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Personal Project: Napkin Sketching and Doodles Part XVIII-[18th]

I've been on these little cabins and swamp houses lately, so I did the super high, tall and thin proportioned concept last night. I tilted each level of the house to the emulate the back and fourth found in the human torso body mass and hips, this gave the home some 'life'. A pain to take up the groceries huh!

As my Eastern European friend would say, a little "willage"[village]. This was to be the background behind the above sketch if I do this in 3D.

Another mini [ 1" tall] robot sketch. I try to capture a felling in each little sketch I do. The goal is to get a personality with the least amount of work first. Details can always be added to any design, but the base comp must work.

I was explaining 'gelatinous' to my 6 year old referring to the character "Bob' in Monsters vs. Aliens, so later than night, I did a gelatinous armless puppy with a ball as seen here, ...yea I know...

Personal Project
Napkin Sketching and Doodles Part XVIII[18th]

In this eighteenth installment of the Napkin Sketches, Drawings, and Doodles I do when I have a pen in hand, I have put up some more 2012 sketches that I have done this month.

These doodles are quick ideas usually 5-10 minutes from concept to final. I learned at A.C.C.D. in Viss-Com 7, my senior year to do these quick 2 minute, 3 minute and 5 minute sketch drills.

We would do these in Doug Halberts 7th term class for hours on end, and little did I know how valuable the exercise would be.

Don't get me wrong, I love a good full day detailed blue line sketch as evidenced on my blog here, but these little ones are so valuable to do FAST, it really sharpens your ability to make a fast design choice.

Keep on doodlin'!

You can view the other parts as follows:
PART I
PART II
PART III
PART IV
PART V
PART VI
PART VII
PART VIII
PART IX

PART X
PART XI

PART XII
PART XIII
PART XIV
PART XV

PART XVI
PART XVII

Cheers, THOM

Project Review: Indiana Jones and the Kingdom of the Lost Skull: PART III Mayan Calender stone Icon Build

The final main Mayan Calender Icon I created in 3D for the Key Art presentations, as well as a MGFX piece is here above. The outer ring was taken directly from a Mayan calender stone we found while doing research.

Here is the above object with the outer ring deleted. It is also in an animation sequence with the four separate rings both turning and moving back into the depth of the 3D space.

This was one animated reveal we did with the light limited to the front face of the icon so the skull was easy to read and fade to black with just an edge lit circle ending the piece.

Here is the geometry for the main logo, you will not that the outer ting required a bunch of polys to displace it properly, and the object was to export to two other platforms so I could not use a 'live' displace modifier, in needed to be baked in.[ 2 million faces!]

A close up on that outer ring show the level of detail in the model I built.

With the smooth tuned-OFF, you can see the base mesh in quads I built for Indian Jones IV.

A Quad view of the Indian Jone four Mayan Calender model, with sub-division OFF[ turbo-smooth], and the parts exploded out to view them separately.

Project Review

Indian Jones and Kingdom of the Crystal Skull
PART III Mayan Calender Stone Icon Build

Client: Paramount Pictures
Art Director[s]: Joseph Stamper.
Date: Spring 2007

This is third posting for the Key Art Design work I did for Indiana Jones four, The Kingdom of the Lost Skull, today I look closer at the Mayan Calender based Icon I built for the pitches.

This work was done for Joseph Stamper in the Design Print Division at The Cimarron Group. We wanted to create an Icon using a skull in both crystal[ as seen here], as well as include the Mayan Calender , a stone circle with the rings as separate carvings, so the icon could animate in and out of phase to show of , or 'reveal' the skull.

What is wonderful in 3D is the ability to light based on a virtual distance from camera, or view, so I can set the light to just hit the face of the design, thus the skull is revealed via a lighting trick in Motion Graphics.

I created this Icon for Print, Living One Sheets, as well as AV and WEB, using a fully animated sequence. It was built all quads using the Power Boolean function from n-Power built into 3DSmax, and was textured in procedural textures using Simbiont and the Dark Tree programs.

You can view PART I here.

You can view PART II here with a detailed look at the DC-3 plane I built.

Cheers, THOM

Project Review: The Phantom 2040: PART LXXXXIII[93rd]-Character Design Overlay

A mini BIOT on treads: So I had a technique where I'd slide the original on the glass in the direction of the scan to 'scale' it down, to get the shorty look[ remember this is pre good Mac's+PC's in the bizz], and that was the underlay.

I revised the tech attached to Dr Jak from Peter Chungs concepts to fit the look of the rest of the tech, and here is the detail sketches I produced.

For the character Nia, I developed the costume all broken up and destroyed after battle with Graft[ .05mm pencil on velum.

Here is a BIOT butler overlay.[ NOTE: The BIOT underneath is a very early Pre Production Model]

Phantom 2040-PART LXXXXII [93rd]

Character Design Overlay Drawings

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

This is my 93rd posting for my work done on the Television 2D Animated Series, The Phantom 2040 from in the early ninety's.

Today I have put up a few underlay drawing I have for various characters from the show. As the lead designer for the series I had a 1000's of items that needed to be designed for the 52 episodes that eventually aired, and the sheer volume of design was what drew me out of feature film work, to be a full time Art Director for this series, it was a great opportunity as I look back.

Are you a FAN of The Phantom 2040, and on FACEBOOK, there is a group 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

CAR CONCEPT DESIGN SKETCH

Project Review: Below 2002: PART II Submarine Wireframe Model

An overview shot of the full submarine I built for the final Key Art for Below.

A close up detailing the nose of the submarine that was in many a comp idea prominent with the torpedo bays open for business.

I cut the holes through the body mesh using the then standard Boolean tools, now I would quad model this out for full resolution needs and use the Pro-Boolean as needed with a quad mesh option ON.

The 50mm was mounted on the back in this configuration for the film, though many had it up front.

A tail shot showing the props and rudder assembly as built for this Baldo Class WWII Sub.

Anti-aircraft gun with should cups was mounted and ready for action on this virtual submarine.

Project Review: Below

PART II

Submarine Wire frame views of the Baldo Class Submarine Model

Client: Dimension Films via BLT and Associates.
Art Director: Alon Amir
Project Date: 2002

This is my second posting covering the 3D illustration work that I did that was used in the final Key Art for the film Below, back in 2002, a decade back now. Today my posting shows the geometric makeup of the 3D models that I built back then.

This Sub was built in about 10 hours, and in advertising that is about all the time they have to spare. It is always a challenge to build a complicated prop such as this in just over a day, but I was up for the task, though I did not quad model this, as I was still doing fast high-rez modeling to get the job in on time, so back then that was definitely a limitation I have worked to move away from.

However I have always been a stickler for details and with this Baldo class US WWII submarine, this was how I approached the job, so I included deck cleats molded board and battens and all wires and some rivets as well. Enough to catch a highlight and produce a nice shadow.

You can view PART I from a few years back here.

Cheers, THOM

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the main reason for the lack of updates is that I'm currently working for the diploma project. Fortunatelly it has nothing to do with this post :D

Project Review: United Artists Logo Update-PART II

Charlie Chaplin helped found UA, so I added this 'ghost' image of him leaning on the logo.

Music is such a huge part of film that I put the logo on a set of bars in this Logo treatment I did.

I took this tube look, into a few comp ideas like this one, with a metal filament inside the font that would light up and glow from within the orange l glass material. Motion Graphic ideas with glass are endless as you can get some great internal refractions and caustics to travel the sculpt.

For this alternate I did the "A" as a heat-sink with the various flat plates creating the look.

I did a few 'block' here, and here for the BIG UA's here is one with the extra type on the edges.

A simple UA in a circle with three layers of metals Chrome, Gold, and Copper.

Project Review

United Artists Logo Update

PART II

Client: United Artists via The Cimarron Group.
Art Director: Myself and others.Project Date: Fall 2007.

This is my second posting for the logo work I helped out on when I was in-house at The Cimarron Group back in 2007.

The owner had every design division, MGFX, DE, HE, Corp, and 3D all do some ideas for the big pith to United Artists to develop a new look to the film company logo. The exercise was a great design challenge, that allowed me to review the history and purpose of the studio, as well as take it into a direction for the future.

Though we did not use these, or even present most, it certainly was something that I got to thrown my own skills at, along with the talent from the various other teams.

Cheers, THOM

You can view PART I here

You can click the link title to read a bit of history on UA or paste this text into your web browser and go!
http://en.wikipedia.org/wiki/United_Artists