Straight lines are everywhere.
Here are a few of my line photos.
Animation of Lines.
Straight lines are everywhere.
Here are a few of my line photos.
Animation of Lines.
The initial years of web design were exciting design times. As a young designer, I was exploring different methods for deploying online content. Even before Flash – the creative curve was already very high. There were no design rules for website design – web standards were not on the table. In fact, most no-one was at the table.
Those initial years were a testing playground without users. Media Rich Content was loaded, tested, and achieved without anyone interacting with the content. Before YouTube – Connection speeds and limited deployment tools made sharing video content.
The website was one large graphic. That was cut into small pieces and loaded into a table from the server. The process could be streamlined to be quite fast. Then users arrived at the internet, and the design of websites changed.
The Glue Gun entered my life during my first Window Dressing job – where we used the Glue Gun for everything. I have remained a huge fan ever since.
3D Modeling sample of animated character.
Animation – to bring motion to.
I created the dancing figures for an Atlanta nightclub installation. The dancing figures got projected on the tall walls of the 350 Club in midtown Atlanta.
During the evening I kept moving the projectors to new and interesting places, including on the back of moving drag queen.
Animation sample of a character I created for a multimedia shows in Atlanta. The animation was part of a visual series. From the series, the Light Man animation was fun, exciting, and creative projects. It also does well to mention that my client did give me creative control.
The Light Man animation begin with the simple chalk outline. I later created the light shape – with a light cycle of color. I used Adobe After Effects to created the chalk to color transition.
Part of the same series. Chalk outline Animation sample.
It was such an honor to redesign the BIG RED TOMATOES (Atlanta) Branding package. The Big Red Tomato was one of the key players for Atlanta cuisine. Serving Award-Winning Italian food in the heart of mid-town Atlanta.
The graphic design aspects of the Restaurant were quite simple – “We want a Big Ass Red Tomato.”
Creating a local restaurant branding.
The business cards carried over from the graphic design of the menu. The graphic design on the reverse of the business card
The Branding for the Big Red Tomato were carried over to the Gift Certificate.
Graphic Design is always classy for a Match Box.
Front of Menu – fold into four.
Inside of Menu – fold into four.
The 3D character commissioned for a series of posters. Much of my early design work is 3D – from personal projects to the design solutions I provided in art school. I often transferred 2D design projects into 3D renderings – with a sharp knife and a hot glue gun. I can not recall when I started working with 3D software. I just remember the environment as being engaging. The X, Y, & Z makes perfect sense to me. Texture maps and masking – second nature. Also, the ability to light a 3D scene (I adapted my Photography Studio skills to create powerful lighting combinations). Unlike, the photo studio, I feel like I have complete control over a 3D scene and character. I can fine tune every muscle. Adjust lighting. Make the unreal, real. While on the reverse – the 3D models may often render with that aspect of the artists steer visual control. 3D is not by chance; there are no accidents.
The 3D character commissioned for a series of posters.
Much of my early design work is 3D – from personal projects to the design solutions I provided in art school. I often transferred 2D design projects into 3D renderings – with a sharp knife and a hot glue gun.
I can not recall when I started working with 3D software. I just remember the environment as being engaging. The X, Y, & Z makes perfect sense to me. Texture maps and masking – second nature. Also, the ability to light a 3D scene (I adapted my Photography Studio skills to create powerful lighting combinations).
Unlike, the photo studio, I feel like I have complete control over a 3D scene and character. I can fine tune every muscle. Adjust lighting. Make the unreal, real. While on the reverse – the 3D models may often render with that aspect of the artists steer visual control. 3D is not by chance; there are no accidents.
CLIENT: Club NV Atlanta
PROJECT: Multimedia Protection
Creating the 3D figures was awesome fun. Most of the texture and alpha masking work was done in Photoshop.I then added the texture maps via my 3D software.
Creating the graphic design style for the figures – was quite a development. Firstly, I wanted the character to make movements that can’t be made. In my design world there is no gravity – this girl floats in mid air (quite comfortably).
The transparent body texture that I created allowed the viewer to see though the body – to see that visual motion that you normally could not see. The visual content from the transparent figure creates a visual overload (where body parts are difficult to distinguish). While the motion of the motion of the characters is so slow that go unnoticed. Both over and under whelming the viewer.
The panels are samples from the media presentation. The animated (often) mirrored characters slowly move into each position. Then pause. The media installation had a stillness to it. Content paused. The viewer had time to say “what the hell is that?” Or, “I like the red dot”.
The point was the view could connect. The content moved slowly, if at all. For some viewers it took a while before they realized that the content had altered. In a time – when video is full of motion and content. The video projection software had another layer of effects that created more visual complexly to the installation.
The style of the project begin with this simple rendering – think Grace Jones as a Playboy Bunny. Using two colors to create the female silhouette – wearing a dicky bow was also on the table.
Line & Curve
Long before I discovered 3D software – I was creating 3D images with ink and paper.
Hexagon Panels for an Annual Report Graphic Design Project.
Created vector graphics and 3D Studio Max, I assembled the panels.
The mental texture and lighting made for an attractive graphic design element that had a significant influence on the design project. The Hexagon Panels appeared in an array of early 2000 graphic design projects. From annual reports, websites, posters, and banners – my 3D hexagons was there.
Animated User Interface panels from the early design process. The idea of having the hexagon expand out to create user experiences was the first active design decision. Tests for the animated prototypes were inadequate – which resulted in a more refined user-friendly navigation system.
Hexagon Panels Created by Gary Crossey
Some 3D projects can be engulfing. The 3D Dice were everything I could think about for a few weeks. Inspired by the song “I’ve Never Been to Memphis” by Billie Ray Martin. With these two lines directing the look of the 3D Dice.
"So what's the use in rolling the dice when you already know how it's gonna fall" ---- "I wanna see Las Vegas lights, yeah laughing at the dark"
The dice have quite a bit of detail. Textured with a reflective glass, with glass tubes in the center. When animated, lights shone out of the holes in the numbers.
Rendering reflective glass in 3D takes forever – unless you know what you are doing. Props create render farms. For the dice, I built a community render farm by connecting over 100 computers to deal with rendering. Each computer would process one frame from the render queue. Even the slowest of computers could handle one frame – making the overall rendering tasks much faster and efficient. With the help of the render farm I was able to make tests runs on sections of footage without too much downtime.
It is crazy to think now that the internet arrived with limitations. I began building the business website when everyone connected to the internet via dial-up.
The early days of the web and web design presented a set of design considerations. File size and page loading times were a huge dilemma. Bottle-necking was a thing – best avoided.
The Crosseyed Graphics Website Design launched 1998. The site was published a year before my University included on their marketing brochure that they had an internet connection.
A portal site at heart. The website includes photo galleries.
Here is the first gallery as an animated gif. Featuring some of my very early graphic design work for Tasty Tim and design ideas for Mark Moore.
Photography created for the Crosseyed Graphics website. Set up in the early days of the internet. I built the site with HTML.
Due to slow connection speeds, the background photography was sliced into hundreds of small tiles. The small tiles would reduce bottlenecking the server while creating an interesting loading pattern for the viewer.
Sur·ren·der first began as a simple sketch called “Hands Up”.
Most of my paintings in the 90’s began as a 2D cartoon sketch. I quite liked the 2D image. Sure it was simple, but it held a focus. The abstract style came later. It was more of an emotional response than an artistic one. The idea of consuming the figure with layers of paint was reflective to a personal relationship. While the original face of the friend was open and clear. The truth about this person was much more of a facade. The thick layers of oils hide the original honesty of the piece, in exchange for something darker and unfriendly.
Long before I discovered the computer. My sketch pad was often the place to capture design ideas and concepts. The fictional hand drew bird drawn with color pencils.
Spacement created with Photoshop.
There was something special about creating this piece of digital art. It was the first art piece that I created without having to think about the digital tools. During the process of drawing Spaceman – I felt that I had grasped Photoshop.
I knew then that I was embarking on a new journey of creativity.
TV Set began the process of combing my photography with digital images. My interest at the time was to create website interfaces – which in the late 90’s had a dull plastic texture. TV Set is the beginning of the plastic period.
My primary color selections have not changed much over the years. The blood red is typically an overwhelming aspect of my design work.
As an artist, I do like to think that I move in and out of visual trends. Letting my imagination and experience to provide me with new insight and visual expressions. And that my visual expressions reflect my values that have been matured rather than being innate. The blood red is my inherent nature – it was there are the beginning.
A long time ago – I began my website design career with an artist website. It is alway fun to work with creative people who have creative ideas. Building Tom Williams website in the early days of website design was a tremendous learning experience.
The right side panel has a slow-moving animation that I coded using ActionScript and math. The math creates a series of random numbers that would control the bend in the animated string. Creating a lively pattern, each time it played the animation cycle.
Photography from my very early collection of photography. I promise to add more early photos (as I figure out a way to pull files from my old zip drives).