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Submitted: October 23, 2007
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Mercedes 540K Cabriolet Aby ~SarcasticSicily

Digital Art / 3-Dimensional Art / Vehicles / Terrestrial (for land)

Mercedes Benz Classic Center

Problem
The Mercedes Benz Classic Center in Irvine needed promotional material that both showcased one of the cars in their extensive collection, and was also designed in the style of one specific historical art movement. It was intended to attract the attention of committed auto-enthusiasts of both genders equally, serving as a collector’s item for a Mercedes Benz aficionado while continuing to advertise the Center.

Concept/Solution
The challenge was to create a poster based in Mercedes Benz history that still showcased Irvine’s modern Classic Center. It was unfair to classify cars as being solely masculine creations, just as it was inappropriate to call the Art Nouveau movement of the late 1900s purely feminine. Yet with this juxtaposition in mind, a German Benz and an ornamental French frame looked appropriate together. The goal was to combine these styles in a visually innovative way, as the Mercedes 540K Cabriolet A was only made from 1936-1939, much too late after the First World War to have ever been combined with the work of Art Nouveau designers such as Koloman Moser or Alphonse Mucha.

Aesthetics
To match the unique contextual mixture, bright spot colors were incorporated into the frame. Utilizing mainly black and white for the dominating vehicle and background, a bright, sunny-yellow next to a depressed grayish-blue was selected for the frame. This coloration was commonly utilized during the Art Nouveau period. The stylization of Hector Guimard’s famous Nouveau swan brooch for the text at the base of the frame referenced the swirling, organic texture that prevailed through that particular art movement. An excess of frills and ornamentation was common within many Art Nouveau advertisements, yet the frame here remained simple, keeping the 540K Cabriolet A the focal point of this poster. A font was chosen for the headline that closely resembled those in many Art Nouveau advertisements of the time: vertically biased with fat, comma-like serifs on the end of each character. The main copy was done in Goudy script, equally feminine, and yet less busy: ideal for larger chunks of text.