I, Tonya

I, Tonya is a stylish reinvention of the tabloid theatrics surrounding the events of the 1994 Olympic Figure Skating Championship as defined by Harding’s life, portrayed by Margot Robbie. Director Craig Gillespie, working off the well-paced script of Steven Rogers, cultivates our sympathies for Harding in this quasi-biopic by using a framework of abusive relationships, epitomized by an amazing performance from Allison Janney as her sociopathic mother and Harding’s boyfriend played by Sebastian Stan. This quirky film is about a dysfunctional family and Harding’s inability to emotionally or physically shield herself from its toxicity. Instead, she drinks the Koolaid and spits it back in their respective faces, smiling defiantly, fists raised. It is not surprising how our time with Harding ends in the film. More surprising was Margot Robbie’s performance, as chiseled as the sound of Harding’s skates on the ice, as driving and defiant as the music of her performances. Robbie is excellent, finally landing a role with some knuckle to it. Robbie’s previous exploits, including a role opposite Leonardo DiCaprio as his wife, Naomi Lapaglia, in Scorcese’s amazing Wolf of Wall Street, as well as the insane, porcelain companion to the Joker, Harley Quinn, in the Suicide Squad film, lacked the independence from a male counterpart to offer Robbie the tooth she needed to express her acting chops. I, Tonya presents that opportunity to Robbie, gift-wrapped in smeared lipstick and bruised flesh to the theme from Jurassic Park — it is a striking vision of the woman behind such controversy. Craig Gillespie’s vision for the film is composed by cinematographer, Nicolas Karakatsanis, whose previous kinetic work was unknown to me. The two clearly work well together, adeptly crafting the visual architecture of Harding’s various performances on the ice. If figure skating were directed in the same handsome fashion as it is carved into this film, I would be a fan. The camera is practically a character as it glides across the ice, accompanied by the grating sound design of Harding’s skates gouging into the ice. Unfortunately, certain directorial decisions land awkwardly. For instance, Gillespie shifts the tone significantly when Harding’s incensed boyfriend smashes her head against the hallway drywall, breaking the fourth wall with Robbie folding the poignant scene into a narration directly to the audience. It is a clever way to engage with the audience, destroying two walls with one narrative mechanism, but this creates an almost tongue-in-cheek tone to an otherwise dramatic scene. This is a post-modern, narrative device often used in Marvel films called ‘bathos’, short-circuiting the dramatic impact of a scene with humor. In this case, though, it is an uncomfortable reshaping of the most impactful theme of the film: domestic abuse. It serves as an interesting experiment in narrative but resolves itself in the same sense as fashioning your own clothes for professional competition: questionable design. I, Tonya illustrates a technical acumen in storytelling that is welcome in any film, even if the story tries a little too hard to victimize Harding’s story. While a few tonal missteps give the film a bit of a black eye, the execution of the film, the characters, and its accompanying structure are smart and stylish.

PROJECT: Handshake Advertising

standupThis past year, Miami has adopted a new online system by which to conduct on-campus recruiting as well as events such as the various career fairs occurring throughout the year. The new system, Handshake, is a sharp contrast to the previous system the department used; the result of which has shifted our various workflows significantly. More importantly, by way of this system, students interaction/communication with the department has changed.

Kelly Thompson and I forged an ad campaign to communicate the numerous activities (cultivated by the department) by which students can better prepare for and manage their respective careers. Our initial copy for the campaign was conceived by Kelly, providing a strong platform on which we could build — or in this case, deconstruct. The best communications treat users like intelligent people and allow students to judge for themselves the value of interacting with it. This both honors their time as well as educates them to the intricacies of the software. So we cut away all the content, compressing the advertising into a series of actions muted in Miami red (our brand color) while knocking out the Handshake logo for proper emphasis.

As we discussed our approach, it seemed clear that a typographic treatment might be interesting to communicate messaging, exclusively in the branded typefaces unique to Miami. The words ‘JOBS’ and ‘CAREERS’ attract attention, regardless of its recessed color in the overall piece. It is ‘proof of concept’ in higher education as well as the end of the line for the student journey to professional.


I’ve been dancing with this idea for quite some time: anthropomorphizing rats into various occupations, all of which make money from other people’s misery. Each image will have the character iterating one word that best rationalizes its respective behavior. Pretty simple concept, but it permits me to play with typography, design, lighting, illustration, color, and inking, calling back to my days at the Joe Kubert School of Cartoon and Graphic Art.

So … I’m learning to draw rats, the filthy beasts.

I’m still debating how I need to draw this: either in a more realistic approach or something with a more cartoon-style flair.

PROJECT: LinkedIn Advertising

Image of photographer

The goal of this piece was to communicate to students that the Miami Career Center employed a photographer to take professional headshots for LinkedIn. Simple story. I had a great time working this one out, doing that subtle, invisible geometry that makes or breaks a communications piece.

I’m fairly pleased with the bokeh in this piece. Heather had a wonderful, almost impish smile I did not want to obfuscate with either copy or the lens I used. I feel as though this was a pretty good compromise in marrying words with photography to tell a message as clearly, concisely as possible.