articles on

30 Years of Nike Air Max

30 Years of Nike Air Max

Last Friday Richard Hawkings, a great motion designer that works with me at Google shared with me this amazing work done for the campaign to celebrate the 30 years of Nike's iconic Air Max. The work was done by ManvsMachine, a design & motion studio from London, UK. The work is so good that I asked myself what was 3D and what was real due to the quality of the texture maps. They were kind enough to share a little making of and we had to share it here with you. ManvsMachine is a multi D&AD and Cannes Gold Lion award winning design and motion studio. They work with forward thinking clients to create progressive and effective visual communication for a global audience. For more information check out http://manvsmachine.co.uk/ We worked closely with Nike Sportwear to design, direct and animate the campaign for the brand new Air Max Zero. Along side this we also crafted the brand language for Air Max Day — a global celebration of the iconic Air Max shoe. Video Stills An intricate project with many different elements to bring together. From building and filming Tinker Hatfield’s design studio, to 3D scanning nine different Air Max shoes and refining the design of our Air Max day type which went on to be constructed and featured in stores globally. Making of Concept, Design & Direction: ManvsMachine 3D Scanning: FBFX DoP: Dave Tree Stylist: Lee Flude Audio: Echolab

The Verge - Making of

The Verge - Making of

I love all things outerspace and artworks inspired by this particular subject. Perhaps because of growing up watching NASA's mission on TV and all that imagination about the future with spaceships and the conquering of space. So the guys from Lightfarm Studios put together a really cool piece and an even more awe-inspiring case study showing the process behind it. Check it out. Description Inspired by the book "Rendezvous with Rama" of Arthur C. Clarke, our computer generated astronaut meets the world's ending in a highly detailed vortex. By seamlessly matte painting over 100 aerial pictures of giant proportions, our artists worked hard to bring this surreal idea to life. Our CGI team used the latest technology for cloth simulation which made the unique astronaut's suit possible. In this making-of video you can follow the whole process from the sketch to the final model. Hundreds of gigs of video capture were carefully selected and beautifully edited with the deep beats by the Russian musician Vitaly Ghost, Lightfarm Studios proudly presents this poetic trip through the making of "The Verge" Lightfarm Studios celebrate the launch of their 3rd Studio - Lightfarm Brasil, based in Rio, with "The Verge” a look behind the scenes at the creation of an epic sci-fi image! Original artowork by Andre Freitas aka.Raqsonu - http://raqsonu.deviantart.com/ Track by Vitaliy Ghost - Monsoon , AWJ recordings - http://soundcloud.com/awjrec Video Making of The Verge - Making of from Lightfarm Studios on Vimeo.

Adobe Ampersand by onformative

Adobe Ampersand by onformative

Celebrating the released of the new Adobe Creative Cloud suite of applications, we today will share an awesome motion design work created for the launch of the previous CS6 suite. I didn't know about this work and that's why I had to share it here with you all. I am really willing to learn motion design and this is a great example and way for me to get motivated to experiment and play with motion design. The following work was created by onformative, a studio specialized in generative design solutions covering various types of media and topics founded by Julia Laub and Cedric Kiefer in Berlin. Out of thousands of floating fragments an ampersand evolves in 3D space. Its different colors and materials merge to create a shiny and reflecting fragmented surface. Construction For the release campaign of the Adobe Creative Suite 6 onformative was invited to create an abstract artwork and interpretation of the Adobe Ampersand. The original ampersand 3D-model was loaded into a custom written application where it was de- and reconstructed. Out of the numerous results a few where exported as 3D-models and imported into Cinema4D to do the lighting and shading as well as the short animation. Final Render Making of Adobe CS6 Ampersand - making of from onformative on Vimeo. Final motion Adobe CS6 Ampersand from onformative on Vimeo. Credits: Christopher Warnow (Code) Andreas Fischer (Rendering/Anim) Jens C. Fischer (Sound)

Cooking Glove - Icon Making of

Cooking Glove - Icon Making of

Last week I posted about some icon design inspired by pancakes and donuts. Those icons were pretty cool and super realistic. Today we bring to you another amazing case study for an icon, this time inspired by a cooking glove. The cool thing about this case study by Anna Paschenko is that it shows the whole process of creating in terms of sketches, modeling, materials until the final result. Anna is a freelance designer from St. Petersburg, Russia. She has an incredible portfolio of icon designs. We highly recommend that you check it out. Her website can be found at http://annapaschenko.com/ Idea & Sketch Modeling Materials UV Mapping Texture Final Version

MILL10NAIRES - Impressive Illustration by Jakob Eirich

MILL10NAIRES - Impressive Illustration by Jakob Eirich

Today we bring to you another incredible image from the CGSociety TEN contest. The artwork was created by Jakob Eirich, a freelance 2D-artist currently based in Germany. The title of the artwork is MILL10NAIRES and it's simply amazing to see not only the final result but the evolution of the design until the outcome. Jakob graduated in July 2009 with a degree in graphics-design at the ‘HAWK – University of Applied Sciences and Arts’ in Hildesheim, Niedersachsen. The Story is about a couple that's after the american dream. They are willing to risk everything to reach their dreams and be together forever. Final piece Making of For more information and to check out Jakob's portfolio visit http://www.yakonusuke.com/

Drunk Aliens by Rafael Vallaperde - CGSociety TEN winner

Drunk Aliens by Rafael Vallaperde - CGSociety TEN winner

We have featured the work of the very talented Rafael Vallaperde here on Abduzeedo in the past and we are very happy to post about him and his work once again. This time, with an awesome making-of video of his beautiful artwork called "Drunk Aliens", winner of the Modeling prize in TEN CGChallenge by CGSociety. 'I’m really happy to know this! Also surprised, because I didn't think of nailing the modeling prize! Thank you very much CGSociety The inspiration to create this image came from friends as we were playing on brainstorming something about TEN. This image was created in two months working on a second shift after work. There are many things I'd like to keep working on, but at some point you’ve just got to call it done. Final piece Details David Hornick: Great technique, attention to detail and the emotion conveyed by the three characters is bang on. Makes me smile and want to have a shot with these guys. - Judges' comments Making of CG Challenge-Ten Drunk Aliens from Rafael Vallaperde on Vimeo. For more information and to check out Rafael's portfolio visit http://rafaelvallaperde.tumblr.com/

Beautiful Vector Illustration in Illustrator and Photoshop by Carol Rivello

Hey guys! For this tutorial/making of I created a fun illustration for my sister Stella's blog. In her blog she writes about funny daily situations and I thought that it would be nice to develop an illustration that expressed that somehow. I hope that this step by step help the new designers and illustrators. So, prepare yourself, and continue reading because even though it is a quite long post I hope it might be useful for your illustration projects. Also, feel free to share your thoughts with comments. Step 1 - Brainstorming ftw When I’m creating an illustration for someone, I like to make a brainstorm and write down stuff that person likes, to create a moodboard and capture her personality in the drawing. In my sisters case, for example, Italy, Trips and Pasta were mandatory in the illustration. In this step I also make preliminary roughs, testing new shapes and interesting compositions. Step 2 - Roughs, Sketches & Drawings After I pick the elements that will be part of the final illustration, and develop an initial graphic style, I start the rough that will be used as a direct reference for the vector. In this step I like to use a lot of details to simulate strokes and vector gradients. Lots of people ditch this part and go straight to the computer, but I personally prefer to create first in the paper. No only I feel more creative, it’s also a pretty good excuse to leave the computer for a change. Step 3 - Vector madness After I finish the rough, it’s time to scan it. (0r take a picture of it, if the paper it’s too big for your scanner). Then, I place the jpg file into a vectorial illustration software. My favorite software is illustrator, but feel free to use the one you like the most. Right now I only care about making the strokes and outlines, leaving the colors and filling for later. I recommend using a color that contrast with your sketch, to help you visualize it. In this case i chose a red stroke. Step 4 I like Illustrator because it offers you a ton of cool resources to help your vectorizing process. A solution that I often use is called Pattern Brush. Instead of drawing a whole flower, for example, you can make just one petal, turn that petal into a patten brush, create a shape with that outline, and achieve fun results! This tip is specially useful to illustrators that prefers abstract compositions, like me. Step 5 - Cleaning up the house After I finally finish the whole vector madness, I spend a little while organizing the file, putting the objects into the right order. All this to help the next step, that I consider to be the hardest part… Step 6 - Choosing Colors The moment to chose the colors and paint the illustration is the hardest and longest part to me. In this project I was inspired by the italy flag colors, mixed with the vibrant colors of the brazilian flag, all this with a vintage look and feel. In this step I also develop some gradients and chose the textures that I’ll use later. My tip is to take a look at the patterns from illustrator, hidden inside Swatches » Patterns » Basic Graphics. Step 7 - Color Groups & Inspiration A great site to search for color inspiration is colourlovers.com. There you can search between endless palettes developed by their creative users. After I chose my color palette, I find really usefull to create a new color group with the chosen tones. Step 8 - Almost there Sneak peek of the coloring process. Step 9 - Typography Choosing a font to use in the illustration is really fun! I love to test lots of combinations and to “hunt” for new fonts. The problem is that I get *too* excited in this step, and sometimes I download 30 fonts, and later I simply can’t decide which one to use. For this illustration I imagined a strong, bold and modern font, making a visual contrast with a script font. Step 10 When you are going to use the same shape over and over again, a good tip is to use the symbol tool. You make a motion clip, and spread the object in your comp, according to your preset. With the tool’s options you can increase or decrease the symbol, change it’s opacity, position, etc. This way you don’t have to duplicate and reposition the object manually. Step 11 - Blending Modes After I fill al my shapes with my chosen colors, I like to refine the composition with gradients and textures. Some illustrations look better with solid colors, but in this case I decided to use gradients to create more volume. One secret to a visually rich comp is to test different textures and blending modes. My fav ones are: multiply, overlay and softlight. I also like to play with different opacities. Step 12 - Photoshop After I finish the vector process, I export my work for a final polishing in Photoshop. At photoshop I mix the vector with bitmap images, to achieve a more organic feel. I also use the adjustment layers e test some colors adjustments, levels, curves, etc. And use brushes. Step 13 - Don’t be messy It’s common to make a lot of layers in Photoshop, and It’s really easy to lose yourself in the mess. Try to avoid that, and keep a file with the layers named in an appropriate manner and use organized layer groups. Step 14 - Brushes and Scribbles With the idea to create an organic look in mind, I blended the original vector illustrations with hand drawn scribbles, to create a hybrid composition. I also added brushes, colorful gradients, all in separated layers, preserving the original illustration. Conclusion And that’s it. Now It’s time to create the rest of the layout… But thats for another making of. Thanks for reading the whole post! If you want to read more nonsense from me, or for more cool tips and random links, feel free to follow me on twitter: www.twitter.com/carolrivello. About the Author I’m Carol Rivello, a graphic designer who loves to work with web design, art direction and illustration. Now I live in Florianópolis, a pretty island located in the south of Brazil, and just started to work as a freelancer. I love pigs, I have more than 300 of them. I also love: Internet, Music, Traveling, Movies, TV Shows, Illustration, Sketch Books, Motion Design, Home Decor, T-shirts, Pigs, Chocolate, Ice cream , Birds, Clouds, Sun, Sea and almost everything from the 80’s. For more information visit my site at http://www.carolrivello.com/

Adobe Production Premium CS5 by Seagulls Fly

Seagulls Fly is one of the most creative studios I know, I simply love those guys and everything they do. They are from Rio de Janeiro, Brazil and are specialized in state-of-the-art manipulation, photo retouch, 2D and 3D illustration, animation, web design and post production. We have already posted about them but we have to feature their work for the Adobe's new Production Premium CS5. Below you can see the video and the making of showing how they came up with the idea and all the creative process untill the beautiful outcome. Adobe CS5 - Production Premium Making of Adobe CS5 - Production Premium Making of edited by Luciana Fintelmam CREDITS: Agency: Goodby, Silverstein & Partners Producer: Yogi Graham Creative Director: Keith Anderson Art Director: Alex Lyman Writers: Tom Carter and Steve Payonzeck Production: Seagulls Fly Writers: Anderson Gaveta, FlavioMac, Igor Maia, Luciana Jordão, Paulo Visgueiro Director: FlavioMac Producers: Luciana Jordão and Rafael Elia Art Director: FlavioMac and Paulo Visgueiro Concept Artists: Flavio Hoffe, Paulo Visgueiro, Renan Lima 3D Artists: Alan Camilo, Fabricio Moraes, Felipe Lobo, Felipe Luis, FlavioMac, Fernando Reule, Gabriel D'Orazio, Gustavo Schinner, Raoni Nery Post-Production: FlavioMac, Fernando Reule Music: Human Sound Design: Henry Boy Do not forget to visit Seagulls Fly website for more information about this project and also to check out their portfolio, be careful, you will spend hours over there due the awesomeness of their work.