interior car: 3D Logos

Showing posts with label 3D Logos. Show all posts

Project Review: X-Men 2: PART III-3D Logos from a Single Vector

A double plate 3D Logo design I did for X-Men 2, with some mild pitting in the scratched steel face.

A glass plate with a heavy bevel and a thin metal plate on top for this X-Men 2 Log I did back a decade ago.

The top X-Men 3D Logo objects have a heavy thick bevel and the holding device has about half as much. Sitting on a gloss black surface.

Here I did a hollow face logo for X-Men, with a very big bevel in a warm environment for lighting.

Here is a deep extrusion coming up from infinity to reveal the above logo with a much deeper holding post.

A solid two plate design with the X objects pulled out from a bit in 3D space for this X-Men 3D Logo.

For this alternate I revered the type move and put the "2" out front, I also then cut out the insides to make a deep pocket in there for heavy shadows on a simple x, and a 2.

Project Review

X-Men 2: PART III

3D Logo Designs from a Single Vector File

Client: 20th Century Fox Via BLT and Associates.
Art Director: Zack Ris
Date: Spring 2001

I had well over 200 logos I did for X-Men 2 from a decade back now, when I was an in-house 3D Designer over at BLT and Associates, and today I have details on one sub-set all based on a single Vector file.

Part of what was great over at BLT, was that an Art Director would give me a single vector file designed in 2D, and also give me plenty of design space to create a dozen solves, not just one.

Since I am versed in 3D design space,and most importantly, I was taught to think in three dimensions via my Industrial Design Degree from A.C.C.D., I always see a flat vector in multiple solves at delivery in 3D. I usually drop a few suggestions to an Art Director, but typically I do just one design for each logo, but here on X-Men 2, I had time to do about twelve per vector file.

I will be posting a few more solves from other vectors in the future for this X-Men 2 series I have here on my design blog.

You can view PART I here and PART II here, or you can search the blog using X-Men to see my X-Men 3, and First Class stuff as well.

Cheers, THOM

Project Review: X-Men 2: Part II-Cerebro Door Icon Designs

A Cerebro Door Icon I designed that had a metal brushed front plate, with blue glass sandwiched in between, with some fasteners l holding it all together.

By far my personal favorite for the Cerebro Doors I did for X-men two, was this example, with a cast iron double base plate, and a machined top face.

I took the top brushed face and first level of casting from my 'fave up there', and created a "spherical" LOGO that would spin up for the AV and web usage[ my first intro into Motion Graphics]

Metal face with blue glass within with a floating negative space reading "X". A fun solve for X-men that ended up looking alot like what was finished for Fantastic 4 a few years past[ by another artist].

I had this one with 'pachinko' pinball balancing the four parts forming the X for X-men 2 Cerebro Doors that I designed.

An X door on a rock wall split into tow doors, with the lighting taken from the first films finished look at BLT

Project Review
X-Men 2: PART II
Cerebro Door Icon Designs

Client: 20th Century Fox Via BLT and Associates.
Art Director: Zack Ris
Date: Spring 2001

I had well over 200 logos I did for X-Men 2 from a decade back now, when I was an in-house 3D Designer over at BLT and Associates, so today I have gathered up a set of my favorite Cerebro Door Icons that I did for the project to foucs on them in a better scale to view.

I love doing big metal superhero logos , and this part of the project was a blast to come up with some looks. I had a basic brushed metal look, established in the first film that I used as my spring-board, so I did some direct replicas in 3D, since the first film uses a 2D illustration for the big X, since it is not a real 3D asset.

I had a great amount of design room given to me on this[ BLT's strength!], to come up with some heavy metal, and iron looks for these icons. I did cast metal, brushed metals, lots of blue glass[ that eventually went to Fantastic 4]. A fun process and end product.

You can view PART I here or search the blog using X-Men to see my X-Men 3, and First Class stuff as well.

Cheers, THOM

Project Review: NEXT (2007): 3D Motion Graphics Design PART I

Frame One of the final Finished Title treatment for the film NEXT from back in 2007.

The final animation I provided to Tom Kositchotitana in Motion Graphics had 3D motion blur used on the 3K frames.

An animated Gimbal move with the type letters rotating into the final position.

Almost seated and final in about 1 second total for the move.

The last frame with all seated and a slight flare near the 'X', in Next.

Here we see a simple 3D heavy beveled type object in a mesh-view, but look closely, as I convert these simple items to an editable polygon , and then put a little bevel on all edges to catch mini highlights on a small face edge as a third read. This adds a lot to a simple object like this, as the lights will naturally animate on these little slivers well.

Project Review

NEXT (2007)

3D Motion Graphics Design PART I

Client: Revolution Studios via The Cimarron Group.
Art Direction: Geoff Calnan, Tom Kositchotitana, and myself
Project Date: January 2007

Today I have posted up my first in a series on the 3D Animation Motion Graphics work I did for this film[ among others]. I primarily do print work, with well over 1000 3D logos done this last decade for Theatrical clients, but I have also finished to film nearly 85 final Motion Graphics pieces, like what is seen above and is in the final trailers as well.

I always work with an After Effects artist on Motion Graphics work, as I am a 3D Animator/3D Designer to them, and I provide the raw frames for their composite.

I have worked with Tom K. for almost every Motion Graphics piece I have done[ 95%], and we always get this type of work finished on time and under budget whenever we have done the 'T-N-T**' production.[**Tom and Thom]

For today, this first part in this new series, we see a simple metal 3D logo with a heavy extrusion gimbaling into frame for a Title seat. I added the double edges on all sharp outer parts to get that little highlight running around the edges as well, something I often do to simple stuff like this.

It is FUN to create and deliver this stuff!

Cheers, THOM

Project Review: Twilight Logos PART IV: 3D Logos for Eclipse, the third film

Round 1 was almost final for Twilight Eclipse, I just adjusted the texture mapping a bit and we were done.

Here is the final 3D Logo I did for Eclipse the third film in the Twilight series back in 2009.

Here is a quad poly view showing the scene layout with the 3D welds re-sued for each film.

This is a combo Ambient render and screen capture showing the lighting set-up for the aura around the full moon eclipse.

The texture map breakdown shows the procedural base material with the supplied texture map from the Art Director, Joseph Stamper.

Twilight Logos PART IV

TWILIGHT ECLIPSE PART III
3D Logos and Illustrations for Print Advertising

Client: Summit entertainment via The Cimarron Group.
Art Directors(s): Calvin Sumler, Joseph Stamper, and Chris A. Hawkins.
Project Date: Winter 2010.

I had the great privilege of working on all four Twilight ad campaigns, and today I post the work I did for the finished 3D Logo for the third film Eclipse done back in 2009, A bit out of order as I have posted the others already here so you can search using the Google toolbar up top on the LEFT..

Early in the series I had the room to experiment more with the look and feel of the logo, and we did a whole lot more variation and 3D sculpting, but as we moved forward they wanted a simple extruded logo so that is what I did.

On this third film in the series, I only did two versions of the logo for Joseph, and the only change was the scale of the texture map used, was made ultra small for a fine detailed look. The main 'gag" so to speak was the full eclipse of the "dot" in the letter I. I back lit the 3D scene with 3 different volumetric lights to get the aura feel correct around the moon. I also combines a Procedural texture and photographic color to achieve the look needed for this third round.

You can view PART I for the first film here.

You can view PART II for New Moon here.

You can view my 3rd post for Breaking Dawn HERE.

Cheers, THOM

Project Review: DOOM the Film 2005

The simple straight on shot of the 3D Doom Logo for the 2005 film, done in December 2004 while at The Cimarron Group.

Here is the top logo with a lowered camera and a small 2% lens curve[ fish-eye] added using Final Render.

A severely rusted out[ bottom of the Sea] look to this DOOM logo I did.

First of these three Orange HOT glowing glass variations on the Doom Logo for the film from 2004.

I used procedural cracks in this version of the glass using the Simbiont Plug-In.

A glass logo with a brushed metal plate top face was standard fare for Motion Graphics Jobs during my time there so we hit that here to in warm tones[ gold aluminum on orange glass base.

Also this has 25% curve used to distort the lens, a great feature built-into Final Render.

Here you can see the simple two part model I built as geometry, that I curved the back of the extrusion so the edges would drop back farther and lower than the center for all final views.

DOOM the Film 2005

Client: Universal Pictures via The Cimarron Group.
Art Direction: Chad Robertson
Project Date: December 2004

I had a one day gig working on a 3D title treatment for the film adaption of the famous video game Doom, back in 2004 while I was still and in-house department at The Cimarron Group out of Hollywood , CA.

I worked with Chad Robertson on this job, and Chad and I have done work both prior to Cimarron, at BLT, and after Cimarron through Ignition Print, I always enjoy working with painters like Chad, they inspire me.

The logo design itself, was locked from the game era products, and they wanted to see a few 3D versions as a test, so I provided about a dozen examples to the Print Department there at Cimarron. Orange Glass was a big theme and aged metals, so most were in this family of textures as delivered.

A fun project that did not finish however for us, but as always as a Concept Designer, most of what we do is conceptual and not finished anyhow, but we learn though the process we do in creating these things and get faster and better as designers.

Cheers, THOM

Project Review: Mean Girls 2004: Motion Graphics 3D Logo design

Round one had clean simple type done in diamonds and platinum for Mean Girls in 2004.

A shot of the bracelet on black with the satin removed as an alternate for the MGFX design.

This is the final that finished at 4K for the International Trailers.

Here is a shot of the final image in quads showing the build.

A low angle shows off how much I moved the letters around to fit the pink cloth final finished logo for Mean Girls.

Here is a shot of the quad model showing. the welds I built into the chain links using the nPower tools.

Project Review

Mean Girls 2004: Motion Graphics 3D Logo design

Client: Paramount Pictures via The Cimarron Group.
Art Direction: Michelle Jackino and Erik Counter.
Project Date: Spring 2004.

My very first early Motion Graphics piece from my days at The Cimarron Group from 2003-2009, was done while Michelle Jackino ran the AV division, and I had the pleasure to work with the in-house Predator Erik Counter on Mean Girls.

Mean Girls needed a charm bracelet, fully built as the 3D logo for the piece, so I proceeded to begin my design in 3D. I started very straight and flat, but later on was directed to really move the letters around so we put it on some pink cloth and I modeled it to conform to the shapes. It ended up finishing for the International Trailers.

Cheers, THOM

Project Review: SALT: PART III-3D Logo Exploration 2008

A 3D design based on vectors provided to me by Chris A. Hawkins for this Sub Surface Lit example with the Soviet themed Red wax material.

This design uses three plates high for the triple edge highlight in brushed metal, and the face is a bit curved as well to get the nice highlight in the proper place.

I did a deep extrusion here, but I like the thin decal look I did above as well, as an alternate.

The hammer and sickle for the "A" was a great solve in my opinion from Chris for this design, with gold and red materials.

A bright graphic version of the logo with the "star" used for the "A", this was a thin extrusion version. I added the neon around the star to be an animation element for AV-MGFX.

A deep extrusion on the above vector using the procedural cement-metal material I designed in Dark Tree. Big bevels!

A Single-Point-Beveled[SPB] font here with a warm to cool lighting on just the extremities. This was to be an animated face in from black idea for a living one sheet.

A SPB built into a tube with some mild ribbed design elements put on the red glass material.

A round tube built font with tech shapes cut into the object all the way through with some internal metal accents as well.

SALT

3D Logo exploration

PART III

Client: Columbia Pictures via The Cimarron Group.
Art Director(s): Chris A. Hawkins.
Project Date: Winter 2008.

In my third posting here on my design blog, for the 3D design work that I did for the film, SALT in the winter of 2008 while still running the 3D Department at Cimarron. Today I focus on logos for one of the three main Art Directors I did work for in the Poster Design department there, Chris A. Hawkins.

With this added set of logo you can see that I had a very wide range to play in for the film. I also had a full day to do these so I could really finesse the details and the lighting. I have glass and metal, procedural-textures, lots of single point beveled text, that is fully hand modeled, and some Sub-Surface-Scattering in there too since I had the time[ long renders to get right!].

Total Logo count that I provided to them was, One-hundred fifty-five[ 155] designs, though they presented maybe five to the client at the end, I always love the process so I understand the drastic cuts needed. Young designers take note, that 5 out of 155 is the norm for a firm to cut down your delivery.

You can view PART I here.

You can view PART II here.

You can also view the KGB badge I made here.

Cheers, THOM

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