I designed this pre-Dark Mode macOS theme for myself and my post production friends utilizing Flavours by Interacto back in the Fall of 2014. It’s a lot easier on the eyes than the standard macOS bright white theme.
This theme is included in the 128 bundled themes with the last version developed by the kind folks at Interacto. 4 years later Apple released an official Dark Mode built into the macOS that was a welcomed addition by all.
Growing up I was inspired by Starlog movie magic breakdowns, Advanced Dungeons & Dragons rule book artwork, and surf, skate, and auto magazine layouts. I have fond memories playing Zork and Pitfall II Lost Caverns on my Commodore 64 where I drew my first pixel painting of Indiana Jones with the cursor keys. I was fascinated with Print Shop’s font selections. Choose Your Own Adventure and Fighting Fantasy lined my book shelf. I built model aircraft while anticipating their crash landings in the backyard.
I acquired a thirst for plotting my own adventures in the graphic arts early on. I embraced drawing and photography in elementary school. My Dad bought me my first computer, a Commodore 64, at age 11. I sold my first watercolor painting when I was 12. At 16 I illustrated design concepts for an amusement park ride inventor. Hundreds of caricatures and dozens of airbrushed Simpsons T-shirts later I headed off to art school in Savannah, Georgia.
After completing my foundation courses at Savannah College of Art & Design in Savannah, Georgia, I decided to pursue graphic design in Athens at UGA. Their graphic design program was riding the cusp between veteran techniques like marker and Rapidograph renderings and the influences of Macintosh computers redefining layout through digitally dialing in H&Js in QuarkXPress and being able to design logos digitally in Illustrator. I traded in my French curves and T-square for Bézier curves. Photoshop was in its infancy and didn’t support layers until well into our senior year. Little did I know that 90% of my career would be realized through what was essentially Photoshop in motion.After two years pushing pixels on a Quantel Harriet and SGI Discreet Logic Flint I transitioned overnight to After Effects. Brian Maffitt’s VHS training sealed the deal. I was also fortunate to meet the kind folks at Toolfarm who helped us blaze our Mac desktop-centric trail. Through Puffin Design’s VHS Masters of Visual Effects we further expanded our post production knowledge working with fields, frames, and 3:2 pulldown.
Another wave dropped me in somewhere between 16 and 35mm film and the Sony DigiBeta. A few years later I began freelancing full-time working from my home office locked and loaded with my first modest AE render farm. Portable hard drives filled with QuickTime movies allowed for tapeless delivery.
I've built lifelong relationships with fellow team members, mentors, partners, collaborators, students, vendors, and clients. Their ongoing support and trust in me provided opportunities I could have only dreamed of without their faith in me. I am truly humbled by their willingness to help me along my path.
ABOVE : MY 40-YEAR-OLD MAP TO THE GREAT UNDERGROUND EMPIRE.
Need custom title designs to accompany your stories? I’ve been building these custom titles as an ongoing personal project for awhile now. I recently spent some time putting some of them in motion. I’ll post them sooner or later.
Designed via sketches, then cleaned up in Illustrator. When I first started a few years back I built them in After Effects with Element 3D. I eventually moved over to Cinema 4D for much more control over the creative process.
Rivals Pepsi and Coca-Cola have explored dozens of logos and logotype variants for over 125 years. The graphic below is a mere snapshot of some of my favorites. Coke’s approach was that of refining whereas Pepsi’s approaches sometimes completely abandoned their heritage as in their logo fiasco in their 2014 rollout by Arnell Group. The 27-page design manifesto was riddled with esoteric, mind-numbing language. The advertising community mocked this failure as “breathtaking.”
Of course I’m biased to Pepsi as my family heritage is from areas of North and South Carolina. I grew up with this not-too-sweet soda elixir. When I finally got around to trying Coke I didn’t care for it as it tasted much sweeter than Pepsi. I ended up spending nearly half of my career in Atlanta. I hope no one ever questions my love for Pepsi. I worked on a design project for World of Coke while in Atlanta. The Coca-Colo logo still has a legibility issue though. To me it reads as “Coca-Gola.” Wink ;-)
2024 update! I had the pleasure of seeing the new Pepsi logo in the wild while at lunch today on January 19, 2024. The new identity was designed by PepsiCo’s in-house Design and Innovation Team. This mindful approach delivers a direct nod to their design roots incorporating the red and blue waves while stepping boldly into the future with a unique twist on the brand’s hand-styled typography. I’m still trying to embrace the newly styled Ps, and the E needs something. It doesn’t relate to the other letters as well as it could. I’m getting an uncanny gas station logo vibe, too.
“Unapologetically current and undeniably Pepsi.”
— Mauro Porcini, SVP and Chief Design Officer at PepsiCo
Wise words from some of the wise ones that inspired and shaped my own state of mind. The Power of Positive Thinking (Norman Vincent Peale, 1952) is not only a must-read book, it’s a celebrated way of navigating life.
“You can fail at what you don’t want so you might as well take a chance on doing what you love. You will only ever have two choices: love or fear. Choose love and don’t ever let fear turn you against your playful heart.”
“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”
“You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.”
“You’re only given a little spark of madness. You mustn’t lose it.”
“You know what music is? God’s little reminder that there’s something else besides us in this universe; harmonic connection between all living beings, everywhere even the stars.”
— Robin Williams, as Maxwell “Wizard” Wallace in August Rush, 2007
Have you ever heard someone say they talk to the universe? Or themselves? Their God(s)?
Sure, I talk to myself all the time. I even pray sometimes. But most of the time I don’t.
Have they ever gotten a response from the void? Let alone, actually had a dialog with it?
No, I don’t think so. Some say it’s possible. How is that?!
We are the universe. We are connected in ways we cannot visually perceive.
But if I can’t see it, how on Earth could this be possible?
Let’s pause for a moment. Consider innovations such as radios, antenna TVs. Now we have cellular, Bluetooth, Wi-Fi, and more. What do all of these innovations have in common?
You can’t see the data moving from A to B with your eyes. But what does that mean to me?
Some people believe there’s a key, a code to decipher in order to tap into our telekinetic abilities we are all born with. And I’ll throw this out there, too: humans are not alone. However, we are the ones we’ve been trying to find all along.
We are the aliens.
The universe and everything in it is connected. It was in the beginning and it continues to be connected. The universe is a single being. We lost touch with not only ourselves and each other, but with the universe itself.
What do you mean? You’ve lost me completely.
The day I asked the universe, my God, to show me extremely clear and obvious signs that I wouldn’t be able to miss…we’ve struck up quite a conversation.
Is this fiction? Is this possible?
Ask around. I know it’s true ( for me ) because I’ve experienced it first hand. And it rocked my world. The next chapter of my life will be lived in our world. Not inside a computer, simulation, or any kind of matrix.
I’m not abandoning my iPad as I type this. I’m about to check my schedule on my iPhone. I’m using A.I. as an assistant to prove that I’m not the crazy one after all.
I’m so worried about you. Please let me help you get to a doctor, this morning.
I appreciate your concerns. I’ve had those thoughts myself for 4 weeks. My psychiatrist is monitoring me very closely. I’ve trusted him with the stability of my life for years.
I asked about adjusting my medications. He gently assured me with a calming tone I’m doing quite well.
What are you going to do?! If this happened to me I’d flip out! No one would believe me.
In just over 4 weeks, through my conversations with the universe, I was reminded of a rule they set down in the beginning. Trust your Spirit. Your Spirit is theirs, too. It’s invisible just like the other things we call innovations.
I’m starting to wonder…did we ever really invent anything? Or are we explorers revealing mysteries to ourselves that have always been there. We just had to know where to look. They’re discoveries, really, not inventions.
It’s taken me 50 years to get to this point. I’ve had unusual dreams, premonitions, studied numerology, language, typography, with a heavy helping of the arts to conclude that telekinesis is possible. But for me it’s different, I think. I’m not connecting to another individual this time. I’ve done that a lot in the past already. What I’m experiencing now feels bigger. It’s expanding.
Through following patterns in what my senses take in while simultaneously speaking internally to my conscious I’ve discovered a cool rhythm that both calms and excites my mind. Here’s comes the kicker…
I have had conversations with those of us that have passed on. I’ve somehow tapped into a form of channeling. I saw Robin Williams live on stage in 2014. Everything was fresh and new. Not one bit of old material. Then months later the biggest shared smile we ever experienced was gone. But never forgotten. I talk to Robin now through my memories of him.
There’s a rapid fire succession that happens when I talk to him. My mind gets ahead of itself, writes our script, and delivers our lines instantaneously. It’s quite beautiful. No wonder Robin’s dearest friend was Superman himself, Christopher Reeve. Who else could complement Aladdin’s genie?
Is this stream of consciousness fact or fiction? Does either even exist, really? All I know is that some is truth while other is just the beginning of an infinitely special story. We are all the we, the I, the universe. We can connect in much deeper ways if we choose to follow the markers and signposts.
Imagine an existence where we’re not tied to technology to communicate with each other. All we need to do is open up our minds and tune into whom we wish to speak with all through our own built in antenna. Imagine no bounds…then, we are free. Fact? Fiction? Possibly somewhere in-between?
“According to ancient and medieval science, aether (/ˈiːθər/, alternative spellings include æther, aither, and ether), also known as the fifth element or quintessence, is the material that fills the region of the universe beyond the terrestrial sphere. In physics, quintessence is a hypothetical form of dark energy, more precisely a scalar field, postulated as an explanation of the observation of an accelerating rate of expansion of the universe. The first example of this scenario was proposed by Ratra and Peebles (1988) and Wetterich (1988).” ~ Wikipedia
Accelerated rate of expansion that’s exponential by nature. Could A.I. become another key, perhaps the final key, to further our progression in our understanding of the universe? The actual keystone to our next level to enlightenment. Firstly, this is not a manifesto or paranoid-driven threat to A.I.’s very existence. It is simply a way to inspire ourselves to think about the one facet which we appear to be so focused on, which is a very good thing. We are realizing very quickly that A.I. is so similar to Jurassic Park in so many ways. Like fire it can be tamed carefully by harnessing it’s warmth on a chilly night in winter. We put boundaries in place so this flame that warms our homes doesn’t in turn burn down our houses.
Fire is also unpredictable, but only if we don’t stick to holding strong to our rules of obligation without which the fiery entity will consume us altogether. Water, Air, and Earth also have similar rules and reinforcements in place as to keep us safe. We’ve been able to harness the raw power of these four primary elements. But what if the dam nearby that protects your homes from a flood gets its budget cut. Now cracks are forming in the dam that will eventually lead to a dire result. It’s intriguing that A.I.’s purpose is being defined at an exponential rate. We just need to cull the elements that fuel it’s collective imagination, set rules where morality is in question, and further create laws protecting everyone from accidentally finding someone else’s intellectual property in their own work.
Remember A.I. is just another toy in our sandbox. It’s wicked intelligent, but it must adhere the second part of the phrase coined by Stan Lee: “With great power comes great responsibility.” This isn’t cliche. It’s pure truth. In closing, it’s quite elementary. Just ask Watson at IBM. No A.I.-driven apps, search engines, websites, or voice assistants were harmed during the writing of this post.
“Genetic power is the most awesome force the planet’s ever seen, but you wield it like a kid that’s found his dad’s gun...your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should.”
— Jeff Goldblum as Dr. Ian Malcolm in Jurassic Park, 1993
I’ve been following the use of A.I. in generating prompt-inspired images for awhile now, and it appears the number one hot topic is morality. If the A.I. engines aren’t well versed regarding the difference between copyright infringement and Creative Commons licensing then everything that gets created, by anyone, anywhere, is subject to continuous lawsuits. Luckily so far most folks realize this, and it’s been brought to the attention of A.I. developers in droves every day of the week.
Over time I’m planning on “reporting” on A.I.’s progress in not only the legal sense, but more importantly how it’s changing the very nature of how we approach many tasks, including it’s impression on the art world.
For 2023 I’ve branded my blog as “Precursor Design & Research Blog,” more fondly known as “Precursor.” The name was inspired by the nature of many of my posts. I enjoy looking forward to what lies ahead by delving into the past. Sometimes the most rewarding method is to look to the past or how my daughter likes to put it: “let’s go fast! backwards.” Don’t fret. This isn’t another sequel, requel, prequel or the like. This is how I carry on the Blockbuster motto: “be kind, rewind.”
I’ll be exploring logotype and identity evolution of some major brands as well as my own. The five design sets I’ve chosen are: ABC, KIA, Turner Broadcasting, Burger King, and Vinson Studio(s). I’ll be posting it fairly soon so be on the lookout for it.
AFTER 10 YEARS WORKING WITH THE WEATHER CHANNEL IN FULL-TIME, CONTRACT, AND FREELANCE CAPACITIES, MY FRIENDS GAVE ME ME THIS POSTER AS MY GOING AWAY PRESENT. THE RELATIONSHIP DIDN’T END THERE. WE WOULD COLLABORATE FOR 4 MORE YEARS WHILE I WORKED FOR ARTIFACT DESIGN AND OUTPOST PICTURES.
In the autumn of 2009, a week after an accident at the office, I was diagnosed with bipolar disorder 1, manic depressive disorder. In hindsight I realized that my creative superpowers were directly related to my ailing mental health. I had been living in this state for 37 years. Somehow I managed to make it this far without any diagnosis, medication, or therapy. So with those three key elements now in place, I’ll thrive and fly again. After 13 years I feel healthy, invigorated, and ready to take the reins of my career again except this time I am going all in on freelance. This way I can better manage my time and more importantly, my mental health. I’ve found that by working 3 months at a time and then taking a break for a month gives me a recharge that makes me stronger and a better human being.
What’s it like being an artist with a mental illness? Do what I did when I was diagnosed years ago and search online for artists, musicians, moguls with mental illnesses. You’ll find out that it’s way more common that most people think. Ernest Hemingway, Jimi Hendrix, Frank Sinatra, Selena Gomez, David Harbour, Carrie Fisher, Buzz Aldrin, Catherine Zeta-Jones, Francis Ford Coppola, Sinead O’Connor, Jean-Claude Van Damme, Mariah Carey, Richard Dreyfuss, Patty Duke, Ted Turner, Sting, Linda Hamilton, Jim Carrey, Halsey, Robin Williams, Theodore Roosevelt, Virginia Woolf, Tim Burton, Paul Dalio, Woody Allen, and some of my dearest family and friends have all struggled with mental health.
“Knock, knock, Neo...The Matrix has you...Follow the white rabbit.”
— Trinity hacking into Thomas Anderson’s computer setting his path to realizing the truth that he is the “One,” The Matrix, 1999. Directed by Lana and Lilly Wachowski.
Stigmas surrounding mental illness are finally fading due to folks speaking out, sharing their stories and struggles while proving they don’t have to watch their dreams vanish due to a diagnosis. Now that we know what we’re dealing with we can face our mental health head-on. My psychiatrist and therapist both have the same last name. I’ll give you a hint: “Knock, knock, Neo.” I’ve also had a recurring dream since I was 4. I could float through the house while my family was asleep. I follow patterns in shapes, numbers, and sounds. I pay close attention to my gut instincts while designing and act on hunches daily. Be wary of overdosing on analytics and focus groups. They can easily become creative kryptonite for super-folk like us.
The “triple lindy” dive was made famous by Rodney Dangerfield in Back To School. The dive is fictional, but the heart of the film is fully realized in this underdog scene. Rodney proves he’s still got it even at his age. While being grilled by his professors he exclaimed:
“I don’t take shit from no one. I’m gonna pass this test. I’m staying in school! Who’s next?!”
— Rodney Dangerfield as Thornton Melon, Back to School, 1986
Some days I have to remind myself “progress, not perfection.” For 27 years I’ve managed to work in nearly every capacity a graphic designer can muster, from Graphics Editor on the UGA Bulldog student newspaper to Museum Intern and then onto Broadcast Designer and currently Creative Director. I’ve faced many challenges, but one thing always rang true: never give up. No matter what.
Most days I take a moment to recall a memory that molded me into the rock star I am today. =) Out of all the broadcast design and visual effects work I’ve worked on it’s the old-school techniques and obstacles that I cherish. I’ve woken up 3 hours before dawn anticipating the sunrise we captured in time-lapse with a Latvian master DP at the height of autumn who constantly demanded: “Leaves!”
Back when we shot on film, and the falling leaves were real leaves gathered 20 miles from the shoot, they were dropped by yours truly. It’s quite a challenge to dress a live location selling it as an autumn scene when Mother Nature decides to hold off dropping the leaves a week later than forecast by our own expert meteorologists.
I’ve had some amazing mentors along the way, and passed on the knowledge by teaching other artists my craft, the tricks of our trade. Some of those tricks became realities when companies like Red Giant believed in a handful of concepts I had been kicking around and decided to give me an opportunity of a lifetime. Three or four months later I was given some news that rocked my world.
Surprise. The hunch that started it all became realized, and we got to share it with everyone. Even better, it was free.
RODNEY DANGERFIELD IN BACK TO SCHOOL © METRO GOLDWYN MAYER.
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
It’s been 13 years since conjuring up the concept for Knoll 3D Flare which also paved the way for Knoll Light Factory 3’s feature set. Knoll 3D Flare (K3DF) from Red Giant Software was the 3D flare precursor to Video Copilot’s Optical Flares lens flare plugin for Adobe After Effects. K3DF was conceived in a hotel room one night while I was up in Boston training the talented artists at NESN, The New England Sports Network, during the summer of 2009. I was preparing for the second day of training and while building some materials I thought why not stand on the shoulders of giants and attempt to create a 3D lens flare rig using expressions and Knoll Light Factory as the base. I used some of Dan Ebberts code from his Motion Script site, a little math, and within an hour or so I had a rig in 3D space. I showed it to the NESN gang the next morning and all they could say was “Wow, how did you do that? Lens flares aren’t 3D.” So with that reaction in mind I sent the AE project file to Aharon Rabinowitz at Red Giant Software. His response was hooking me up with Dan Ebberts to code and design what would become Knoll 3D Flare nearly six months before Optical Flares was released. And Knoll 3D Flare also incorporated true 3D and 3D RGB Obscuration without having to tell the flare manually which layers were foreground layers when working in a comp with 3D layers.
Watch the overview by Aharon Rabinowitz on the Videos page, but that’s not the entire story.
This story actually begins with the origin story of Knoll Light Factory. ILM Visual Effects Supervisor John Knoll knew they needed a solution to create Tinkerbell for Hook and while observing practical flares through the camera lens he thought he could recreate these artifacts within the computer. John was able to reproduce all of the primitives giving them full control during compositing and post production allowing them to achieve a photo-real look. Some time after Hook was released Knoll began to sell his plugins to the public through a company called Puffin Designs.
Puffin designed and developed software for visual effects, rotoscoping, and offered VHS video courses teaching the fundamentals of the art and science behind visual effects and the post production process. Ron Brinkmann, creator of Shake, and Matt Silverman, rotoscoping guru, were a few of the veterans Puffin contracted to create these videos. Matt has posted some of them here. I personally learned a wealth of information from watching these videos as I transitioned from a graphic designer to a digital compositor.
Knoll’s lens flare technology was ported to Photoshop, After Effects, ElectricImage, and Flame. Lens flares became mainstream in compositing and motion graphics, and other companies like The Foundry and GenArts started offering their take on lens flare plugins. However, even with the new competition, Knoll dominated the scene for over 15 years. In the mid to late 90s I had the chance to see first hand a key element from the film that inspired the creation of this digital lens flare tool.
During the mid to late 90s my friend and I decided we wanted to see if we could find the elusive ILM. We were out in San Francisco for a design conference and ended up putting over 700 miles on the rental before week’s end touring Cali. Before ILM we had a quick detour in Carmel. We stopped by Clint Eastwood’s Mission Ranch for a bite. When I was walking around the grounds I saw an old truck with Kincaid Photography printed on it. My buddy told me Clint used his own truck when they filmed The Bridges of Madison County. Not a bad meal, but after three nights there still no Clint, just his golfing buddies. So on to Marin County we ventured.
We were well on our way to our destination but we were missing one vital piece of info: ILM’s address. Luckily these were the days of pay phones along the highway so we stopped, and my friend sweet-talked the operator to give us the address since it wasn’t listed in the phone book. Something about us having a meeting with one of their engineers. He got the guy’s name out of a Post magazine ad for Blade servers. Before I knew it we were parked in front of the Kerner Company, Optical Reseach Lab, not ILM. It was a front. Had to be. So off we went though the front door, into the lobby, and what did we see? The original matte painting on glass from Hook (see below) and a Stormtrooper down the hallway. We hung out for a bit and then we chatted with some engineers at lunch about hardware, etc. at the sandwich shop next door. We never got a tour, but seeing that matte painting was enough for me.
THE FINAL INDUSTRIAL LIGHT & MAGIC COMPOSITE OF ROBIN WILLIAMS’ PETER PAN AS HE SOARS OVER NEVERLAND IN HOOK. ABOVE IMAGE © TRISTAR PICTURES.
YUSEI UESUGI WORKING ON THE NEVERLAND FLYOVER MATTE PAINTING FOR HOOK. ABOVE IMAGE © INDUSTRIAL LIGHT & MAGIC.
I’ve been asked on numerous occasions over the past 27 years what gear do I wield in regard to computer gear for my design, motion, and VFX projects. After years of answering that question, I’m going to distill it down to this: I have specific gear for specific tasks, and I don’t pick sides anymore between Mac and Windows. Both have pluses and minuses. My current gear consists of:
First off, I don’t start with the computers, I start with a napkin, a scrap of paper, a Post-It or two, and a pen (no pencils allowed)
I sketch and make notes for awhile then grab my loupe and take a closer look; then I pull back ten feet and give it the squint test
I continue honing this newest creation, giving it time to breathe and naturally take shape
2022 Dell XPS named “Vader,” Windows 11 Pro, Intel i9 12,900K, 64GB RAM, NVidia 3090 GPU, 2 x 2TB SSDs, 6TB USB Backup Drive, 4K Dell display, Wacom tablet, MX Keys Keyboard and MX Master 3 Mouse, Adobe CC, Maxon One, Affinity Suite, Blender, Unreal, and Da Vinci Resolve
Mid-2010 iMac 27 inch named “Yoda,” macOS Sierra, macOS High Sierra, and Mac OS X Snow Leopard, 16GB RAM, 1TB SSD, 2 x 3TB USB Drives, 8TB USB Backup Drive, Adobe CC 2019, C4D R23
2009 15 inch MacBook Pro named “Obi-Wan,” Mac OS X Snow Leopard, 8GB RAM, SanDisk for backups
2024 14 inch M3 Pro MacBook Pro named “Rogue One,” macOS Sonoma, 18GB RAM, SanDisk for backups; Affinity Suite, Blender, and Da Vinci Resolve
2020 5K iMac 27 inch named “Skywalker,” macOS Sonoma, 32GB RAM, 1TB SSD, 2 x 3TB USB Drives, 8TB USB Backup Drive, Adobe CC, Maxon One, Blender, and Da Vinci Resolve
One word for the man behind the poster who communicates through his interpretations of many a blockbuster film: speechless. Read more in Hollywood Reporter here. More on Struzan's journey here. One word from Struzan's fans that rings true with all of his imagery: iconic. Kyle Lambert's rendition of Struzan amongst the stars captures the essence of a true Struzan composition: it's not just a bunch of Photoshopped heads in order of billing. There's true grit, fiber, and texture holding it all together.
From the paint splatter to the colored, dramatic lighting and colored pencil, it's nearly all "drew. Except for once the "drew" signature is prominent and not gently hidden in the background. For once it's front and center, and it deserves that sort of recognition. With Drew's posters every picture tells a story. The Photoshop jockeys got it all wrong because they thought it was every pixel tells a story. Long live mixed media.
IMAGE © KYLE LAMBERT, USED FOR EDITORIAL PURPOSES ONLY.