2D Animation Concept Designs: Background Layout, Storyboard Frames, Characters, Props and Vehicles

2D Animation Concept Designs: Characters.Proof Sheets of work I have done in the 2D Animation space over my career

 

2D Animation Concept Designs: Vehicles.Proof Sheets of work I have done in the 2D Animation space over my career

 

2D Animation Concept Designs: Background Layout, Storyboard Frames.Proof Sheets of work I have done in the 2D Animation space over my career

 

2D Animation Concept Designs: Props. Proof Sheets of work I have done in the 2D Animation space over my career

 

 2D Animation Concept Designs

Background Layouts, Storyboard Frames, Characters, Props and Vehicles 

       Today I am posting some Proof Sheets of work I have done in the 2D Animation space over my career. I started right out of Art Center working in 2D Animation before I really focused into 3D work with 3D Logo Design, 3D Illustrations, and 3D Animations that take up the bulk of my work.  

TV 2D Animation work:
Phantom 2040: ABC: 62 Episodes,Pre-Production, Pilot and Film.
New Adventures of Flash Gordon: ABC: 26 episodes, Pre-Production
Happily Ever After: Fairy Tales for Every Child. HBO 26 Episodes

       I really miss the 2D side of my art, and rarely get a paying gig anymore to use that skill. I still do love to draw and miss using this skill set as much as I was able to to in the past. There are some sketches that were not in 2D Animation mixed in for Theme Park work, as well as a few Walt Disney Imagineering pieces too here as well.

Most of the Images in these sheets are posted here on my blog full sized. Here are some searches to try:

Sketching:        https://3dconceptualdesigner.blogspot.com/search/label/Sketching

Napkin Sketches:    https://3dconceptualdesigner.blogspot.com/search/label/Napkin%20Sketching

Phantom 2040:        https://3dconceptualdesigner.blogspot.com/search/label/Phantom%202040

Flash Gordon:     https://3dconceptualdesigner.blogspot.com/search?q=flash+Gordon+

 

     I am currently still doing freelance as I hunt for a full-time place to work at, so 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 ] would be best. I have worked remote since 2009, so I am ready to help you.

                                 Cheers, THOM

2D Themed Environment Design: Theme Park, Retail, Restaurant, and Virtual Worlds[ Websites, Video Games etc.]

 

 Here is a sampling of my 2D Design Work sketches for Themed Environments.

2D Themed Environment Design Theme Park, Retail, Restaurants,and Virtual Worlds[ Websites, Video Games etc.]

With decades of 2D design work under my belt I have been privileged to assist in the creation of themed entertainment venues for a variety of clients in my career as a 3D Conceptual Designer. Environmental Design is a part of our training at Art Center when we go into Industrial Design, as we are prepared to interface with professionals of various disciplines to accomplish the themed look for whatever the end use may be.

I have worked for the larger Theme Park companies Walt Disney Imagineering, Universal Creative, as well as Landmark Entertainment Group. I have also been able to work for a few of the boutique studios like Sotto Studios, as well as the application of themed entertainment into retail, especially restaurant thematic design.

This skill set was also called upon for a virtual location for online work with Cyan Worlds up in Spokane WA back in 2000, to develop virtual worlds for the online versions of the popular games them make. I was connected with them while still at Imagineering and brought up to assist with those needs starting with 2D themed concept designs that would be built in 3D with a full architectural team and game team.

Themed design environment creation and Concept Art is also used in TV Animation work for various projects I have been on, including The Phantom 2040, Flash Gordon, and others.

If you have a need for thematic design from as small as freelance work, to a full relocation and full-time work, you can contact me here.

                                                         Cheers, THOM

NOTE: Blogger has limited file size, for the full size image go here.

What is the difference between a 3D Artist and a 3D Conceptual Designer?

Traditional Sketching and Marker Rendering

 

What is the difference between a 3D Artist and a 3D Conceptual Designer?

     First off there is no hard-line difference per say, however there are big differences between these two titles. I myself, have worked as both and each position is a little different.

The title of 3D Artist usually is an artist who works in a 3D computer program to create dimensional work in CAD or one of the various 3D Software packages [ 3ds Max, Maya , C4D, Sketch Up,etc]. 3D Artists are primarily trained in the 3D Program or programs of choice , and work in a variety of industries to build out, light, texture, and animate their creation they have built. 3D is a dimensional world rather than a flat world like Photoshop and Illustrator tend to be. It is also not required as a 3D Artist to be trained as a 2D or 3D sketch artist, though many do this.

A Conceptual Designer is a trained designer that works on concept art, usually for the film and game industry. The first Conceptual Designer, or Concept Artist I met was back in 1986, Syd Mead. Syd did all the futuristic designs for films such as 2001, Blade Runner and Tron. His path took him through Industrial Design [ ID], and I followed this path myself. ID trained concept artists understand how things are made, and usually are builders in the real world on some level, and this real world training translates directly in the way they do 3D.

Once I saw Syd's work at a presentation in college, and more importantly, heard him describe his work back in Michigan in the Winter of 86'. I knew this was my path, so I transferred to Art Center in Pasadena to complete my training as an Industrial Designer with a plan to do Entertainment Design that last semester in Detroit.

A 3D Conceptual Designer is someone who is double trained in both of these disciplines. And this training takes place both in school and on the job. I have worked as all three, starting my career with 2D Concept Art, and now I do a bit of all three roles depending on the clients needs, but primarily I do 3D now.

The big advantage to being double trained is that, first I am open to more work opportunities, and second the client themselves get a two for one, in that I can design and build my own creations for them, cutting out the most expensive part in the middle of translating a design from one person to another so it can be accurately built as a final product. With me you get both. Finally, as a designer myself I can read and translate other designers work very fast, so I can build other peoples work much quicker and closer to their original concepts.

So today I am posting this link to my Traditional Hand sketching and Marker Rendering work that I do that is the basis for my title of 3D Conceptual Designer.

As a Industrial Designer trained in Transportation Design[ Car Designer], there is a moment in our education that we make a connection between our clay models and sketching. After this connection is made you sketch much more realistic, and accurately as the end product is real and dimensional. This is what happens when I sketch now, I draw more accurately now that I do a majority 3D.

If you have a need for 2D Concept work I still break out the velum, so contact me for a bid.

I have added a permanent button to the right menu like this.

                               Cheers, THOM

NOTE: Blogger limits file size, so for a full size Image from up top click here.

As to my 2D work here are some specific links for this work.
Phantom 2040 2D Animated:

Theme Park[ some 3D]:

Art Center[ some 3D]:

Napkin Sketching:

Frum-Unders 2D Character Development; 

Personal Project Review: 3D Robotic Crab Character Development 2014

Here is my final Image produced for my little Robotic Crab 3D Character I designed this Past Holiday.

 

 A Screen Capture from 3DSmax 2013 shows the subdivided scene set-up[ about 2 Hrs to complete with renders]

 

This is my little one minute sketch I did to start this all off.

 The base model is a full Subdivision model, and here is the main camera view in that Low Resolution form.

 The above shot of my 3D Crab Robot  subdivided and smoothed for final use.

 This side view shows the tripod like stance with the tail out back that is actually the propeller.

 The same shot of my 3D Character subdivided as the final 3D asset.

 An alternate shot similar to the final with the camera raised up slightly off the Kelp Bed.

 The Subdivided shot of the 3D Robot Character Design I developed out.

 Overhead looking down] from the boat!]

 Same view from above the 3D Crab. 

I did the propeller shaft as a twisted cable you can see that in this shot a bit.

Personal Project Review

3D Robotic Crab Character Development 2014

Client: Myself: Personal Work.
Art Direction: Myself.
Project Date: Winter Break 2013-14.

Welcome Back! This is my first post for 2014, and my fifith year as a full-time freelancer.

During this past winter break I did a little personal project and designed out a 3D Robotic character of a small underwater Crab.

I worked on a very large robot project a few years ago, and I was inspired to do my own take on an underwater 3D Character. As a 3D Designer I did a micro sketch that took about a minute to get the basic feel of what was in my head, and blocked out the basic proportions,and then I go directly into 3D to design.

I built this little character out in the Tee-Pose so it is ready to animate in 3D, with some basic linking for posing, but what you see above is it posed. 

A few design features I put into the little guy is that first and foremost, he is sphere based, not a surprise as I am infatuated with this basic shape as seen in my Bubble Car concept.

I love submarines as well, so underwater creatures are fun and so I added the propeller out back insipired by a early design I did at Cyan Worlds back in 2000 here. 

I made the question-mark leg with a fully rotating little dualie wheel set to scoot along the ocean kelp beds.

Though I sketched two eye-pods, I went with a Cyclops instead that retracts back into the head via the iris up top as with a reuse of the the teeth on the circular mouth out front on the design.

Also, one arm was made much bigger as found in nature on various crabs, to change it up a bit I modified it in 3D.

About a 4 Hr build, with 2 Hrs to set up and render it out in the scene. A fun little personal 3D Design project for me to pass some time this Holiday season.

Cheers, THOM

Project Review: Out Takes PART VIII Universal City Walk Mall 1992

A round two pass for Out Takes with the curved front look final design with wood and bronze accents up front.

The first rougher design sketch for the tubular space frame look that did end up as the final design here.

 This first sketch defined a simple bump curve that was off center on the face of all designs in this category. It utilized a sandwich approach to the materials with a thin strip of wood or bronze showcased in the steel structure.

Project Review

Out Takes PART VIII

Universal City Walk Mall 1992.

Client: Out Takes Via Eric Allard at All Effects.
Art Director: Eric Allard.
Project Date Summer 1992

 Sorry for the lack in posts, I was very ill, but I am up and going today so I have a new post.

In this my eighth posting for the design work that I performed for All Effects back in 92' on the City Walk Out Takes Furniture, Cabinets, and Camera structure designs, I have posted today some added concept designs I did as I worked out the final designs for the main desk that the operator worked from in the public window showcase.

Out-Takes was a blue screen photography studio at Universal's City Walk Outdoor Mall in California back in the late 90's, and the motion cotrol rig was the basis for the final design with the girder framework and matte-black baked finish, but we did experiment in half a dozen directions as todays added sketches show.

The process started with about six looks with a few alternates on each. I then narrowed to two looks the girder, and the "Lexus" we called it with the curved wood sandwich layers as seen in the face ans side of a few designs. They picked the girder as it matched the industrial look of the main equipment that filled the store and it was cheaper to produce as well.


Cheers, THOM

PART I is here.
PART II is here.
PART III is here. 
PART IV is here. 
PART V is here. 
PART VI is here.
PART VII is here. 

Project Review The Phantom 2040 PART CXXI [121st] Prop Design Sketches

The Ghost wood leaf was seen in about 20% of the series as this was the symbol for nature taking over the ultra-modern futuristic city from the ground up. It also represented the Phantom himself and he is from the Jungle, so the Leaf and the Ghost wood itself is seen here, in my prior posting.

A futuristic square Library Table that is thrown by a B.I.O.T.'s in the show.

 THis semi-=Mission styled chair was used in this scene here.

Here are a few 'tall-n-thin' bricks as props. These are from the Phantoms lair as you can see a Frank Lloyd Wright inspired Textile block in there too from the cave.

Project Review
The Phantom 2040
PART CXXI [121st]

Prop Design Sketches

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

Today in my 121st Phantom 2040 posting, I am posting a few added props I designed for the series. 

I had a very unique position as the head Concept Artist, and as the shows Art Director, so I had a very free design process in that I approved my own designs for myself quite fast, so all I was left with was two reviews, one internal in LA, and one from the folks in NYC.  

This allowed me to complete a huge amount of work in a short time span and since we had a very low budget this was a lifesaver to get a good look for the show.

Today I showcase a few added props, some may look familiar as they are found in various backgrounds and other props I have designed and posted in the series. 

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 The Phantom 2040 PART CXX [120th] Enforcer Hyper-cruiser Development Sketches

 The primary Design for the Hypercruiser was proportioned like a Deuce Coupe Chopped Hot Rod, one of my personal faves' for The Phantom. I did use this for Max's car with the wheels, and the flying one for the Police force of ENFORCERS.

 After we decided to remove all wheels and make it a floating vehicle only for the most part I have this revised sketch I did for it.

 I also did a plate armor overlay as in once script there were B.I.O.T.'s working putting this on so it had to look removable in design.

 Here is the internal color key I have[ alt view here]

Project Review
The Phantom 2040
PART CXX [120th]

Enforcer Hyper-cruiser Development Sketches

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

Today in my 120th Phantom 2040 posting, I am posting a bit of the process sketches thst I did for the Hypercrusiers for the Enforcers from the show.

I was able to design out all the futuristic vehicles for the show, and as an Art Center grad from Transportation Design, this was a dream job very early on in my life right out of school.

I first did the body form pass with wheels, then we learned that they are rarely seen on the ground so I focused on a hovering design without the wheels as seen above as well as I progressed forward. I always had a variation or two, usually an armored version,and sometimes a wrecked one too, like this, this, and this.

 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 Out Takes PART VII Universal City Walk 1992

 Thru out the Citywalk store, there were large truss systems for the blue screen and various lights and apparatus, so they wanted a monitor 'cage' to mount to the truss system that could be rotated from landscape to portrait, and this was pre-flat screens so a big CRT cage was designed out as seen above to match the 'drapes' so to speak.

 An under-drawing I did was used for various designs, but clearly in this direction here.

 A top down view of the footprint of the main operators desktop with three Mac's. Note the old Mac split ergo keyboard seen also here.

Project Review

Out Takes PART VII

Universal City Walk Mall 1992.

Client: Out Takes Via Eric Allard at All Effects.
Art Director: Eric Allard.
Project Date Summer 1992

In my seventh posting for the design work that I performed for All Effects back in 92' on the City Walk Out Takes Furniture, Cabinets, and Camera structure designs, I have posted today some added under drawings and schematics.

Out-Takes was a blue screen photography studio at Universal's City Walk Outdoor Mall in California back in the late 90's, and part of any design job is to translate your won design so others so it can be built, and this usually involves a lot of extra schematic views, and parts drawings so the design can be understood by those who would build it.

This one point is why as a 3D Conceptual Designer who does his own 3D work, I can effectively undercut most any other job bid, since I cut out the entire process of design translation to another designer, since I myself am the one doing the building, and it is exact in the first pass to the design, where any translated work will require back and fourth to refine due to two or more minds on the job, which means a much higher cost as you must hire both a designer, and a modeler.


Cheers, THOM

PART I is here.
PART II is here.
PART III is here. 
PART IV is here. 
PART V is here. 
PART VI is here.

Project Review The Phantom 2040 PART CXVIII [118th] More Vehicle Concepts

 When Kit Walker becomes The Phantom, his hyper-cycle transforms as well to what we see here.

 Here is the original overlay I did for the HERO mode with everything out and ready to go.

 I took a sedan I designed and with a little white-out[ WHAT!] I removed the top and added a quick interior to it as seen in this Xerox sketched over. You can view a multi-view of it here.

 The Mustang Kit drove in full on COMBAT mode for The Phantom 2040. You can see it color keyed here.

 Here is generic flying vehicle I did to fill up a specific shot we had. I created this with a very unique profile unlike the planes and jets we would see up there as well.

Project Review
The Phantom 2040
PART CXVIII [118th]

More Vehicle Concepts

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

Today in my 118th Phantom 2040 posting, I have found some scanned in images of vehicles I did for the series to review back in the early 90's. 

As a Transportation Design Graduate we dream of future vehicles to design, and this was a great time in my design career to be able to have the creative freedom that is afforded in sci-fi projects, along with being the Art Director on the project, I also got to approve all my ideas as well!

All of Kit Walkers vehicles transformed when he transformed into The Phantom as well so I have a few of these to share today.

 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

The New Adventures of Flash Gordon PART VIII Character Design Turn Around Views

I've posted a 3/4 front sketch I did here, but this is an overlay/underlay drawing I did as I created the character turnarounds to another one of Nicks great characters.

A front view with underlay and tighter color-erase clean up on top.

This is a rear view of the "General" from Flash Gordon, designed by Nick as well, so I did the turnarounds and the inks.

Here is a back view of the daughter of Ming the Merciless Inked and ready to go. I posted the pencils here for this shot here.

The New Adventures of Flash Gordon PART VIII
 Character Design Turn Around Views.

Client: Hearst Animation Productions.
Art Director: Myself.
Project Date: Spring 1994.

This is my eighth installment on the work I performed on the Television Series, The New Adventures of Flash Gordon, for Hearst Animation Productions back in the mid 90's while I was overseeing the final episodes of The Phantom 2040 Animated Series finishing on up, and today I have posted images of Character Design Turnarounds to review.

Almost every designer is required at some point to take a design done by another artist, and to extrapolate information from it, and for these turnarounds, what I did was to take the great character designs that were given to us from concept artist Nick Pugh, and do the inks and the complete turnarounds for the animators, and storyboard artists in production.

As a side I always remind younger designers of the value of reverse engineering  views and details from another designer, and with this work it was very beneficial to get into Nicks proportions and shape language, as it helped me to break out of my own conventions and typical proportions that I use, and revise them with these.

Cheers, THOM

PART I: here

PART II: here

PART III: here

PART IV: here.

PART V: here.

PART VI here. 

PART VII here.

Personal Project My 7th Term Entertainment Design Project Theme Park Multi-Environment Vehicle Part 1-Early Speed Form Studies

 Early speed-form sketches I did my 7th term at Art Center for my Entertainment Design Project.

 I did about 8 pages of these and picked a few to refine[ will post in the future]

 I began to break the form into two shapes as the design progressed as the back transformed in the ride.

 Some more pages [ 14' x 17' Vincent Velum] of speed form concepts

Personal Project

My 7th Term Entertainment Design Project
Theme Park Multi-Environment Vehicle
Part 1-Early Speed Form Studies

This is my first post covering my personal school project from back during my Art Center days in Transportation Design my Seventh Term in the Summer of 1991.

This was the first Entertainment Project I did at Art Center, as I went there before they had an Entertainment emphasis as an ID major, or the new Entertainment Design Degree they now offer. I had always wanted to do some Theme Park Design work so I chose this project to show that a bit.

I developed a vehicle for a ride system, so I began where many car designers do with what is called the "Speed form".

 Professor Strothor MacMinn taught us speed form shapes as a basis for the main body form of a vehicle very early on at Art Center. A speed form is a aerodynamic shape that shows direction in the form, hence the name speed form.

Some people say, "That car looks like it is gong 100 MPH standing still", and that my good friends is what a speed form is all about.

I did multiple sheets of forms, picked a few and refined. I will be posting this work in the weeks to come.

Enjoy the post.

Cheers, THOM

Project Review The Phantom 2040 PART CXVII [117th] More Background Design Mini Layouts and Grids

 A rough layout move blocking that I did for Jesse Santos to complete of the African Jungle. I blocked the skull cave over on the right, with a tabletop mesa to the left.

 The Maximum Inc Rocket lands in a field out in the countryside outside of Metropia.

 An Exterior of the Lab blocked with foreground vines to part upon truck in.

 Here is the Maximum Inc Rocket in the cargo bay ready to lift off.

Project Review
The Phantom 2040
PART CXVII [117th]

More Background Design Mini Layouts and Grids

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

For my Tuesday 2D post this week, I have found even more of the small layouts I did to assist in production on the Television Animated Series from the mid 90's called The Phantom 2040.

I did these blocking grids to be used by multiple groups both in-house in the states, as well as for our overseas groups working in France and South Korea.

The background painters, Layout Artists, Storyboard Artists, and Animators all took advantage of these as they would provide that little bit of extra information to help them complete the work on model and quicker too.

I often did plan views, cut away drawings , and whatever detailed sketch was needed to help us make our production deadlines, and simple milestone goals each month, as we did put out 52 episodes in those hectic two years at Hearst Animation.

 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 The Phantom 2040 PART CXVI [116th] More Character Fashion Design for Animation

 I modified a Dry-as-a-Bone Australian riding jacket to accommodate Guran above. I added just some small details of tall and thin magnetic clips up by the lapels.

  

 Here is a generic Butler character that would be seen both at Maximum Inc, as well as serving the Madisons, Maxwell and Rebecca.

 A Tracker outfit I designed a few times to get it right. The hat with the neck cover was in the script as a feature discussed so I had to add that in.

 

 Here is a simple coat that was used in the shots near the dorms, for various students wearing school jackets.

Project Review
The Phantom 2040
PART CXVI [116th]

More Character Fashion Design for Animation

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

For my Thursday 2D post this week, I have scanned in a few more drawing overlays I did for some character fashion design from the show, The Phantom 2040, and this is my 116th post for the work I did for this property.

I have posted fashion designs before from the show, and as Art Director and head Conceptual Designer for the series, I set the look for the show that I wanted to have in all outfits that were worn by the various characters.

As an Industrial Designer, Fashion Design is something that all designers must consider when doing any thematic design. We look at trends in all of the design word to find what is the movement in the field so we can apply these ideas to our concepts.

I did most of these with a micro mechanical pencil since all the Peter Chung concepts for the main characters was done all with a very thin line style, and we wanted to be consistent with all character outfits as well.

 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