Project Review:Daredevil PART III-Building Icons

 A worms-eye view looking up to the sky at two Iconic D's that form the Double D Icon for the teaser for Daredevil.

 I took this design further and added details with windows, railings, fire escapes, AC units and a building brick exterior for this final pass on Dare Devil back in 2002.

 A big floating block with each "D" cut into connecting sides on the block.

 A version where the two D"s crisscross each other to form a Daredevil Icon up high in the sky looking down at the city.

 Another down angle comp idea with the top surface of the building,  baloney cut to form a 'knife angle' look to the two D's for Daredevil.

Project Review
Daredevil 2002
PART III Building Icons

Client: 20th Century FOX via BLT and Associates.
Art Director(s): Josiah Ludovico
Project Date: Summer 2002.

It has been a decade since I worked on this advertising campaign for the film Daredevil, and in this post, my PART III for my work on the project, I have put up a series of 3D illustrations that I did for Art Director Josiah Ludovico at BLT.

His idea was to do a variety of stylized buildings that together form the two D's in the Daredevil Icon with the Double D's. I did a variety of designs, and angles with cross-crossed D's, and parallel ones, and some floating in the clouds[ like I did for World of Tomorrow].

Some were very cartoon-ish and stylized, and some were more realistic. These realistic passes did go the final round, but were passed by for the finals by the client.


You can view:
PART I here.
PART II here.
 

Cheers, THOM

Project Review E-Marketing -3D Custom Modeling PART II Small 3D Airport

 Here is an overhead view similar to what the final 3D model was used for in the 3D interactive illustration I did back in 2008 for E-Marketing[ Nomadic].

 As we approach the 'virtual' terminal with parking on the left.

 Here is a shot down low at street level[ a bit high], of the Arival and Departure lanes that run in front of every airport, virtual or not!

 Here is a reverse angle looking back at the entry and a few of the gates out on the concourse.

 A shot on one of the three runways looking back at the nine gates I built out.

 A shot at a landing POV of a virtual plane for this little 'SIM-styled' airport.

 Here is a shot of the Helicopter pad looking back at both the entry on the left, and the first wing of gates on the right.

Project Review

E-Marketing -3D Custom Modeling

PART II  Small Airport

Client: E-Marketing via The Cimarron Group.
Art Director: Greg Orlowski
Project Date: 2008.

This is part two, in the series I have started on my custom design and modeling services I offered to E-Marketing back in 2008, while in-house at The Cimarron Group in Hollywood, CA.

A little airport with all the fixin's, is up today for your viewing. Each custom designed city block was used in an interactive online map of sorts, that we only saw from up high in the iar above it[ virtual air!]

 However there was a chance that they would expand this site, so they had me build out extra details on the designs, so that they would work up close a bit too.

This was a 7-8 Hr project form start[ with no design yet], to a final FBX asset exported over for the Maya user they worked with in AZ to finish out.

As a 3D Designer, my clients come to me without a design, knowing that as an Art Center trained professional, I will design as I build, to cut out the middle step and expense involved.

Look for PART III shortly.

You can view PART I here

Cheers, THOM

Project Review: Phantom 2040-PART LXXXXIX[99th] Marker Comp-Color Keys

 A B.I.O.T Laser Rifle Color Key done in 93' with a wrapping hand grip[ Art Nouveau theme ]

 I forgot about the Phantom 'age spots' as we called them on the Ghostwood. I added in a hint of Purple into the Jungle leaves to give a source or origin to why he chose purple in his suit.

 A very early Phantom Cuff design originally had a 'snake eye' cut out to reveal the purple suit through the slot. This cuff shot was for the Day-Glo Lime green Inductive Rope being Color Keyed out.

 Here we  have some B.I.O.T'ic assisters for Sagan Cruz, for her arms and legs

Phantom 2040
PART LXXXXIX[99th]

 Marker Comp-Color Keys

Client: Hearst Animation Productions.
Art Director: Myself.
Project Date Spring 1993.

This is my 99th post for the work I did on the TV show[ Uno Mas to 100!], The Phantom 2040 from in the early ninety's, and I have posted a few more of the color keys that I did for a variety of props here today.

I was trained in their Automotive Design program in the late 80's and early 90's during the Pre-Computer rendering era at Art Center, and our primary fast color work was done with markers, chalk, and colored pencils, [ with a touch of Gouache'], so this is how I keyed the colors for the show since we were not using traditional painting of the cells for our production, but the then new, digital ink-n-paint , as this was very early on in 93'.

If you are a FAN of The Phantom 2040, and on FACEBOOK, there is a group for that....  here.

There is a TAG on the list to the RIGHT for other Phantom 2o4o entry's, but you can click this as well.

Cheers, THOM

Project Review: E-Marketing -3D Custom Modeling- Old Drive In Theater-PART I

 A Birds Eye view of the model I built of this Old Drive In Theater.

 A ground level shot of the entry with ticket booth, sign, and the back of the screen structure, and of course, a bunch of neon.

 An alternate view of the 3D Model for the Ticket Booth for this Drive In.

 Here is a shot for over the fence[ where the kids would sneak in a flic], showing the projector house/snack bar in f the foreground, and screen far back.

 A front view of this Old styled Deco Snack bar at the Drive In.

 As we exit the Drive-In we see the back of the sign structure in there with the lighting, as well as the ticket supports as well.

  Here is a shot of the last leg of the exit before we turn at the booth, hope you enjoyed the double feature!

Project Review

E-Marketing -3D Custom Modeling

PART I  Old Drive In Theater

Client: E-Marketing via The Cimarron Group.
Art Director: Greg Orlowski
Project Date: 2008.

Back in 2008 while in-house at The Cimarron Group, I regularly posted 3D Models for sale on Turbo Squid, and I published an e-mail if someone wanted custom work, well this is how I started doing work for them, so I will be covering these custom little "SIM-city-ish sets I designed for them to implement on a interactive website.

For this first part in the series I will cover the old styled Drive In that I built out. A full square set piece from entry to exit. I had built out a Drive In years earlier while I was still at Walt Disney Imagineering back in the 90's for a Scream Attraction, so I was well versed in the look. I am also a real vintage and antique buff myself, so this is a subject matter dear to me, and that makes these jobs not just more fun, but a whole lot easier to do.

I built out the Neon Signs, entry ticket booth, the projector house with snack bar, and the screen itself. I also built out the parking spots at an up angle to view the film like they did back then, as well as the window speakers and a fence all around the perimeter.

This was a 6-7 Hr project form start[ no design], to a final FBX asset.

As a 3D Designer, my clients come to me without a design, knowing that as an Art Center trained professional, I will design as I build, to cut out the middle step and expense involved.

Cheers, THOM

Project Review: Production Design on the Raveonettes' Music Video: Heart of Stone Head Design Development PART IV

The rendered shot I sketched over to create the design for the Raveoneettes "Heart of Stone" concept production design.

A 3/4 view of the 3D scene I built to sketch over. 

Here is the rough sketch on tracing over the print out from the 3D grid. 

Here all all three layers still together 

Here is the final Line art for the inside of the head. 

The final delivered Image[ re-posted].

Production Design:
Raveonettes' Music Video: Heart of Stone
Head Design Development 
PART IV

Client: Blind.
Art Director: Chris Do.
Project Date: January 2010

Today I have posted my fourth part, in a series on the Production Design work I did for the Music Video Heart of Stone by the Raveonettes, and for today I am showing the 'behind the process', in the creation of the head set-piece.

I had just 4 Hrs total to complete the task, including designing it out, and sketching a single image accurate in 3D space so a team of 3D modelers could build off the one sketch as in my last post on the Torso.

I once again used a3D Perspective Grids in the same way I use 2D ones. to create an accurate space to sketch quickly over.

I had a lot of fun especially in the head area as a designer. I liked the old camera in there for the eye as I am a collector of these myself, and I added in the Old style ticker tape machine up in the "brain" area as well. Speakers and a Mic in the ear, and a furnace in the throat too.

A fun design exercise.

Cheers, THOM

You can view the prior posts below:
PART I
PART II 
PART III

The Music Video is here.

Project Review: Daredevil PART II

 These 'Corner Icons' were designed to add to any poster or artwork for Dare Devil, this one has a deep internal extrusion that gives it a thin lip so you achieve a deep shadowing inside the font.

 Here I used a brushed Red aluminum with a nice warm highlight for Daredevil in 2002.

 His leather suit inspired a few designs where I applied the texture to the logo itself.

 A One Sheet Idea for a Teaser Poster had two big metal D's with a volumetric red light casting down over the logo.

 Here I took the above logo and placed it on a leather surface and dropped camera down to a worms eye look.

 Two 'squatty' looking Brushed top metal D's on a corrugated tin wall with some procedural rusting achieved with the Simbiont Plug-In.

 Another High Contrast Double D very tall and on a surface with some texture bump but a clean red color, you can see others here, here, and here.

DAREDEVIL!
PART II

Client: 20th Century FOX via BLT and Associates.
Art Director(s): Rick Lynch and Eddie Segura.
Project Date: Summer 2002.

It has been a few years since my first post so I thought I would put up a few more of the icon Double "D" logos I did for the film Daredevil back in 2002 a decade ago.

These were early on in my 3D logo building days a decade back and we explored about a dozen conceptual directions. Today I have a both the 'bug' or little corner icon double D, as well as a full one sheet teaser logo with a full 3D field background done for the premiere.

I have a few added images I will post this year as well as we explored architectural logos made from architecture and the like, so stay tuned.

You can view PART I here.

Cheers, THOM

Production Design: Raveonettes' Music Video: Heart of Stone: Torso Design Development PART III

 Here is the base 3D torso I built out for the perspective grid to sketch fast over.

  A 3/4 view showing the 3D base scene with the grids for perspective I built using a cone, and plane object.

 The first 2D Blocking over the copy of the 3D render, done on tracing paper.

 Here are all three layers, still taped together with the 3D render print first, the blocking, and ending with the velum final lines.

 Here it is scanned hiding what is under the velum for shading.

The final delivered Image[ re-posted].

Production Design:
Raveonettes' Music Video: Heart of Stone
Torso Design Development 
PART III

Client: Blind.
Art Director: Chris Do.
Project Date: January 2010

Today I have posted my third part, in a series on the Production Design work I did for the Music Video Heart of Stone by the Raveonettes, and for today I am showing the 'behind the process', in the creation of this piece.

To start off, I had just 4 Hrs total to complete the task, including designing it out, and sketching a single image accurate in 3D space so a team of 3D modelers could build off the one sketch. They did have a bigger budget, but I was brought in at the 11th hour to 'put out a fire', so to speak and delivered theses designs this way in the time allotted.

To do this fast I started in 3D and built out a quick torso with a few main elements in there and did a quick grid render. I use 3D Perspective Grids in the same way I use 2D ones. 

I printed the render out, and did a tracing paper overlay and blocked in the design. I then overlaid that with the velum, and proceeded to do the final line art. Once scanned in,  I added a bit of shading to finish it out in Photoshop and delivered the JPG.

I will be posting a few additional sketches in the next weeks to show the other design areas I covered, all in about 3.75-4.00 Hrs per design delivered to Blingd for production to build it out.

Cheers, THOM

You can view the prior posts below:
PART I
PART II

The Music Video is here.

Project Review Sky Captain and the World of Tomorrow PART V- Main Logo Concepts for Motion Graphics

A reverse beveled face[ with an indented top] for this hyper extrusion on black for Sky Captain and The World of Tomorrow.

A Long extrusion through the clouds. Particle clouds were to part to push this up to camera, FUN!

A style frame designed Logo with an animated sonar ring from behind it.

I textured the extrusion with windows to emulate a tall building to the font for this World of Tomorrow Logo design.

 This view shows the logo with dramatic clouds and sun rays[ a fave!]

Project Review

Sky Captain and the World of Tomorrow

PART V- Main Logo Concepts for Motion Graphics

Client: Paramount Pictures via BLT and Associates.

Art Director(s): Rick Lynch, Dustin Stanton, Jeff Barnett, Alon Amir, Zack Ris. 
Project Date: Summer 2002

This is my fifth posting on Sky Captain and The World of Tomorrow, I have posted a bit of Motion Graphics work that I performed when I was in-house as the 3D designer over at BLT and Associates in Hollywood, CA, for the film World of Tomorrow[ Sky Captain].

The film was originally titled World of Tomorrow before Paramount changed the name, so our concepts were done with that in mind.

It was a simple task to do some sepia toned old styled logos as seen in the 1940's, so I hyper-extruded some text and created a few looks. Some on black and some coming up from the clouds. Alen Petkovic eventually presented a few looks animated in Motion Graphics and they h liked them, however with the name change came a look change as well. A fun exercise all in all though, enjoy the post.

Cheers, THOM

You can see the other posts quickly below in these links:

PART I
PART II 
PART III 
PART IV

 http://www.skycaptain.com/

Phantom 2040-PART LXXXXVIII[98th] Character Fashion Designs

 Overlay on the Butler robot[ B.I.O.T.] to make the Cook Robot for The Phantom 2040.

 A Female B.I.O.T. Nurse[ Medical] robot from the TV show.

 A Generic male body with a trench coat became a coat for Dr Jak.

 Here we see Guran in a Tribal Jungle robe [ Bengalla]

Phantom 2040-PART LXXXXVIII[98th]

 Character Fashion Designs

Client: Hearst Animation Productions.
Art Director: Myself.
Project Date Spring 1993.

This is my 98th post for the work I did on the TV show, The Phantom 2040 from in the early ninety's, and I have posted a few overlay drawings that I did for some fashion designs I needed for the series.

As the Conceptual Designer and Art Director for the series, I came up with the overall look of the world, and that obviously included fashions worn by the main characters. I have a few friends who did that so I consulted them at the time and moved ahead.

What you see above are my overlay drawings for various outfits for characters including Guran, Dr JAK, and the various servant B.I.O.T.'s found on the series that I created these many various types of outfits for.

The "tall and thin" characters with wrapping, soft curved shapes from the Art Nouveau look was applied to all designs as well as the 2040 look developed in the architecture and industrial designs present in this fantasy world of the future to everything including what was worn or changed into foe the specific shows.

If you are a FAN of The Phantom 2040, and on FACEBOOK, there is a group for that....  here.

There is a TAG on the list to the RIGHT for other Phantom 2o4o entry's, but you can click this as well.

Cheers, THOM