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He's the one the rest of the firm can count on for inspiration and last-minute results. In the office, Don Draper is the go-to creative man. With the most screen time, the most outfits, and the most exposed private life, he's the man to look to for costumer Janie Byrant's best showpieces.īecause the show takes a more detailed look at his “off-hours,” he's also the best example of casual, non-business wear for men in the show, sporting outfits like plaid flannels and navy polo shirts as well as his classic suits. There's one icon of the Mad Men style that stands above the rest, and it's Don Draper.
60S FONTS MAD MEN SERIES
There's more going on than a simple “man in the gray flannel suit” look, however…join us in a series of articles taking an in-depth look at each of the Mad Men's personal style! With the success of AMC's “Mad Men,” tight-fitted gray suits and crisp spread collars are suddenly getting a second look. Who ever thought the 1960s would be so cool? “It really has a bit of a Mad Men feel, so all of those typefaces that were popular in early ’60s advertising would work well with it.The Styles of AMC's Mad Men – Menswear of the 1960s
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“I think it would work well with a Scotch Roman like Century, or even a modified slab serif like Clarendon,” Bierut says. “It’s a really great contemporary sans with those hints of imperfection that make it a good alternative to more ‘perfect’ typefaces like Helvetica and Universe,” says Bierut. Bierut describes it as “bold, fast, and optimistic, just like Saarinen’s building.” Sherman created a bolded italic for the TWA hotel, but he also made a Roman and thin version, too. It’s declarative and geometric, yet shapely and warm. The sans serif typeface has thick strokes that lean forward as if someone suddenly slammed on the breaks. What are its distinguishing characteristics? Detail from Saarinen’s original Flight Center building The name is an homage to Saarinen’s original Flight Center building. It was up to Sherman and his team to incorporate all of Saarinen’s typographic idiosyncrasies into an “authoritative” typeface that would be consistent but faithful to the letterforms’ quirks.Įasy. From there, craftspeople lettered the terminal’s signs by hand. The slightly tweaked letterforms were then sent on to draftsmen who likely traced the edited letters from the photostats. “These images are annotated here and there-by whom, I don’t know-indicating modifications the architects wanted to do: extending the center crossbars in the ‘e’ and ‘f,’ for instance, or cutting back the base of the capital ‘L,’” Bierut explains. Saarinen and his team of architects had made edits to the letters, indicating where they wanted things changed. While studying Saarinen’s papers at Yale’s archive, Bierut and team found photostats of the lettering that had been pulled from various books. Derek, a bold, italic typeface designed in the late 19th century, had echoes of the slanting letters found in Raymond Lowry’s TWA logo, but as Bierut hinted, he and Sherman soon learned that while Saarinen might have been influenced by Derek, it wasn’t the exact lettering that was used throughout the terminal. “I immediately-and sort of incorrectly, as it turned out-identified the lettering style as a typeface called Derek,” Bierut says. Bierut and his team worked with type designer Nick Sherman to craft Flight Center Gothic, a faithful, but modern version of the hand-lettered type that was found throughout Saarinen’s building.īefore drawing a letter, Bierut and Sherman visited the TWA terminal at JFK where many of the original signs were still hanging. The original typographic drawings Flight Center Gothic is based on.Īfter remaining closed for decades, Saarinen’s terminal recently reopened as the TWA Hotel, a sleek homage to the architect’s midcentury design. “Of course a bold italic would be perfect for the jet age, wouldn’t it?” says Michael Bierut. It was designed to look fast, like a technological marvel. The hand-drawn signs scattered throughout the building featured a bold sans serif that tilted forward in an exaggerated italic.
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Inside, Saarinen’s team had crafted a typographic system that looked like flight, too. The shell roof of the Trans World Flight Center (TWA Center) swooped downward in angled pieces its shape echoed the outline of a fighter jet seen from head-on. In 1962, Eero Saarinen designed a building that looked like flight itself. Flight Center Gothic by Pentagram and Nick Shermanĭesigner: Michael Bierut and Nick Sherman