of design are the underlying concepts of art and design that make them pleasing, attractive, or thought provoking to the viewer.

Balance is the artistic principle that creates visual weight. The piece below exhibits asymmetrical balance (or informal balance). While the focal point of the piece is near the middle, it is not in the exact center of the piece and the background on either side is similar but not the same.

Marcel Duchamp
Nude (study)- Sad Young Man on Train (1911-1912)

Contrast is seen in art when the two things in the piece (two objects, the subject and the background, etc.) are different- it draws the viewers’ attention and creates interest in the piece. Color is used to create interest in the first piece by Georges Braque (“Landscape near Antwerp, 1906)

The piece above, Fernand Leger’s “Contrast of Forms” from 1913, is an excellent example of the use of shape and contrast. While contrast is typically thought of as being the use of complimentary colors, Leger shows that the contrast of shapes can draw the viewers attention and keep them interested just as much as can color. The piece is also a study in the use of line- curved lines mix with straight lines to create a complicated yet engaging piece.

Proportion is the relative size, location, and amount of one thing versus another in art. This piece (one of my personal favorites) by Dutch artist M.C. Escher shows excellent use of the principle of proportion. The hand in the bottom of the frame gives some reference as to the nature of the glass globe that the viewer (and in this case, also the artist) is holding and allows the viewer to see the proportion of the entire room to the hand despite the size differences.

Pattern is created by repetition of line, shape, or even color. This piece by American painter Frank Stella (1967) is the use of pattern and repetition with contrast. The circular lines are interrupted by straight lines to create an interesting dynamic to the piece. The curved lines are placed in a circular form that creates a focal point of the piece. The painting also uses asymmetry to keep the viewer entertained.

Rhythm is the use of pattern and other principles of art to guide the viewer into the piece. This 1910 painting by Georges Braque shows rhythm from top to bottom as the eye of the viewer follows the straight lines in both directions. Graduations in color and the repetition of the shapes at the bottom of the work draw the attention of the viewer.

Emphasis is the artist’s way of bringing a certain part of aspect of their work to attention first. The focal point of the work is where the eye of the viewer is first drawn when looking at a piece of art. Despite its small size, the focal point of this piece by Vasily Kandinsky (“Landscape with Red Spots #2”, 1913) is the red dot the middle. Red is found elsewhere in the piece and this is not the most significant shape, yet its central location and contrast to the colors and shapes around it make the point the first place to which the viewer’s eye is drawn.

Unity is the use of repletion of color or shape to create the idea that everything in a piece fits together. In Picasso’s “Woman Ironing” from 1904, unity is created through color and shape. The color remains basically uniform throughout the piece and each object (including the subject, the woman) exhibits similar use of smoothly curved lines that create unity in the piece.

Variety is almost the opposite of the quality of unity. It is the creation of a something that differs from the rest of the scene in some way and thus draws attention. Picasso uses variety in his “Carafe, jug, and fruit bowl” from 1909 by making the color and shape of the fruit bowl in the middle of the frame different from that around it. The green of the fruit in the bowl differs greatly from the color of the whole painting and the shape is emphasized by the color.

Posted by: benshelor | October 8, 2008

Art and Architecture in Colonial America

In taking with the artistic currents of the time period and exhibiting her always close connection with the cultures of the continent from which her people came, the art and architecture of colonial America (1650-1780) initially followed closely in the footsteps of European design. The industrial revolution taking place in Europe in the 18th century thus impacted not only European but also American art and design of the time, a fact evidenced by many examples from the colonies. As the colonies’ own revolution eventually formed and progressed, a new and more unique form of design emerged incorporating (like the United States that would eventually rise from the war) a collection of ideas and inspirations from all over the world. The art and architecture of the colonies forges our modern view of the history of our nation and still today exhibits substantial influence on American society (especially in architecture). The work of the period, be it two dimensional or three dimensional, displays common elements of design that affected European and American art: line, form, and color.
Early colonial and Georgian design (so called, like that of “Victorian” art and design, because of the name of the English sovereign at the time) in architecture sees extensive use of line to impart the image of stability to the structure. The exclusive use of straight lines both vertical and horizontal and the simple rectilinear shape of the structure give the viewer the idea that the structure is sturdy, stable, and trustworthy because of the structures horizontal relationship to gravity. However, as the period progressed, American architectural designs became slightly more complex and saw the addition of several other influences in their design. By the turn of the 19th Century, designs such as that for the U.S. Capitol building were introducing ancient Greek and Roman architectural ideas. The rising columns (patterned off of ancient Greek architecture) and the use of the vertical line were used to impart an awe-inspiring feeling of loftiness and grandeur in the capitol and other public buildings. The inclusion of a dome (as seen eventually in the Capitol and in Jefferson’s home at Monticello) harkened back to the Romans- a powerful intellectual and artistic influence on the nation’s founding fathers. Color was limited in colonial architecture because of limitations in materials but homes were painted in mute, natural, and neutral colors. Some were white (as eventually were many of the buildings in the nations capitol, perhaps sending the underlying message of the newness of the creation of American government and the innocence of the new nation) but many gray, unpainted wood brown, or red brick. Colonial homes were designed to be functional above artistic and therefore were painted only colors that reflected this mentality.
Perhaps the images that most forge our impression of the colonial era are the portraits of the leaders of our emerging nation. One in particular (that of George Washington pained by Gilbert Stewart) exhibits the use of color and light in the time period. Stewart’s use of light, contrast, and value brings forth the object of the painting to the foreground and provides an instant and clear focal point. Washington is dressed in the clothes of a gentleman and leader- a fact undoubtedly considered in order for the piece to send the appropriate, patriotic message about the great figure. In connection to the use of line in colonial architecture to impart stability, Stewart’s image of Washington uses the softly curving lines of the human figure and organic shapes to present an image that is comforting despite the use of such dark color. There is very little color in the piece, simply a dark background with light shining down upon the subtly and mutedly colored figure of Washington. Stewart makes excellent use of value changes to form the outlines of figures instead of drawing the lines themselves and presents an accurate and eventually famous picture that has contributed greatly to the image of George Washington for generations.
Finally, design (in its most common conception) came into play with the printing of colonial newspapers that fostered the American revolution of 1776. Printing presses across the colonies churned out newspapers that not only carried the news and opinions of prominent leaders to the people but also incorporated specific stylized elements. The Massachusetts Spy, for example, contained vast amounts of text (itself a study in the artistic use of line) and an elaborate header with complicated designs and messages. The header was written in calligraphy and spiraling lines. The crests on each side of the title covey patriot sentiment in simple black and white images easily repeatedly printed. Underneath the title is perhaps the most telling of the design elements on the page: a simple line drawing cartoon of the snake (with different segments representing each of the colonies) and the political slogan “Join or Die.” This was a common political and social satire in the days leading up to the revolution that is here conveyed by the use of art. The snake’s design uses curving, organic shape and lines to make the creature evident but incorporates writing to explain the meaning of the satire. Point is used to color in the snake thought small dots of ink (very conducive to printing). The lack of color was simply because of the expense or simple lack of colored inks or dyes used in printing mass media of the period. Newspapers were widely distributed and printed everyday and color was simply not a viable option.
While colonial design first and foremost followed the whim of European culture of the day, as the revolution progressed and people began to see themselves not simply as European colonists, a distinctive sense of American art and design began to slowly emerge. It was not until well into the 20th century that any American art movement was taken seriously by Europe (or even other Americans) but the slow evolution of American art as we know it today began with the art of the colonials as it blended into a reflection of American society, drawing influences from many different cultures and backgrounds to form our modern notion of art and design.
Personally, I am attracted to this type of art and design because it speaks to the culture and history of the nation in which I live. The United States quite literally grew out of the colonial period and it was this time period that saw the advent of our modern political system and the nation that has had the greatest impact on world events in the history of mankind. Colonial art is a reflection of what it is to be American. It is a reflection of our European background, outside cultural influences, and constant desire to be independent and free and evolve in our own distinct direction. As evidenced by the subtle but eventually very evident split from European artistic tastes, the United States has become her own separate artistic, architectural, political, and social sphere.

Posted by: benshelor | October 8, 2008

Lumiere Film Critique

My favorite of the Lumiere films produced by the class was that of Matt Mariacher showing a still shot through a fence of a basketball game. The film provided an interesting viewpoint that made the viewer feel as if they were hanging on the fence really watching the game. The still camera (achieved through the use of a tripod) makes the film seem professional. I like the fact that the game moves from end to end on the court and that you only see that action on one end. This reflects that fact that the viewer does not always get to see everything (especially in modern cinema, the viewer sees many perspective from many people and knows a great amount of information. Here however, the viewer is limited, as they are in real life, only to what they can see). The Lumiere film was a difficult one to make. In order to keep the film entertaining, one must find an everyday event that is worth devoting your time to and one that the objects in the film (most likely people) would not expect and therefore would not act. My film, as with many in the class, was an instance of acting instead of capturing a real world situation. Despite attempts to keep things as they could conceivably be, people act differently when they know there is a camera pointed at them. Hindsight would show that I wish that I had done something more mundane- something more everyday that could still be interesting without necessarily involving people. I am happy with the outcome of the work but would probably change it given the chance. It is difficult (especially when one is having second thoughts about the work they produced) to have it shown to a large group, especially a group of one’s peers all striving to produce the same effect. As with all learning experiences, criticism allows the author/producer to learn what the audience likes or doesn’t like and to think more critically about their own work the next time they set out to produce something.

Posted by: benshelor | October 1, 2008

Fantasy Film Deconstruction

Fantasy Films

“A fantasy film is literally the ‘mise-en-scène of desire,’ the setting whereby impossible desires may play out to their logical conclusions.”

Definitions and Theories:

· Fantasy encompasses desires: “dreams, daydreams and wishes”

· Created by feelings of “awe and hesitation” brought on by “strange and/or improbable events”

· In film especially, these feelings are felt both by the viewer and character

o Through character: a continuum of questioning the alternate reality or events

o Through viewer: understanding the reality as questionable or accepting the world as reality of the story

· “Fantastical” fantasy = simply outrageous elements, understood to be unreal

· “Uncanny” fantasy = the implausibility of the narrative can be described rationally or psychologically, e.g. dreams or hallucinations

· “Marvelous” fantasy (aka subcreation or “high fantasy”) = the viewer and character is supposed to accept the fantastical elements without questioning them

· Purpose of Fantasy:

o Medium of escapism

o Raises questions about reality

o Reveals repressed dreams or wishes

o “Fantasy makes explicit what society rejects or refuses to acknowledge”

o Can be explicitly subversive

o Vehicles for wish fulfillment through “glorification of magical (hence unrealistic) solutions to serious problems”

Mise-en-scène is the placement of props, actors, sets, costumes, and lighting in each scene of a film or theatrical production. These factors contribute greatly to the look and feel of the scene and the film as a whole and can fundamentally change the emotional response of the viewer.

The Wizard of Oz (1939)

Scene- 0:19:24-0:21:32

· Shifts from real world (in Kansas) to the imaginary world (Oz)

o This is a “fantastical” world, understood by all parties involved

· Imaginary world becomes the reality, with the both the viewer and Dorothy cease to question its implausibility

o A shift to a “marvelous” world, without questions

· At end of the film, the viewer and Dorothy realizes it is all a dream

o The movie becomes an “uncanny” fantasy; there is a reasoning behind the fantastic elements

· Thematic Elements

o Color Seep: movement from black and white to color and less color to more color.

o Long shot

o Pan (While zooming out)

o Medium close-up

o Cut away

The scene shifts from black and white to color. As Dorothy emerges from her home after the tornado, there is a blatant over-saturation of color in the new environment. It seems as if there is very little effort to make the plants seem natural- evidence of the fantastic nature of the world in which the main character now finds herself. In the middle of the scene is the yellow brick road with blue water and plants everywhere. Dorothy’s costume has not changed, but the costume of the good witch immediately instills confidence that her character has a positive role in the story.

Chitty Chitty Bang Bang (1968)

Scene- 1:04:32-1:08:00

· Like the Wizard of Oz, this movie goes through a range of fantasy elements

· The movie begins completely straightforward

· The fantastical elements of the father’s eccentricity and inventions, they are accepted as somewhat fantastical, but real at the same time

· Then, on the beach, the son asks his father to tell him a story. As the story is created, the fantastic elements become real, and they are surprised

o An “uncanny” fantasy = they question the reality

· As the plot progresses, both the viewer and the family fully believe in the fantastic elements

o A “marvelous” fantasy world is developed

· The movie ends with the family back on the beach, after the end of the story.

o While there is no real “uncanny” resolution, the viewer and characters do seem to understand that the movie was indeed a created fantasy within the confines of a story

· Thematic Elements

o Cut away

o Medium close-up

o Zoom

o Zoom out

o Pan (during zooming out)

o Long shot

o Rear Projection: During medium close-up as car moves on water. (Used before green screen).

Mise-en-scène: In the first scene, the car is placed on the beach with the actors in various positions around/in the car. The lighting is appropriate with the scene taking place on a sunny beach. The colors (both of the surroundings and of the man-made objects that appear in the scene) are natural and muted- reinforcing the realism (or the notion that the story has very real components and could conceivable have taken place) of the story. The characters are dressed in accordance with the time period (1920 or so), a great contrast with modern beachwear. The father and son are dressed in suits (or the equivalent for a young boy) and the woman and daughter in white dresses. When the change from reality to fantasy occurs, the characters suddenly find themselves and the car in water (as the tide has instantaneously risen). As the action rises, the car becomes a boat and the scene changes to showing the car/actors motoring in the open ocean.

Harry Potter and the Prisoner of Azkaban (2004)

Scene- 0:26:40-0:27:40

· This is one of the most popular current fantasy series.

· The series begins with the Hairy Potter being thrust into a fantasy world of magic.

o It is rather “uncanny” for both Potter and the viewers, who do not believe that such a world exists

· Soon into the first film, and throughout the rest of the films, the validity and realism of the world is indeed accepted by all players

o Thus forms the basis of the “marvelous” fantasy created.

· Purpose of the film:

o Raises questions about reality – Does witchcraft really exist?

o Reveals repressed dreams and wishes – Many youth (and adults) wish they could fly and perform magic

o Explicitly subversive – the film has taken much criticsm from religious groups that condemn witchcraft and paganism

o Glorification of magical solutions to problems – magic (literally) is used to solve the characters (and thus the illusion, thoughts, and dreams of our own) problems

· Thematic Elements

o Pan

o Extreme close-up

o High Angle

o Over the Shoulder (Multi shot)

o Medium close-up

o Cut Away

o Zoom

o Close-up

Mise-en-scène: The characters are all dressed alike (as would be the case in a large English boarding school) and are wearing robes because they are wizards. The colors (of the costumes and the set) are muted and dark because the scene takes place inside an old building with only candlelight. In the dining room scene, the characters are evenly spaced at the tables and provide some order to the shot (in contrast to the relative chaos of scenes, including the following scene, in which the school is changing classes). The characters travel in a group (consistent with their roles as close friends) and are well spaced throughout the shot. The constant changing of the staircases adds to the visual complication and fantasy of the shot as the characters head back to their dorm. As they walk up the stairs, they are greeted by an animated portrait that guards their room. All individuals in the portraits on the wall move to watch the guardian adding to the fantastic nature of the shot/film.

Sources Used:

Posted by: benshelor | October 1, 2008

Video Scavenger Hunt Critique/Experience

My favorite film of the class was that of Lauren and Felix focusing on the orange juice bottle. The hunt encompassed each of the required shots in an interesting and creative manner and created a story throughout the film. The bottle starts full and is slowly consumed in each shot of the film showing the passage of time. Many shots, as in our scavenger hunt experience, were combined and mixed in angle/order so as to create a more flowing presentation of the story. Each of the necessary shots was used in the making of the film but nonetheless seamlessly integrated so that the production did not seem forced. The production followed the main character and object around an array of different locations across the campus that kept the film interesting (particularly to students who go about their daily lives in the space) while incorporating the everyday object in each shot. These two skillfully presented a story from beginning to end that kept the viewer interested throughout. Just as in our film, the shots could have been improved with the use of a tripod or some other device to steady the camera; the natural movement of the human hand is especially noticeable on zooming and close up shots.

The experience of making the video scavenger hunt was a fun but at times difficult one. We bounced ideas off of one another before beginning and added elements to the film as we went along, sometimes disagreeing on how a shot should be done and the elements to include. Innovation was the key for us; we used one another, friends, materials we found around us, and the campus environment to create different scenes and emotions. We strayed from the order of the given list of assigned shots; a move that I feel made the film more interesting. While all the shots were eventually made, it was difficult to condense the film into using only one of each shot- many more were required in order to finish the story. While editing was not required, I feel that it heightened the film’s impact for the viewer through the music and proper placement of the events of the film (events that were, as in real film making, not shot in chronological order of the events in the story). While the process certainly was not an easy one, the end product made the work worth the effort and I am proud of the work that we produced.

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