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Case Study: Trampa Logotype

Case Study: Trampa Logotype

Over the last month, we have featured the lettering work from Joe Sutton and today he is back with a case study. I shall add that he is sharing a full complete A to Z case study from the start and finish. Thank you Joe for taking the time to give us a demonstration of his experience and also sharing his process for everyone. Let me stop talking and give him the mic and hope you will enjoy his breakdown. This is a client project of mine broken down from start to finish, I share all the details that was discussed with the client and let you know about design decisons and process. I've always wanted to offer a sneak peak inside my process as I’ve seen it done before in other disciplines and found it highly valuable. I want to put something together that wold have helped me when I first started. In his Words   I was contacted to create a Logotype for Trampa. Trampa is an Urban Cycling Clothing Brand in its infancy. Their products have a Swedish design influence and a minimal and clean look that is functional, stylish and not out of place in a casual setting. Their target market is 16-30 year old male and females. I put together a document for the client to start with that broke down the the brand, goals, usage, keywords and competition. We put our focus on these as we found them to be the most important factors to focus on. After this I asked if everything align with their thughts and what kewords represented Trampa best. They wanted to try and represent Urban, Cycling, Swedish, Movement,Ffreedom, Exploration, Clean. Thet also also provided me with a few logos that he liked, they were very varied in style and so I knew that identifying which direction early on would be important. Sketching   When I go into sketching I just write the word out in a few go-to style, all caps, all lowercase, joined, unjoined and cursive script with a mix of character variations etc. Through this you can quickly understand where the issues might be between letters and where there are opportunities to create some unique ligatures. I’ll list the points that I discovered below: The ‘r’-‘a’ gives an opportunity for a ligature. • The two a’s could be interesting to experiment making the feature point • The ‘p’-‘a’ join could be an issue • We could join the ’t’-‘r’ • The capital ‘R’ or ‘P’ could be legs pedalling (Huge Gimmick) • Type of ‘a’ and ‘r’ were open for experimentation. • Capital or Lowercase T Sorry if those sketches have made your eyes hurt, but it's all part of the process. After Identifying these I can target each one and try and make something interesting. I had a feeling the best way to go would be with a very simple san serif type with a slant, I felt like it’d be the most simple and reflective of the clothing and brand. Howver, I still sketched lots of other styles incase I found something better. Once I had exhausted all my options I selected 9 sketches, there’s no specific number I choose. Usually below 10 as too many options can confuse the client and with this I refined them to an acceptable standard, still very far from perfect. The reason I choose at the early stage is usually they are so rough I'm the only one who knows where they could potentially end up like. So by choosing the best based off my judgement, with the project goals etc in mind, I offer the client more accurate optinons. You need to realise they aren't lettering deigners and that you probably understand your vision more than anyone else, so explain everything. Presenting First Concepts   Now I had all my first sketches to a point where it’s clear enough for the client to understand. Also not too far that it’d be a waste of time, I was ready to display them all. So I scanned the versions in and then played around with them in photoshop until they are darkened but not distorted, I find this again aids the client in visualising the options clearer. At this stage you're sharing the work to really to gain a better understanding of what the client's preferences are so you can get on the same page in regards to stylistic direction. It’s also the first point to explain my thoughts on how each one relates to the goals for the project. After initial discussions with the client and with the research I had done, I was pretty confident I knew which ones would appeal to them the most. They did select the ones which I advised towards being the best, which is always a relieving moment. I know that some designers don’t offer the options to their client at this early stage. I think it’s so important to keep them engaged from the beginning so that you don’t go off on the wrong path and face the revisions at the end. The client chose options 2, 3, 6, and 7 as his favourites and you can see the reasons below. 2: I love the underline, and the slight slant works well conveying movement. Maybe slightly harsh on the eye though. 3: I think it’s interesting and could be really cool or could be a bit odd. I think you could experiment a lot with it. 6: Is similar to 2 but feels more understated. Experimenting with the underline could work well here. 7: Surprised I liked this one but it feels like it has some flow to it. The capital T works well. They agreed that 5 and 9 were not clear enough and I agreed with what he said so onto the next stage. Refining Chosen Sketches   I take the scanned sketches, scale them up a bit and print them off so I can go into more detail and refine them. I use a light pad to trace versions rather than using tracing paper, that’s just my preference. Along with this I have some notes for each sketch with what to focus on initially improving. I work on this until I have them to a point where they are almost as refined as I can get them on paper. With this particular project it was more straight lines due the preference of the more simple, san serif style. So I think the computer is where the larger refinements could be seen properly. On projects where the style is more rounded and cursive then I like working on paper and creating nice smooth curves for longer as I feel like you can capture more personalitly on paper. I offered each option with variations to show which ones could be experimented with further. The aim is exhaust all possible directions narrowing your way down to the perfect final logotype. The client decision was to take 1 and 3 further. I decided that making a quick digital rough would give a clearer idea of the final and help finalise it down to 1 version. Digital Roughs   Starting in illustrator now I made both versions to a point where they were slightly refined but not nearly perfect. I also came up with a 3rd version which stemmed from option 3. This is now the point where you can really start to see what you’ve envisioned them to look like coming together. We decided that 1 would be the best option to refine completely. It had been the stand out for me all the way. It offered lots of options to experiment with underlines, fullstops etc. I made some small changes to it from the sketch, but it maintains the same character and basic overall look and feel. I added a fullstop as I know the client mentioned something about it. I think that we had a strong base to work off from here and now it was just down to the final refinements. Final Refinements   Now it’s all about the details. The main thing I discover when refining is when I tested what we had on a dark value, it looked too bold. This logo needs to be versatile and work in many usage cases, so I concurred with the client and displayed thinner version, we both felt that even making the line weight a little thinner helped with that issue and we kept pushing on. When I come to create the final version firstly, I create a grid so that I can align all the horizontal and diagonal lines. After this I look at the letter spacing and the kern the final version. Finally I go over making use the letter endings are all the same. Not forgetting the most important part which Is checking the logotype optically and how it looks to the eye. Sometimes the grid might force things that don’t look natural enough so making sure it looks optically perfect and not just grid perfect is important. The adjustments I had to make to this were the curves in the m, they were too thick and similarly with the p. I also did a lot of playing around with the a’s as they were becoming a distinguishable feature in the logo. As we planned to do, I also showed thick and thinner options with underlines and small changes which you can see below. We ended up going with a rounded full stop which you can see on the final version. Final Logotype   Here is the final version, on a dark and light value. There isn’t a colour palette yet as the project is in its very early stages. I've tried to share all the details I could, and hope this has been useful to some of you. Don’t hesitate to contact me if you have any further questions.    More Information: http://joesutton.co and make sure to follow him on Dribbble.

UX/UI Case Study: Workhiro

UX/UI Case Study: Workhiro

Design concepts are cool, but bring case studies for real projects is awesome! This service called Workhiro is an example of very well done UX/UI, exploring interactions and information architecture to create a great user experience. Workhiro is the simplest way to track job applicants, engage with them and collaborate faster with your hiring team. Say goodbye to spreadsheets and scattered documents. (adsbygoogle = window.adsbygoogle || []).push({}); Take a look below in some parts of the project and go to read the full case study on Behance.

A look inside Nike LunarEpic Flyknit Summer

A look inside Nike LunarEpic Flyknit Summer

A couple months back, we featured this very inspiring collaborative case study about the Nike LunarEpic Flyknit shoe campaign. Today we are featuring a comeback on this project with Tendril and Blacklist and their supreme work with the team at Nike. We are welcomed into the next level that the team brought to the table and make sure to watch the process video as well. We just can’t imagine how much freedom they had from such a big brand and how technical challenges they must have encountered. While watching the video, I just can’t help to notice how incredible is the sound. They have built a procedural noise-based curve animation tool that replicates and expand on Cinema 4D’s MoSpline. In this second phase of Nike's LunarEpic launch campaign, the shoe has arrived on Earth bringing with it otherworldly powers. Roads curve and stretch seemingly into infinity. Impossible runs suddenly feel effortless. Gravity is nonexistent.   Watch the Process   This was our sixth project with the amazing team at Nike. Working with them and Blacklist, it was our task to take Nike's creative strategy, and then conceive and develop a narrative and visual structure for the brand film around the tagline 'run forever'. The manifestation was a 45s film and sound design (created by CypherAudio), key print and digital 'hero' visuals, social media clips and a large-scale track and field dome installation. The process with Nike is always incredibly collaborative and exciting. From there, the macro surface knitting effects were also prototyped and build in Houdini over the course of a couple weeks and then rendered in Arnold. The bending and warping landscape sections also took quite a bit of RnD to get right. In the end, we used a blend of multiple World Machine displacements and Xgen scattering in Maya. The laser-cutting sequence also posed its own set of puzzles, which we solved in Cinema4D using an arcane stack of deformers and morphs. Credits Client: Nike Global Brand Communication Studio EP: Noah Stanik Global Brand Communication Studio Producer: Meagen Moore Global Brand Design, Running Art Director: David Brady Global Brand Design, Running Studio Manager: Denise Wild Production Company: Blacklist EP: Andrew Linsk Producer: Karen Lawler Production Studio: Tendril Co-Directors: Chris Bahry of Tendril, Tom Crate of Frame Executive Producer: Kate Bate Producer: John Szebegyinszki Storyboards: Greg Boychuk Editor: Tom Crate Pitch Concepts: Chris Bahry, Evaldas Cesnavicius, Wojtek Szklarski 3D Artists: Alasgar Hasanov, Alexandre Veaux, Florent Arnould, Christoffer Bjerre, Marcelo Souza, Will Sharkey FX: Alasgar Hasanov, Marcin Porebski Lighting and Render: Alexandre Veaux, Marcelo Souza, Christoffer Bjerre, Lorne Kwechansky Additional 3D Artists: Christian Hecht, Ben Pilgrim Compositing: Chris Bahry, Alexandre Veaux, Lorne Kwechansky 2D Animation: Leo Mateus, Marissa Godwin Music and Sound Design: John Black of CypherAudio More information: http://tendril.ca.

Case Study: Nike LunarEpic Flyknit

Case Study: Nike LunarEpic Flyknit

We are happily sharing a tremendous case study of the new reinvented Nike LunarEpic Flyknit running shoe by/in global collaboration with Tendril and Blacklist and more. Together, they've worked on making the teaser, launch film, and global Nike in-store installations. Sit back and enjoy one of the best projects we've seen lately on Abduzeedo. Rising from the surreal landscape of an incredible alien world, Nike's reinvented running shoe, the Lunar Epic Flyknit, was a product launch of galactic proportions. The visuals for the launch were meant to further elevate the innovative, weightless, futuristic technology of the revolutionary running shoe. Reveal Video In Tendril's Words Together with Blacklist and a crew of otherworldly talents from around the world, we created the teaser, launch film, and global Nike in-store installations. We built an A-list team for the project that included one of our award-winning HIGH5ER studios, Frame, to co-direct. What was totally unique about the project for us was the global collaboration. Blacklist is in NY, Tendril in Toronto, Frame in Denmark, Nike in Portland, and there was a slew of freelance gurus dotted all over the world. In total we had Canada, US, Brazil, Germany, Slovenia, Denmark and the UK all on this project. This made it an explosion of deadly talents. We all worked together hooked up by a massive 2TB Dropbox account. The HIGH5ERS experiment of extending the collaborative spirit beyond the walls of the studio to join forces on special projects allows everyone to learn and grow while making amazing work. It also fosters new creative friendships, allows for faraway travel, and pushes everyone to make the best work possible together. Teaser Video Video Stills Process One of the biggest challenges wasn't that production was a global initiative; the challenge was mostly in creating the environment where the action takes place. Armed with photo references from Nike of Pariah Canyon in the United States (a place of insanely gorgeous flowing layers of rocks) we created an entire planet in 3D. This was no small feat–we did it by researching, experimenting, going back to drawing board some more, and then by exporting data back and forth between World Machine and C4D. Likewise, in the brand teaser film, the giant galaxy required a tonne of problem-solving. Its swirling tornado of particles took quite a bit of testing to get right. There was no way to generate it procedurally and still have the level of control we wanted. In the end, we came up with a complex recipe that combined a traditionally modelled base geometry with procedural noises and World Machine height maps that were fed through a layer shader and distorted with additional noises. Besides the amazing team who we had the pleasure of collaborating with, shout-outs to Google Hangouts, Sheets, Slack, Dropbox, continental airline travel, coffee, and beer for helping make this other-worldly experience a pain-free collaboration. Process Stills (adsbygoogle = window.adsbygoogle || []).push({}); Storyboard Launch Photos In Blacklist's Words Blacklist and Nike have taken their relationship to the next level with their latest collaboration: the Nike LunarEpic athletic shoe campaign. The campaign’s launch is anchored by a gorgeously rendered film, co-directed by creative studios Tendril and Frame with the backing of an international team of talented artists. This hero spot sees the shoe’s organic shapes and structure materialize across space and time, setting down and leaving its signature print in the dust of a far off planet. The campaign then extends into our humble Earth world, playing on giant screens in NikeTown stores around the globe, as well as heavy rotation on Nike’s social channels, where the shoe was teased in mysterious short clips before its final epic reveal at Nike’s flagship NYC store. To achieve the distinctly otherworldly look of the film, Tendril imagined the spot itself as a transmission received from deep space, a rare chance to look on as something truly new materializes from the elements before our eyes. Set in an alien landscape inspired in part by the visually stunning Pariah canyon, Blacklist and Tendril together assembled a global network of design and animation specialists to focus on each aspect of the film, which in turn were each focused on a different feature of the LunarEpic’s unique design. In the end, viewers are not only mesmerized by the journey and the transformation that takes place, but are compelled to recognize the distinct features that make the LunarEpic so remarkable. The final film was featured in New York, Berlin, London, Portland, and Tokyo. Credits Client: Nike Nike Global Brand Communications: Tad Greenough Executive Producer, Nike Brand Communication Studio: Noah Stanik Nike Producer: Meagan Moore Production Company: Blacklist EP: Andrew Linsk Producer: Karen Lawler, Alex Unick Studio: Tendril & Frame Co-Directors: Chris Bahry, Tom Crate EPs: Kate Bate, Thomas Bay HOP / Producer: Mary Anne Ledesma Producer: Louise Bejerholm Storyboards: Greg Boychuk, Gabe Sapienza Editor: Tom Crate Pitch Concepts: Chris Bahry, Tom Crate, Wojtek Szklarski, Ann Kruetzkamp, Marco Iozzi Reveal Film: Lead 3D Artists & Animation: Nejc Polovsak, Matt Frodsham, Simon Fiedler Particle FX: Simon Fiedler, Alasgar Hasanov, Marcin Porebski Shoe Rigging & Animation: Matias Hansen Lighting & Render: Nejc Polovsak, Matt Frodsham Additional 3D Artists: Sacha Wechselmann, Ben Pilgrim Shoe Modeling: Marek Denko Matte Painting: Bojan Zoric, Form Language Compositing: Chris Bahry, Brad Husband Teaser Film: 3D Artists: Christian Hecht, Alasgar Hasanov, Chris Bahry FX: Valdemaras Dzengo, Alasgar Hasanov Light & Render: Christian Hecht, Brad Husband 2D Animation: Gabriel Rocha Compositing: Chris Bahry, Brad Husband Additional Compositing: Alexandre Veaux Sound Design & Music: John Black of CypherAudio

Zeppe Logo Case Study

Zeppe Logo Case Study

The Zeppe Deliveria della Pizza is the latest original restaurant from Grupo Mar, from Belo Horizonte – Brazil. In this post you will see the creative process of Zeppe's new identity. This project was done by the design studio "Pós Imagem Design" out of Rio de Janeiro Brazil, for more about them visit posimagem.com.br and behance.net/posimagem. Zeppe Deliveria della Pizza is an original and stylish new pizza place from Belo Horizonte, Brazil. We were comissioned to develop their branding and visual identity based on the Giuzeppe story above and the year of launch of the first Vespa model – 1946. Our challenge became to delve into the graphic references of the time, appropriating and rethinking them in an authentic way to create a truly original environment. Constructivist art and modernist movements like Bauhaus and De Stijl were our starting points. The work of designer Louise Fili was a true inspiration as well, and we also gathered lots of reference material on traditional Italian signage. The result is a somewhat unexpected mixture of the quirky script logo with the rigid geometric motif and our favorite part – lots of posters.   Research, Studies, Drafts   Our Four Contenders We usually don't present the client with this many 'options', but we felt that the development process had been so rich that it was justified, in this case. Of course, we only did this because we believed any of the options would be a good choice. Naturally, we had our own favorites – Rafael, the Creative Director, settled on the 4th, while I (Daniel) was obsessed with the letterforms and variations on the 3rd. Also, notice that the Vespa icon on the first iteration of the final logo was different.   The Final Logo Once the logo is chosen and all the work is done, we can't even imagine how it all would have looked in any of the other choices. There was still a lot more to come, though. From the very beginning, we knew we wanted to bring some constructivism into the mix – something that would reference the time period of our story character, Giuzeppe, and give a strong voice to the identity.

Coffee Reflection Photo Op

Coffee Reflection Photo Op

Russian Photographer Dina Belenko came up with this amazing photo opportunity using shapes inside a coffee cup to create a desire photo reflection. The idea was to tell a small and cozy story with each photo. Take a look! For more from Dina Belenko visit behance.net/Arken. First of all, we need to make a sketch. We need to find something that will connect the reflection in the cup and all objects around it. Why do you have a sea horse in your cup? Because you’re dreaming about sea and holding a shell in your hands. Why are all these ferns surrounding your cup? Because you have a ghost dinosaur inside it. Cut our figures out from paper. Remember that we will not need the figure itself, but a cutout of it in the paper. So be careful and use the sharpest knife you have (you are very lucky if you have a plotter, but it’s not very hard to do it by hand). Put the sheet of paper with the cutout figure between the fill light and the cup so you can clearly see a fancy reflection. Sometimes, the right size of reflection comes with your hand in the frame, but you can always capture two shoots and combine them later, so don’t worry about that. After combining the pairs of photos into a final shot, all that remains is to slightly adjust the tones and enjoy the finished picture!

Adobe Portfolio - Case Study

Adobe Portfolio - Case Study

Andrew Couldwell shared a great case study showing the behind the scenes of the design process for Adobe Portfolio which is Adobe's service for designers, photographers and enthusiasts to create beautiful portfolios. I had the chance to play around with it a bit and I quite like it. My only qualm was with the Behance integration, I wish I could have projects there without being on Behance. Perhaps it's possible however I have yet to discover. After this post I will definitely seek this out. Product Design The editor must enable the user to quickly and simply edit their portfolio. The UI is very minimal — it gets out of the way and allows you to focus on the design of your website. All changes you make happen live in the editor. We were going for simple, clean and beautiful. It empowers the user to: Easily edit anything they can see, manage and add content, responsively preview their website, and publish/update a live website. Editor The editor UI is very minimal, putting the website you are editing front and center. All edits happen live as you edit and you can preview your website responsively on tablet and mobile at any time, in the editor. Everything can be accessed via direct access by hovering over elements and being presented with edit icons and options to edit. Managing and adding content and site settings are all done via the toolbar to the left of the screen. And the draggable remote to the right accesses the main editable features of whatever page you are currently viewing. Here a couple of images: Specs Customizing and layouts Most layouts by default have aspect ratio cropping enabled for project covers, to unify the presentation and layout of projects in galleries. For me, one of the coolest features in the product is the ability to mass change the aspect ratio (crop) of all covers, so you can very quickly and dramatically change your layout. For more information and to read the full case study check out the Behance post.

Case Study: LABS by Invision

Case Study: LABS by Invision

We witnessed a game changer with CRAFT by Invision, a toolkit for Sketch and Photoshop powered with real-data. The Wow factor is that you can download this kit for FREE. Behind this project, there was a launch of a new brand; this is what we are taking a closer look. In collaboration with Focus Lab, Invision team built a "separate" venture to help them grow/create products to build a better future for us, their users. Our goal was to build a strong and flexible brand system for InVision's newest venture, LABS. They needed a brand system that can grow and adapt as the brand grows and new products are released. We wanted to keep it simple and bold, but allow for crazy and fun expressions as needed. Below is a quick glimpse into the design process. About Focus Lab Focus Lab is an agency based in Savannah, Ga. A great and talented bunch of passionate creatives to produce exceptional work from the logo, typography, iconography, web design, app design and web development to promote growth and enrich lives in organizations and communities.   For more information, visit: http://www.invisionapp.com/labs and more about Focus Lab: http://focuslabllc.com

Adobe Neo-Cube Case Study

Adobe Neo-Cube Case Study

I haven't posted a case study in quite a while but it's always awesome to discover beautiful work and the behind the scenes of them. For this post I feature the work of Katlego Phatlane a designer and illustrator from Johannesburg, South Africa. The projects are Adobe Illustrator Neo-Cube and Adobe Photoshop Neo-Cube. The cool thing behind them is the level of details and of course the style. For more information check out https://www.behance.net/kattphatt

A Great Library for Redesigns Case Studies

A Great Library for Redesigns Case Studies

A lot of artist and designers around the globe love to make redesign concepts for the most used apps and websites, and most of these jobs are very well done and deserve more attention. Because of that was released a website called Redsgn.Co, a collection of redesigns, concepts or real. But Redsgn.Co it's not only about concepts, you can find real redesigns and their case studies, most of them redirects for a external page, a blog post from the designer who makes the project. It's a great library to make some research or find inspiration for your next project. Curation of functional and aesthetic redesign stories. These stories will walk you through the steps and results undertaken in making better products. Take a look on some of the cases are featured there: Zara Redesign Apple Music Redesign Snapchat Circle Concept Twitter Live Concept Apple Redesign Makes Buying A Lot Easier Modern UI/UX For SaaS Applications, Zoho NYTimes Rethink Concept Yahoo Redesign MTV.Com Redesign Concept

Todoist App Rebranding and New Web Interfaces

Todoist App Rebranding and New Web Interfaces

I'm a huge user of to-do list and productivity apps, and after have tried some of them, today my daily app for tasks is Todoist. Because of that I'm proud to feature the amazing work they did in redesign its logo and interface. The comprehensive web and Mac app redesign is not limited to simply the look and feel of the software. Todoist’s web and Mac app update will also be accompanied by important back-end improvements that will bring the apps up-to-speed with Todoist’s other recently updated platforms. Namely, Todoist’s web and Mac app users will now have access to the Quick Add date parser that was released earlier this year for Todoist’s iOS and Android apps. Nearly a year’s worth of iterations have culminated in the unveiling of Todoist’s beautifully fresh and all-encompassing rebranding. The rebranding, released today, includes a brand new logo, new typography, cleaner user interfaces, refreshed web pages, and a myriad of updates and feature additions to the popular Todoist web and Mac apps. If you're not a Todoist user now, it's worth to give a try at todoist.com.

 Nike Total Football

Nike Total Football

Yesterday while checking my Facebook I saw this awesome time-lapse video that Rik Oostenbroek posted capturing a behind the scenes of peek of his project for Nike Total Football. The end result is quite beautiful, as we always expect from Rik. Seeing how he creates these amazing illustrations is not only amazing but really inspiring. I learned a couple of new tricks just by checking it, you should do the same. Nike asked me to stay true to my own personal style and experiment with it and go crazy. The concept was based on the dynamics and fluent movement of the total football from the Dutch total football, as introduced at the World-Cup 1974. For more information and to check out Rik's portfolio visit http://rikoostenbroek.com/ RIK OOSTENBROEK // NIKE // LAPSE from Rik Oostenbroek on Vimeo.

Case Study of The Wild Trail

Case Study of The Wild Trail

Dreino Studio from Indonesia created an amazing project and case study just to show what they are capable of. Check out the process and the video of how everything was done. Enjoy! For more from Dreino Studio visit dreimo.com and behance.net/dreimo. The Wild Trail There was an interesting process in making this artwork. We have to make a mock-up of the mountains as the property for the photo shoot. We make our own out of Styrofoam and shape it to resemble a cluster of mountains, valleys and rivers as you can see. When the mock-up was ready, we go to the photography process. First, We take photos of the mock-up, then just take a picture of shoes that have been customized on the lighting and angles in order to later be fitted when entering Digital Imaging process. When entering the Digital Imaging process, we add small elements to make it increasingly real. Simultaneously, in this process we do retouching and color correction in all its parts in order to make it look more attractive in terms of look and tone. All The process takes quite a long time, but we were very happy when seeing the end result. Details Process

Dont.Look.Down Illustration

Dont.Look.Down Illustration

Dont.Look.Down is a really cool illustration created by Coen Pohl. The end result is very reminiscent of the poster for the movie Inception with the added photoshop-montage via a vector style mixing texture and light. The text "Don't Look Back" is made out of the buildings with a different color. The coolest aspect about this illustration is the perspective and lens distortion which we are lucky enough to feature a sneak peek behind thanks to Coen. Coen Pohl is a graphic designer and illustrator from Seoul, South Korea currently based in Amsterdam. You can check out more of his work at his Behance profile at: https://www.behance.net/coenpohl.

Sand City Illustrations

Sand City Illustrations

Sand City is a set of illustrations by Jorge Tabanera created as a personal project but now available for purchase. The cool thing about this project is that Jorge was gracious enough to share a little bit of the process behind his work. Those starting out in their career or even enthusiasts can hopefully learn a bit more behind these intricate and stylish illustrations. Jorge is a art director, character designer and illustrator from Madrid Spain. For more information about him check out his website at http://www.gatotonto.com/ Morning Evening Night

Case Study: Desktopography Valley by Jennifer Cirpici

Case Study: Desktopography Valley by Jennifer Cirpici

We've featured this beautiful wallpaper by our friend Jennifer Cirpici a little while ago. Now she's back and sharing with us a Case Study about how she made her Desktopography Valley. Enjoy! Every time you make something, you set higher values and become more precise. Remember to always set your own bar higher and higher. Never make yourself regret that you did not do enough, but that what you did, was the best you could do. 1. Starting all over again Over the past few years a lot of things have changed for me. I’m studying again and my 3 year internship takes a lot of time. It was difficult for me to find time to work on a piece for Desktopography for the past 2 years. But the thought of working on it again, never left. While I was looking on it, being 2 years older and on a new 27 inch iMac, I noticed that the sky was good enough. I was still very pleased with it. The rest? My god. The colours, the tree, everything I just couldn’t use. I decided it was time for a new concept and with that a new approach. This also helped me to get motivated again to work on it. All Rights to Jennifer Cirpici It took me a couple of hours till I thought of a new concept. What if I decide to do something difficult, but to completely rstrongove the middle and focal rock and to replace it with the logo in shape of an island?I took the unedited stock again which I saved and started working on it. It was difficult and it took more than a day to get the technical stuff done. With technical stuff I mean 3 basic things that need to be absolutely as perfect as possible: Rendering, Blending and Perspective. 2. Know what motivates you to go on It maybe sounds silly, but I get very motivated when I first start to set the colours right. This always is a long progress for me, so what you are seeing now isn’t the final result.I believe everyone has this sort of routine when someone starts working on something. Some begin with a sketch and some need to have a certain kind of music. I wanted the colours to look retro, to have a VSCO feel. In the end I ditched this idea (will come back to this later). After I played a bit with the colours I started to remove the big old’ rock. Whoa and that was difficult. It took a lot of my time, because removing something isn’t really fun for me. To continue motivating myself and to give myself a clear view of how it would look, I started adding water. All Rights to Jennifer Cirpici How I did that? Simple. Copy and paste water, blend those in, digital paint, perspective tool and puppet warp. The perspective tool and puppet warp are two tools I used a lot in this piece, because the perspective was crucial. It could make or break it. All Rights to Jennifer Cirpici 3. Making the island During these technical phases of an illustration, it’s important to keep yourself motivated. It was high time for me to take a break and get some groceries, take a shower and look at it from fresh eyes again a couple of hours later.I did had the bad luck that I was fighting against time, because the deadline was coming soon. Which meant that I was working from 12 pm till 5 am on it, until I couldn’t see it anymore and went to bed to start working on it again the next day. My friends think that this is crazy. Maybe it is. But it gives me such an adrenaline rush when I’m able to finish a piece. Like you’re on drugs. Well, you guys know what I mean haha. All Rights to Jennifer Cirpici How I made the island is the same way I made water. My photo-manipulation works are always a combination between painting and stockphoto’s (maybe sort of like a matte painting).I never just render and try to blend something in while not digital painting around it. Painting it makes things blend as well into the scenery. All Rights to Jennifer Cirpici I've also decided that the island shouldn’t exactly match the logo. Nature isn’t perfect, so this shouldn’t be either. It should make you wonder. And that wonder part makes people look at your image longer and make thstrong start liking it. I’ve learned this while I was working full time as a designer and wanted to strive for perfection. But when it comes down to illustrations like these, do not aim for perfection. The imperfection makes it yours. 4. Focus on the details All Rights to Jennifer Cirpici Above is a clear example of how important perspective can be. I’ve tried the perspective tool (edit > transform > perspective) till it looked right and made these tiny little islands in the shape of the leaves of the logo. Some are fully covered with trees, some not. Like I said, nature isn’t perfect. All Rights to Jennifer Cirpici Pay close attention to how things in nature look like. How edges from an island are shaped, how depth is working et cetera. If it does not look right, ask for feedback.Even a child from 10 can tell you, with no experience what so ever in Photoshop, if something looks weird or not. He or she could not point out what you could do about it, but can tell you with no-photoshop-eyes that it should look differently. Just a tip I once got as well. 5. And… flip it horizontal While I was working on it, there was something about the piece that I didn’t like. It had to do how we like to look towards a viewpoint. You see, now the rock at the left asked for my attention, not the logo in the middle. That needed to change, because I wanted the logo to grab the attention. All Rights to Jennifer Cirpici I often fix everything that takes the viewers away from the concept/focal point I want them to lay their eyes first one. And with this I mean blurred leaves in front, an eagle (coming back to this later) or in this case a rock.I’ve also asked two opinions about this decision: to my aunt, who is a photographer and to Mark Vogelaar, also a contributor at OtherFocus. Both of them agreed that it looked more pleasing for them when it was flipped. All Rights to Jennifer Cirpici 6. Adding my 2012 Sky and starting to change the colours All Rights to Jennifer Cirpici I’ve added the sky in it, changed the colours a bit and noticed that my piece was getting darker and darker again.Sure, it should be dramatic, but I felt it became lifeless due to the colours. Around this time my pet became very sick so I had to go to the vet. This reflected in how I was working on the piece.The moment he became a bit better and so that I looked at it with fresh eyes again, the moment the piece started to become better. I added more colours to it: made the trees/plants more green and the water and sky more blue. Remember that before I mentioned an eagle? I bought a, let’s say not very cheap, stock photo of an eagle. It’s absolutely stunning.Full of detail and it’s crispy sharp. Exactly how you want a stock photo to be, because that makes rendering easier. I started rendering it (I do this with calculations > channels and personally find this the best way to do complex rendering) and trying to see where the eagle could ‘fly’. All Rights to Jennifer Cirpici All Rights to Jennifer Cirpici All Rights to Jennifer Cirpici But no matter where I paste the eagle, no matter how small or big I made it or how well I tried to blend it in within the colour schstronge, it just took away the attention. Remember where I wanted the attention to be? I wanted the eagle to be an addition, not that the viewers see something that looks like an eagle (maybe even wonder if it really is an eagle!) and then see the logo. Get rid of everything that does not make sense huh… Decision time again. I got rid of it. 7. Know where the light comes from A difficult part. There are multiple light sources I this illustration, also because there is a ‘storm’ coming. But right now I wanted to flip the sky and make the left side darker and the right side lighter. All Rights to Jennifer Cirpici All Rights to Jennifer Cirpici Another trick that I use since I was 14, is adding a gradient with a white circle in the middle where I want the focus to be. Then I set it on soft light with an opacity of 2-5%. It makes it stand out a bit more. 8. Final touches Unfortunately it was already Tuesday and in a few hours the exhibition would go live. This is my favorite part of working on a photo manipulation: the final touches, the final details, the painting. I can go nuts on it for days. But there wasn’t much time left so I had to set down my priorities: making the water look better by adding reflections, plants, depth, waves, reflection from the sky et cetera. All Rights to Jennifer Cirpici I’ve also fixed the depth within the leaves by adding light and shadow. Doing this by digital painting it as well. Just using the standard brushes that are already in Photoshop. I vary from soft to hard brush and set the opacity and flow lower. Final result All Rights to Jennifer Cirpici This entire progress: the decisions I had to make, how my mood is reflected into the design, which music I listen to while working on it (huge fan of Bonobo), how I set my colours, how I set my focal point etc. is what I call ‘style’. So how do you find your style? In my opinion it is figuring out your working routine. Which steps do you continuously repeat? That makes your artwork yours. Thanks for following my work in progress. Hope you like it! You can download the wallpaper for your desktop at Desktopography here. Video Links More about Jennifer Cirpici and her blog: http://www.otherfocus.com Follow Jennifer on Twitter: https://twitter.com/jennifercirpici More about Desktopography: http://desktopography.net/ Previously seen on OtherFocus

Nike Dominator by Alexis Marcou

Nike Dominator by Alexis Marcou

Seeing the process behind compositions for me is one of the most amazing things especially in learning how designers and digital artists create certain effects. The creativity and improvisation behind some of the techniques is quite inspiring, like the light study that Alexis Marcou did for the Nike Dominator project. Below you can scope a little bit of his design process. Commissioned work by Nike in 2013. Designed a skull wearing a football helmet. Final outcome was 2 tees in black and blue colors. For more information about Alexis visit http://www.alexismarcou.com/