Marisa Materna looks into the design work of Imaginary Forces, which has been a go to place lately when turning comicbook properties into feature films.
I.F. believes that every project has a storytelling aspect and that its new DC Comic logo re-design is a perfect example of this philosophy. Client: DC Comics. All images designed and produced by Imaginary Forces (I.F.).
Go to a movie, a basketball game, Times Square in New York, a casino in Las Vegas or even just watching television at home, chances are youve seen the work of design and marketing company, Imaginary Forces. It has distinguished itself as a true visionary in the industry by stretching its resources and continually challenging its artists and recently has been delving into high profile comic-related projects.
Founded in 1996, some of the more notable projects from team at I.F. include the television and feature title sequences from Ray, Band of Brothers, The L Word, One Hour Photo, as well as the groundbreaking titles from Seven, live-action production of the films Blade I and II and Blade: Trinity, the dream sequences in Minority Report, plus an array of commercials for Reebok, Nike, Livestrong, Smirnoff, The Gap and Kodak. Its identity and branding work includes logo design for DC Comics, Marvel, Animal Planet, USA Networks and the 2004 Cyclysm campaign for the Tour de France with the Outdoor Living Network. I.F. created trailers for features such as Hitchhikers Guide to the Galaxy and the upcoming Chronicles of Narnia.
Imaginary Forces has distinguished itself as a true visionary in the industry by stretching its resources and continually challenging its artists.
The team of more than 70 directors, art directors, designers, animators, editors, writers and producers reside in a charming studio overlooking the courtyard of a well-known watering hole in the heart of Hollywood. It is evident from the atmosphere that this is a company built on a foundation of creativity. Founding partners, Peter Frankfurt and Chip Houghton have been instrumental in pushing the envelope of their teams abilities.
Imaginary Forces has also begun to corner the market on one of the hottest genres in Hollywood the comicbook. Along with the redesign of two of the most famous images in the comicbook industry, the Marvel and DC logos, it designed the Spider-Man title sequence and has also proven to be pioneers by shepherding the Blade trilogy film series, one of the early comicbook character adaptations. I.F. co-founder Peter Frankfurt, after working with Richard Donner at Universal and then producing Juice starring Tupac Shakur in 1992, was inspired to investigate this unique comic series showcasing an African American hero when comics werent nearly the trend that they are today.
Comicbooks are inspiring, because they are basically a print version of telling a story in motion, says Frankfurt. I.F., as a company philosophy, comes from a storytelling perspective in everything we do, he adds. Which is why these projects are so exciting to us.
Frankfurt adds, Comic-centric projects are good for us, we like the graphic sensibility of these properties but appreciate the mythology and history behind them. Marvel storylines are more focused on the modern guy affected by nature and modern foes, while DC is the older brand where our hero is fighting different villains.
Spider-Man was one of I.F.s first high profile comic design projects. The designers had to try lots of methods to make the web look web-like but not too photoreal. Client: Sony Pictures Ent.
The team at I.F. believes that every project, whether its a logo design, video installation projects at a museum or sporting event, feature trailer, commercial, has a storytelling aspect. The new DC Comic logo re-design is a perfect example of this philosophy.
Logo design has become an integral part of the movie going experience. Many studios and companies have realized the importance of having a recognizable and effective logo that represents their sensibilities.
The DC logo, which can be seen at the front of the feature, Batman Begins, appears after a tight shot of what seem to be pixels and as the camera pans outward the pixels become klieg lights-for a Hollywood influence-and eventually the eye begins to focus as those pixels emerge as flashes of comicbook scenes and evolve into the infamous DC shield. In the course of 10 seconds you are clearly connected to the mythology and sensibility of the DC Comics franchise.
Designer Charles Khoury was given the enviable task of taking advantage of these storytelling opportunities and bringing them to life. As a comic fan, myself, it was exciting to be working on these jobs. Especially the Spider-Man titles, as it was one of I.Fs first high profile comic design projects, he says.
Khoury designed and animated the DC logo makeover and Spider-Man titles, as well as many of I.F.s commercial and design projects. Born in Lebanon, he was inspired as a child by European comics that focused on abstract storytelling and strong characters. He loves working in an atmosphere that allows him to combine his artistic sensibility with real visual challenges.
I.F. designed the title sequences for Blade I and II and Blade: Trinity. Studio: New Line Cinema.
With the Spider-Man title sequence, Khoury says, We tried lots of methods to make the web look web-like but not too photo real. At first the web looked very graphic and the colors were very stark. We were asked to push it further towards something very real, and then eventually we scaled back to get a more saturated look. Using Cinema4D (Maya was used to animate Spidey), Charles and his team were able to ultimately achieve the final result of a seamless and less jarring segue from the comicbook universe into the live-action feature version of this legendary character.
Similarly, the DC identity project, posed challenges to the designers to find the balance between illustrating the comicbook foundation of DC Comics while trying to create something modern and exciting yet still maintain a safe distance from the Marvel logo (which I.F. also designed). The DC clients wanted a more cinematic feel as opposed to the more straight forward comic elements of the Marvel logo that featured full frames of comic scenes. The DC logo has just blips of the comic pages. Cinema 4D was used as well for all of the upfront visuals, while the logo reveal was done in Maya.
One of the next projects in the comic realm for Imaginary Forces is the cinematic redesign of the Vertigo logo. Vertigo is the arm of DC that publishes darker comic stories and graphic novels including Constantine (which was recently adapted to the big screen starring Keanu Reeves). The new logo makes its debut in front of the November release of feature film V for Vendetta starring Natalie Portman and Hugo Weaving (The Matrix).
I.F. became pioneers with the Blade trilogy film series. I.F. co-founder Peter Frankfurt was drawn to this unique comic series when comics werent nearly the trend that they are today. Studio: New Line Cinema.
Certainly, technology has created a large cadre of competition for I.F. Ideally, in todays highly accessible technology market, two artists in their garage with the right equipment can create an amazing array of product. Costs are coming down real fast for these independent artists. Frankfurt says. There is a whole new canvas to play with cell phones, city buses, walls, even the bottom of a lagoon. He refers to not only the wireless industry but also the architectural arena, which most would not even consider as an area that a visual effects and design company could participate. I.F. seems to welcome this peer pressure and is focusing much of its energy looking into the new markets and opportunities.
Imaginary Forces entrée into these emerging markets appears to be the most natural next step in this powerhouses business strategy. Taking the lead into areas that most of their competitors dont even think of attempting, there seems to be no project or arena that team wont tackle.
The team members have created an unusual niche for themselves in the arena of architectural design with stadium experience design projects for professional sports teams like the Portland Trailblazers and Baltimore Ravens. Their work has also been featured at the entrance of the Museum of Modern Art in New York City as well as video screens in Times Square. After Sept. 11, 2001, they worked on a collaboration that combined architecture, storytelling, and filmmaking to become one of the six finalists selected for the re-design of the World Trade Center site. Other branding experiences fusing media and architecture include projects at the new Wynn Casino in Las Vegas.
What make us unique is we execute at the highest level pushing the skill set of motion design creating a persona of the experts and trusted collaborators in our clients projects says Frankfurt. Our artists seem to love the challenges our diverse palate has to offer because it stretches their own skills.
Khoury confirms this, I love the creative freedom we have here. Of course there are the normal parameters to deal with, but for the most part, they allow us the opportunity to explore and try different things in our projects.
With a broad spectrum of mediums, limitless creativity, a willingness to work outside of the box, and a commitment to storytelling, Imaginary Forces is a perfect match for these comicbook related projects. I.F. also continues to stretch the limits of what it can master in the other areas of its business. One can only imagine where their forces will lead them next.
Marisa Materna has worked in the animation industry for more than seven years. Most recently the director of communications and studio relations at Klasky Csupo, she also recruited artists for the studio after two seasons as festival coordinator for the World Animation Celebration. She now consults on animation film festivals and projects across America. Marisa is a life-long world traveler and, as a self-professed festival queen, she is an independent animation film festival fan and advocate.
