Design is generally a pretty subjective endeavor, so when starting a new project I like to do a little research into the subject in order to guide the generation of formal elements. Fortunately Technicolor offers a wealth of visual elements to play with, but the methods and appearance of color film varies a lot depending on the time. The earliest versions of color motion pictures involved three separate rolls of film—black, cyan, and magenta—that were layered together in order to produce the color projection. It’s a very distinctive look, and is wholly different from the colors you see in The Godfather: Part II, the last American film made using Technicolor’s dye transfer process. The early three-strip technique provided inspiration for the initial Winter Nights designs, involving a large and somewhat abstract W made from shaded cubes to reference a frigid, icy winter.

While working on this abstract and wintry version, we also pursued a more literal direction using film as the starting point. Keeping the W, this solution retains the grainy texture that characterizes many of those older movies. While each had its merits, ultimately we decided to go with the film-centric version for this year’s series, and a final version was created that made very clear the series’ relationship with film, as well as including the Technicolor theme in the graphic.

Using film stills in a campaign for Technicolor movies is a no-brainer, but this was not as straightforward as one might think. In the 1940s, Technicolor threw out a large volume of color negatives after the studios didn’t reclaim them, and unless they’ve been re-mastered those movies are now only available in black and white. Fortunately, we were able to find some great color images from Charade and Gentlemen Prefer Blondes. The beauty of these movies speak for themselves when you see them, and in order to try imparting some of that drama and motion in print pieces, I relied on careful crops.

One particularly seductive image of Marilyn Monroe offers plenty of details to highlight—Marilyn’s face, her eyes lightly closed, could be mistaken for being asleep when viewed alone. The diamond bracelet and thick gray fur are a glimpse of luxury, sensuality, and elegant excess. The full image, my favorite among Marilyn’s publicity shots for Gentlemen Prefer Blondes, shows the actress dressed in red, wrapped in fur, and draped in diamonds. Her open mouth, even more red than her dress, completes a frozen moment of ecstasy, and was the perfect image to use for our Winter Nights banner.

You can see the results in use (and all of the fabulous clothes) in the Paul Textile Gallery and Fashion Arts Gallery until February 6, 2012.

What were your inspirations for the Material World typeface?

The grid-like mesh of natural elements like spider webs was an inspiration, as well as man-made things like chain-link fences. Both can feel either very clean and manufactured or organic depending on how they are viewed or manipulated.

How did you design this typeface? Did you make the whole alphabet?

Functioning typefaces are created with specialized software that allows them to be typed directly from the keyboard, and includes important  information about spacing, alternate weights, etc. Because we were only using these new letters to spell short phrases, and because of the time required to actually create a functioning font, I simply made the letters in Adobe Illustrator with the pen tool. Creating each letter isn’t difficult, but it can be time consuming, so I drew only the characters I needed for this exhibition.

Why did you design a typeface and not use one that already existed?

While thinking about what typography and imagery could be used to represent the intricate materials used in the exhibition, I did look at a number of pre-existing options. Ornate display type tends to be created to connote specific imagery—Victorianism, holidays, or the stereotypes of a foreign culture, for instance. I wanted something that felt contemporary and spoke to the physical construction of the garments, but also seemed organic as well. It didn’t take very long to realize that drawing my own letters was the most natural approach.

How does the design of Material World enhance a visit to the show?

The primary goal of any design is to enhance the content. The experience of shopping at a big-box grocery store is very different from visiting an expensive clothing retailer, and it’s not because of the objects for sale. By using dark colors and not using more light than necessary, we are trying to create a space that feels intimate and seductive when compared to other galleries. The typography, too—both in its design and its use in the show—is meant to accentuate the seductive nature of the work, as well as reference the intricate patterns and handwork evidenced in many of the pieces.

We started with this photo from 100 Acres.

Well, we got off to a late start but all of the volleys are in! If you remember, I originally posted about design collaboration and summed the way Layers Tennis works. I got some interest from local designers on twitter and we announced the battle in a follow up post here.

So now that you are caught up… I present you with the first 4 design volleys.

Nathan’s First Serve (click the image for larger view):

As soon as I saw this photo it took me back to the days of playing Let's Pretend, with my younger brother. With a little creativity we always managed to transport ourselves to places where adventure could be found. Looking back on those experiences it was obvious that I needed to illustrate a landscape that could have been fashioned from nothing more than our own imaginations. I had to restrain from overworking this piece, though. I wanted to leave it fairly open so the other designers could add elements from their own memory banks. I'm really hoping to see some pirate ships moving over the horizon or perhaps an octopus tentacle reaching up from out of the water.

Aaron’s Volley (click the image for larger view):

When Nathan told me that his first volley was going to be floating water and a concept of imagination my thought process went immediately to pirates. I love doodling and when those doodles fit into a design concept, it's blast. And isn't that what Creativity and Imagination are all about!?

My Volley (click the image for larger view):

When I saw pirates, I knew they would be part of what I wanted to do but wanted to continue to push the imagination theme. So finally it hit me, Space Pirates! I love doodling too so I added a few minor doodles and also flipped the colors.

J.M.’s Volley (click the image for larger view):

Looking at all the volleys i knew there was nothing more illustrative that I could add. I really wanted to find a way to bring the girls into the action. With the pirates and the space pirates closing in I thought it was time for the girls to catch a ride to their next adventure. That quote about imagination is by Jules de Gautier.

This is a little introduction… then each week we will post an update with the design volleys. If you are still confused, the video below should give you a clearer picture of what to expect. (It’s a compilation video of the entire Exhibition Season of Layer Tennis edited down to just 130 seconds.

I asked each designer to give me a bio introducing themselves to give a bit of background. We’ll be posting each of our volley’s up once a week and we’ll do a poll to find out who’s pixels will reign supreme.

The image below was given (a higher res version of course) to the first designer as the starting point. I can’t wait to get started!

The image was taken in the IMA's 100 Acres Art and Nature Park

Designer bios after the jump!

My name is Aaron Scamihorn. I am a designer at MediaSauce in Carmel. In my free time, I work more in the realm of illustration and portraiture. I have a passion for competition in design as it pushes us to be our best. Even that small level of competition you have while working with other creatives fuels a desire to try and one-up the other guy. I have competed twice on LayerTennis.com and made it into the 2009 finals competing with big-wigs in our industry such as Aaron Draplin and Scott Hansen. I also competed in the top 8 designers in the Chicago regional Cut&Paste event in fall 2009.

I have a passion for supporting local causes and have most recently created an illustration for Girls Rock Indy Chapter a poster in support of the Indianapolis International Film Festival and a Naptown Rollergirls bout poster. I am on the committee for Primary Colours and work with them in creating graphics and putting on events such as Installation Nation and Art Vs. Art. You can see more of my work at www.RONLEWHORN.com.

With a Purdue degree in interactive multimedia development and more than eight years of experience, My job is my passion, my specialty, and my art. Throughout the years I have specialized in user-interface/user-experience design, corporate visual communications, audio/video production, social media, photography and screen printing.

I am a full-time senior graphic designer and an adjunct professor in Indianapolis, Indiana. My url is http://cargocollective.com/jmscott

The abridged story of my career goes something like this: In early 2001 I started working as a Production Artist in the apparel industry. By 2004 I was a Lead Designer / Art Director for a mid-sized screen printing firm. In 2008 I started doing interactive design and fell in love with all of the challenges designing for the web can offer. I’ve never had the luxury of developing a singular style that I can call my own, but I’ve learned to embrace the fact that I’ve become a well rounded artist out of sheer necessity. I draw, I paint and I build things. I’m a logo designer, illustrator, web designer, print guru, iconographer and typographer… whatever the project calls for I’m always up to it.

If interested, you can check out some of my more recent personal work here, and some of my older stuff here. You can also see what I do at my day job here.

Basically what happens is this: a designer sends another designer an image that might have graphic design elements. The receiving designer then adds his/her flair and sends it back. This process repeats.

Collaborating with people you never will meet face to face is extremely easy now thanks to the internet. Not to mention, it is extremely green since you can do it from your own living room. I’ve compiled a little list of good design collaboration projects and websites that are following that same Layer Tennis model.

DesignSwap – DesignSwap’s sole purpose is to promote collaborations between designers by saying one simple thing – I design on your site, you design on mine.

Layer Tennis – Ten designers in ten cities, fifteen minutes at a time. Follow @LayerTennis on Twitter.

Dribbble – Rebounds: Respond with a follow-up of your own. Iterate and play off the shots of others.

Fark – One of the first sites to do this… and a Photoshop design contest is always in session.

I can has cheez burger? – I can’t think of a better way to waste time and collaborate creatively with others at the same time!

I’ve never taken place in a design battle, but I would jump at the chance if anybody out there in museum/design land wants to serve me. So… who wants to step into my cipher?

I sat down with IMA Senior Graphic Designer Matthew Taylor last week in the Design Studio to take a hard look at our current IMA membership magazine (Previews) and talk content and design. A bit of history: The magazine has been around since 1988 with its current name.  (Before that, it was called the Quarterly Magazine. A bit of an improvement?) Matt was kind enough to hang out with me for a few minutes after our redesign brainstorming session to answer some questions:

Do you have a design philosophy?
I feel like George Bush in the movie “W.”. You know, when he was asked what he would consider to be his biggest mistake…I’m kidding.  As a designer, you can’t help but put something of yourself into every project. But I think the less of yourself you put into it the better. A piece can be clean and beautiful without shouting “Matt Taylor did that.” My philosophy is stay true to the project.

How does the design department at the IMA work?
The environment of the Design Studio is truly collaborative. We have exhibition designers, graphic designers, a lighting designer and a technical designer. It’s a multifaceted team. Everyone has a specialty, but we work together on projects that aren’t necessarily in our own area of expertise. We work with every department in the Museum to make well-designed, cohesive exhibitions.

What are the challenges of designing in a museum setting?
The biggest challenge we face is over-designing. You are working with a museum brand and an exhibition brand. Everything here is an art form and design itself is art. The challenge is to find a balance in your work. Part of my job is to get people to come see an exhibition, but at the same time know when to pull back and not overshadow the art with my design.

What upcoming design project are you most excited about?
Redesigning Previews magazine, of course. I’m excited about incorporating the new IMA brand that we are rolling out now into the magazine. The old magazine doesn’t live up to our new mission of art, nature and design. I would like the new design to be true to that mission and the new brand, as well as be more engaging and exciting than it is currently.

Can you describe the new IMA brand? (above)
The new IMA brand was designed by Indiana native Abbott Miller and his team at Pentagram in New York. We discussed our needs with them and why the old brand wasn’t working. They came up with something conversational, welcoming and inclusive. Using two new typefaces, Taz and Brioni, the brand has the flexibility to say the right thing at the right time. It’s got personality. We’re doing a soft roll-out of the logo to be green, economical and smart.

What’s your favorite magazine?
I.D. (The International Design Magazine)—The design is beautiful.  Great layout, typography etc. The magazine as a whole (from design to content) is always fantastic from cover to cover.

Design Inspiration

And so the conversation continues… With a content strategy that’s mission-consistent, flexible and collaborative and two full boards of design inspiration, we will bring you a new and improved quarterly IMA magazine this winter. Your thoughts and title suggestions will be considered—please add them below!

World Graphic Design Day is celebrated on April 27, the anniversary of the founding of Icograda, the world body for graphic design, in 1963. It is a day to celebrate the profession of graphic and communication design. The day has been celebrated since 1995.

Now if we could only abolish Comic Sans! But since we can’t, you should do yourself a favor and meet film director Gary Hustwit (Helvetica) and see his latest documentary, Objectified, which is a film about the creative process of product design. It is at the Toby here at the IMA on May 14th 2009! The film features designers who shape our manufactured environment and our interfaces with mass-produced objects including the people behind IKEA furniture and the iPod. Click here to read more about the event. Hope to see you there!

I get in the design groove by listening to music, and this seems to be all too fitting. Dert’s CMYK ep should help you get those creative graphic design juices flowing. Pay as you please… dope indeed.

\”Magenta\” by Dert

Location: Surround yourself and your guests with art by choosing a museum as your wedding venue. Tie the knot at the Indianapolis Museum of Art, the State Museum, the Eiteljorg or as our development events manager Jane will do on May 25, at the Columbus Museum of Art. Feel too formal? Try a smaller, local art gallery for a more intimate setting.

Invitations: Have your invitations custom made by a graphic designer rather than a stationary representative or company. You’ll find that most graphic designers are happy to take a break from their daily grind to help you out.

Dress: Find inspiration for your wedding attire at Breaking the Mode or other museum fashion exhibitions. You’ll have a better understanding of construction, materials, form and concept, so when you get to the store, you’ll be the expert.

Wedding Gift: Have your portrait painted for your spouse rather than buying the typical gift that most would want to hurl into the ocean on the honeymoon. If you are especially pleased with the piece, display it in on an easel to share with your guests at the reception.

Cake: Let your cake be inspired by your favorite work of art, painting or artist. Ceramics and other decorative art translate well to a wedding cake. I’m partial to this cake inspired by Wedgwood blue china with icing-like trim on jasperware, developed in England in 1775.

Decor: Vanessa, the IMA’s cooridinator of external events, offers several reception decor ideas. She suggests bright or subtle table linens arranged in ROYGBIV (color wheel) throughout the room. For table numbers and name cards, use postcards of your favorite works of art (from a museum gift shop) or designate tables after artists for guest seating. And you can always use Robert Indiana’s LOVE sculpture for table centerpieces or a cake topper.

Children: Have a table designated with an art teacher or artistic friend to keep the little ones occupied.

Photography: There are so many talented photographers out there. Just inform them of your style — modern, artistic or journalistic. After the wedding, be sure and blow up your favorite black & white closeup as the perfect piece to put in your home.

Favors: Send your guests home with notecard-sized canvas papers with water colors or jointed wooden mannequin forms that hold each guest’s place card as favors.

Anniversary: Whether your wedding day was so long ago it’s been deaccessioned from your mind or only a fews short brush strokes away, make plans to visit a favorite art gallery or museum. Commission a local artist to create a custom piece of art for your home — to commemorate the past year of marriage. I suggest the historic, yet romantic style of local artist Kyle Ragsdale.

Art has the potential to inspire so much, some aspects of which we may not at first even be aware. Its full influence on your wedding may only be evident in retrospect!

Okay, well maybe not. Perhaps I’ll just follow Richard’s lead and start off with what I do.

I’m the Senior Graphic Designer here at the IMA. So what does that mean exactly? Any graphic designer will tell you that we get this a lot. Not a big deal. Don’t be afraid to ask if you ever find yourself in this situation. My own family still has trouble figuring out exactly what I spend my day doing. When I was growing up I loved to draw things. I was a drawin’ fool. Mainly Spider-Man and the Teenage Mutant Ninja Turtles. This, of course, implied to every adult that knew me that one day I might just become a successful artist. Watch this kid; he’s going places!

When I grew up I did go to art school but I didn’t major in the illustration of mutant turtles that have mad ninja skills. Those classes were always full or at least had a really long waiting list. Instead, I got a degree in Visual Communication, or Graphic Design. Generally after I tell someone that I’m a graphic designer, I get one of three reactions. One: they know exactly what it is I’m talking about because they have a cousin who does the same thing. Two: I get a “that sounds fun” response that I think mainly pertains to the fact that I work in an art museum and not to my exact job here. Three: I get asked to explain what that means. When I do explain, I will usually get hit up for a logo because their uncle’s ex-wife’s second cousin who was lost at sea for four years recently decided to open up a business that specializes in mold abatement for residential architecture. (Not making that one up. Well, not the mold abatement company part anyway.)

Every day you encounter work by a graphic designer, whether you think about it or not. Magazines, billboards, book jackets, the graphics on your Starbucks coffee cup…all graphic design. Design is not only an end product, but also a process that usually begins with research and brainstorming. A graphic designer takes an idea or concept and makes it visual through the combination of photography, typography, color, the right type of paper,etc. When successful, everything comes together to produce a feeling and visual style that best communicates to the audience.

Good design makes things easier. It makes people happy. Anyone who has ever had trouble reading a magazine because of bad layout, had trouble navigating a website or gotten lost in an airport due to bad signage design knows how important well-executed design is to daily life.

I work in collaboration with nearly every department in the museum to design anything from a brochure for Summer Nights (to the graphic identity of an exhibition and the printed pieces that market the show. Anytime you get a printed piece like Art For You in the mail, see a banner on the outside of the building or even just pick up a brochure while you’re here, I might have worked on it.

Some of you out there have my work in your recycling bin right now. If it’s in your trash, get it out of there. If you’re going to throw my stuff away at least recycle it. With any luck, you got something that I did tacked up in your office. Or better yet…your fridge! Score!

So, that’s basically what I do.

Up next, Philippe Starck and why design is useless.