The First Badge Concept for Key Art use for The Kingsman: The Secret Service.
I used a crosshatching texture engraved into the background field to
give it a finished filigree as a second read on this 3D Badge concept I
built.
I always render out a Z-Depth pass which is used as a mask in Photoshop or After Effects to mask based on distance the pixels are from camera so lens effects and Depth of Field can be applied in post.
The same 3D model from the First Badge Concept with a much more simple patinas metal finish with smooth surfaces.
For this version, I added in a dirt procedural shader with Cebas Final Renders Dirt Shader Material to get rust in the tiny cracks.
For this design I added in the concentric circles into the background area to once again add in a second-read level of detail behind the type itself to increase legibility. Holding devices are typically used in 3D Logos work to help with any legibility issue that may arise.
This was a lighter version of the top design above that was not as moody and dark, but still had that cross hatch had drawn texture in the design.
The 3/4 angels render show the model depth and stacked plate design as it was built for use in Motion Graphics and animation use as needed.
A Screen Capture of the 3D file in 3DSmax with the clay shader showing just the surface. Here you can see the Center Bevel, or single point bevel for the small type on the lower ribbons in the badge that I built Sub-D as Quads.
This Screen Capture view of the 3D file shows the leaf sprig details that surround the center crest design , and these were also built using Sub-D as Quads.
Another Screen Capture of the badge showing the multiple levels on the "Secret Service" type and a second layer also in the center crest area to get nice little double and triple highlight in the file. These especially show up in Motion Graphics with lighting and object.
A Screen Capture showing the full design with all the vacuous layers and object used to give it real-world depth.
The Second Badge concept for Key Art use is rendered out here based on vector files provide to me by the Agency BOND. I built out the hammered texture in 3D and applied it to the design in the version. This render is also a top favorite for me in this design concept set.
This Concept went a bit warmer in lighting and I added a fine mesh screen detail to the holding device back of the badge here. It really added that legibility needed for the Euro style font as it is much thinner than the top concept and it really helped it pop out better.
The crosshatched texture from the top post was added to this second design as I loved the semi rough feeling it gave the design as a hand cut look as the texture I build was hand drawn then scanned and made to tile for this work.
This last design was smoother look but with a bit more patina added to show an older object with weathering and some light rust corrosion with runs and drips.
Client: 20th Century Studios via BOND
Project Date: June 2013.
Direction: Patrick Dillon.
I was provided a packet with Adobe Illustrator vector files as well as visual reference for a variety of concepts that I will be posting for this film. Provided direction helps move me into the work that the teams have already put into the designs and gets me up to speed quickly. I can work from a few words, but visual reference is always a way to save money and especially time on Key Art projects like this.
Typically when I begin, I first go through the vectors to equalize them and fix any issues I might find. I also convert any bitmaps supplied into vector files too if I need to build them out in 3D, so I can build off of the vector itself, it becomes the 3D object via extrusion and subdivision.
I have been building out 3D Badges used in Key Art going back to my first poster work on Minority Report at BLT Communications. I was building out the Badge used in the film and it became a huge part of the Key Art once I was hired in full time back in 2001. So when this work came in from BOND, I jump in with high enthusiasm, and my skills had grown since that first work I did.
The work did no make it to finish for the final Key Art, but for me the process and the designs were one if my favorites to do. As a 3D Designer, I learn something new on every job, each time I build, and I had some break through moments in lighting and procedural texturing on this job that I still apply to my craft to this day.
I will be posting other Key Art 3D Illustration and 3D Logos I did for this project for BOND in future blog posts here.I also will post some other Kingsman work that I did for various other Agencies as well.
I have worked remote since 2009, and this work was one of the last jobs I did for BOND prior to relocation out of Southern California back to Colorado. Thankfully the work from Patrick followed me out here, and I continued to do work with them from Colorado up to Covid in 2020.
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