A Camera view straight on the 1938 Rolls Royce Wraith built Skull Icon with all the bells and whistles. I added blood spatter and some aging along with dramatic lighting, which made this concept my favorite.
A Camera view straight on rendered out with out the blood spattering so it is clean so the client can rough it up the a level that they want too.
A Lowered front Camera view that tipped the skull back so it was looking down at us. 3D illustration makes this a simple camera move and re-render, an economy of scale with tight budgets.
A 3/4 left Camera view shows some more depth in the build. Since multiple Art Directors are using these 3D Illustrations this gives them more options to pick from.
A 3/4 right side Camera view. I also used the Z-Depth pass to darken the lighting as the skull tipped back on the left to stage it better.
A elevated Camera view straight on looking down showing of the "chin" area below the radiator grill and those chrome strips on elevated sheet-metal gave a similar lighting like teeth sockets in the skull or the gums.
Another elevated Camera view tilled slightly, but I used a much shorter lens with the Cebas Final Render fish-eye camera instead.
A Camera view straight on in the Ambient/ Dirt shader render pass. I use this to add depth to the render by darkening geometry intersections. It also add a bit of roll to the lighting and material naturally found in real life.
A Camera view straight on screen grab in the Red Clay showing the Quad Subdivision Base Mesh
A Camera view straight on screen grab in the Red Clay showing the Subdivision set a 2.
Aclose front perspective view in the Red Clay showing more details in my build.
A 3/4 screen grab in the Red Clay shows the dimension as well as those fabulous horns taken from the classic car.
A 3/4 screen grab in the Red Clay showing that cool 'chin' just below the grill. it made great 'teeth' for the skull!
A 3/4 screen grab in the Red Clay close up shows the woven screen on the horns. I grabbed that from a microphone I built out in a prior project, and flattened it back out, as I saved it flat for this reason for later use.
A 3/4 screen grab in the Red Clay showing surface and dimension on the grill area
This screen grab shows the Hood ornament as a base mesh with out Sub-D added yet as the main character, Charlie Manx along with the Rolls Royce logo changed out to his initials to CM.
A view-port material view screen grab shows that I did build out the interior inside the headlight buckets with bulb, reflector back that was properly fluted, and the bulb holders and internal filament too.
3D Illustration of 1938 Rolls-Royce Wraith
for Key Art 2019
PART II
PART II
Client: AMC via Leroy and Rose
Creative Direction: Melchior Lamy
Project Date: February 2019.
I am now able to post more work that I did for Melchior at Leroy & Rose for some Key Art work for the AMC Series NOS4A2 [ a.k.a. Nosferatu ] I love working with L&R!
This project was a really fun concept that I was given to take a classic 1938 Rolls-Royce Wraith front end and use the parts to emulate a human skull with the headlights as the eyes. It also has an old county fair Ferris wheel that made the round top of the skull.Everything except the Ferris wheel were built out in Quads for subdivision surfaces.
I also posted some Behind the Art images with some wireframes and Clay shader screen grabs showing the base poly mesh and the subdivided smoothed one above. I love the 'Jewelry', or shiny bits and details found on classic cars, take a look at my Instragram and you will see that I take a lot of close up shots on classics, so this love of mine translates over to my 3D builds.
This project really showcases the power of using 3D assets for this type of work. It could have been a "Frankenstein-Comp" using Photoshop to piece it together bit by bit, but when you do it in 3D you have the benefit of rendering it again with different camera angles, lighting, textures, and even a unique camera lens with a fish-eye exaggerated views as shown in my images above. So one base 3D model at different angles with a variety of textures was possible with a single 3D build, and then rendered over and over. The first comp is where the time is mostly billed at, with the extra shots at a much quicker pace when the model is ready.
My Global Illumination render plug-in of choice is Cebas Software Final Render, as it include extra cameras to have full control of the level of distortion so you get a true curved lens output in 3D.I highly recommend this software as a plug in for 3DSmax or Maya.
As a Transportation designer I love all things automotive,
so from the 3D Logo License Plate to actually building out classic car parts to put together into a really fun concept of a skull was super cool, and a rare type of gig I get. Also as a huge Horror fan the concept was a privilege to do this work.
You can view PART-I here. The License Plate 3D Logo that made it to finish, and was also used on the new reprints of the novel Book Cover as well.
You can view PART-I here. The License Plate 3D Logo that made it to finish, and was also used on the new reprints of the novel Book Cover as well.
If you need a bid for a 3D Illustration or 3D Logo , or a 3D Model feel free to contact me for a quote. I am open to Hourly gig's , Work Retainers , Part-time , and Full Time opportunities [ Open to relocation ]. I have worked remote since 2009, so I am ready to go, but I would prefer an in-house team.
Cheers, THOM
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