See that red house in the woods? That’s mine, and that’s where I work now!
See those turkeys? They’re wild, and they’re everywhere! Yeeaaahh!!! :)
I’ve wanted to set out on my own for a while now and when my fiance and I chose to move to the beautiful Moyaone Reserve in southern Maryland the timing suddenly made sense. As a sole proprietor, I’ll offer creative services in graphic design, museum exhibits, event design, and interiors. Over the past eight years I’ve had the opportunity to work on a vast assortment of design projects in various capacities—meaning that my experience has been both specialized (museum exhibit design) and broad (print work? yep. website design? check. event graphics? of course…) I’m currently available for project-based contract work so if you’re interested in working together check out the creative services page and get in touch!
Thank you all for your support, and for following along.
I spent the end of summer through early fall wrapping up construction administration work for the newly opened Stamp Gallery at the Smithsonian National Postal Museum. I inherited the project from a departing coworker, so had very little to do with the design of the exhibit, but I did design the museum’s gallery map—a fun project. Some pics:
I’ve also been at work on a temporary exhibit [again for the Postal Museum] called Pacific Exchange, about the Chinese/U.S. relationship “through the lens” of stamps and mail. Opening’s set for March and I’m excited! I’ve really enjoyed the content and being able to give a good amount of attention to a small exhibit. Here’s a sneak peak of the design development:
Just a quick update that the FDR Museum was rededicated on Sunday June 29 and is now open to the public. The NY Times review was flattering and we’re thrilled.
Here we are at the gala reception, the happy design team and the museum’s chief curator:
The first gallery you enter sets the stage for FDR’s presidency: the Great Depression. The focal point here is the neon-illuminated “FEAR” wall. Text is silkscreened onto the glass panels and rear-illuminated with LED pads. The red colorization comes from the custom “UMEMPLOYED” neon letters; the mural image in the back is black and white.
The FEAR letters are applied to the rear of the glass. I wanted them to be translucent—to allow the mural image to show through and create depth—and as richly black as possible. The fabricators, Explus, provided a variety of production samples to try to achieve the effect I was after. Printing the letters on a transparent film and applying it to the glass, in particular, was unacceptable as I wanted a uniform transparency (no streaks, no dots). In the end they used Rosco gel sheets.
They created a self-adhesive vinyl by applying OptiClear to the face of the gel sheet (Rosco Cinegel Neutral Density N.9 Gel Extra Wide) then die cutting it. I was happy, but the fabricators had some difficulty with cutting and applying the gel sheets. Their graphics manager told me that if they were to do something like this again they’d use a standard window tint that has the application adhesive already on it. But I do love how that gel turned out!
The wall opposite the FEAR wall:
The background mural is printed on DreamScape, as I mentioned in a previous post. Most of the murals in this museum were applied to backers, framed, and cleat-hung to the wall, but this particular one was applied directly to the wall and its edges captured with flat aluminum strips. I don’t remember why we did this, but I’m certain there was a reason….
The framed graphics are digital prints with an overlaminate, mounted to sign blank. They are applied onsite to an MDF backer panel and aluminum frame. (The backer and frame are screwed to the exhibit wall; the graphic is applied with VHB tape.) Explus welded the frames’ corners before painting them, and that made a huge difference in the appearance of them. They looked more finished and high-quality.
I’m back in Hyde Park—installation continues! The exhibit is quickly coming together as the opening nears. Most of the graphics are hung, dimensional letters have been pinned (there are a ton throughout the museum—I went a little dimensional-letter-happy), and the interactives are being field-tested. I think it all is looking great.
Some photos of the New Deal gallery:
And a few artifact cases:
The World War II timeline is nearly complete (two weeks ago there wasn’t much besides the skeleton hung):
Oh and I may have snuck into some New York Times photos. The critic and photographer were there, I was there…who’s to say. We’ll see.
I was onsite at the FDR Library this past week and was able to take some photos of the exhibit installation. It’s exciting to see the various elements go up. The exhibits are dense and layered—it’s a big story to tell in a relatively small space. The exhibits are in the original [renovated] library conceived by Roosevelt himself so we were restricted to the existing spaces while designing new exhibits.
Most of the graphics still have a protective layer and ID label on them. In other places there are backers awaiting graphics, brown paper-wrapped graphics sitting on the floor, and assorted construction detritus. But bit-by-bit it’s going up! And we all know that everything happens in the last week before opening anyway. ;)
Below, left: These graphics will be installed into the WWII timeline in the photo above (on the right). They’re printed on Laserchrome, which I mentioned in my previous post.
I also mentioned the DreamScape wallcovering; below is a shot of some installed murals. I think they’re looking good. Once the text panels, dimensional titles, reader rails, etc. go up—it will look great. More, soon!
For the past couple of years I’ve been working on the Franklin D. Roosevelt Presidential Library and Museum, in Hyde Park, New York and—holy cow—the public opening is less than a month away. With time dwindling, I decided to finally share some process photos: production samples, shop visits, and installation.
The library has been posting photos of the ongoing installation on their tumblr. The photo below comes from there; I grabbed it to highlight the graphic in the background. There are four of these structures throughout the museum, one for each of FDR’s elections. The one below is awaiting its dimensional title and stars, but still should give you a sense of how it will look when it’s complete.
The graphic is silkscreened onto a sheet of Acrylite P-95 with white vinyl film adhered to its second surface. Silkscreening on P-95 creates a subtle shadow and gives depth to the text. At certain angles the text looks dimensional. Here’s a photo of the sample provided by the fabricator (with one of the aforementioned dimensional stars):
Below, the main story panels used in the World War II gallery of the museum, which I am especially happy with:
They’re built from 5/8″ clear acrylic, first painted on the front surface with regular old Ben Moore paint, save for a “window” left free of paint. The text is printed onto the painted acrylic surface, and then the photo—a Laserchrome metallic print—is adhered to the second surface of the acrylic, within the window area.
The photo above gives you a sense of the depth and the jewel box effect created by layering the photo behind the acrylic.
Here’s a peek at the backside of the pane. The aluminum angle frames are painted with Matthews acrylic polyurethane paint:
For wall murals I spec’ed DreamScape wallcoverings in various finishes. Here’s another photo from the FDR blog, showing installed murals (again, sans dimensional titles, and sans a scaffolding structure that will be located in front):
I’m pleased with the crisp image quality, especially on the rough textures, such as “Plaster”:
And below, the “Mystical” finish:
More coming soon!