Taking inspiration from the rich history of France and art history, this package evolved from line drawings, gestural paintstrokes, sculptures and architecture details.
A full global campaign, the goal was to highlight the different emotions Glade can make you feel through double exposure, telling the internal story of our heroines.
During production of the actual game cinematics we had the opportunity to pitch on the commercial to promote the game itself. We came up with the entire concept from the look, direction and story for what ultimately turned into an emotional live action spot.
Hundreds of frames were created for the 15 minutes of in-game and opening cinematics, here are a few selects.
With so much created, not everything ends up in the final. Here is the process showing how the final look was developed using two scenes. I began using a dark world of viscous fluids as small vignettes, and with Santa Monica's feedback, elements began to focus more on what served the story strongest. The final result was still liquid characters but contained within an amorphous resin world. These would be the oathstones crucial for the player to understand Kratos' journey.
Hhere are some of the frames of what I envisioned the UI system could be to upgrade items throughout the game. The final result was made while the game was planned to be created in stereo, so rotation through space were a large feature. Ultimately stereo was cut from the game.
Inspired by Brazil itself, everything was taken from the simple idea that mosaics could carry an entire package. From lower thirds, wipes or hero moments, the intricacy and detail of each tile intends to highlight each country and their own approach with mosaics.
The first pitch phase designs were based on the client comments of being non photographic and visceral. The solution I devised was a line we follow as it scars the landscape, ultimately ending with two graphic lines symbolizing the tracks.
This round was to flesh out the story more and also based on the notes that it needed to feel even more aggressive. Combining a very loose graphic style and litterally showing the landscape change over time as the railroad progessed felt like a very symbolic but also strong story thread, still ending on the impactful scene of the train tracks across the landscape.
Finally the client felt like they needed a stronger more impactful visual, something with more humanity. Jeremy Cox suggested instead of a graphic approach, we embrace the hero and shoot it all live action. Ultimately a dark stranger walks across the land as fire, ash and soot envelope him, only leaving the tracks behind became the mental image the client loved. I then took those words and created frames which showed how all this destruction and sacrifice culminates in the creation of one thing; progress.
Playing with the letterforms each world would be contained within a letter, this would be the genesis of fun and creativity that is nickelodeon. The concept was to have multiple versions each highlighting a different genre of film to show before the movie started.
Played in Central Park for New York Fashion week, I was called in to help guide the 2015 spring women's line video. Played on a 60 foot high display made entirely of water the biggest trick was making sure all action was in the center of the screen while reinterpreting New York into a more romantic yet real landscape.
Nominated for an Emmy for outstanding main title design, this was a graphic reduction of the shows main concept, insidious plots hidden in plain sight, these frames show that in everyday elements there can be a larger overarching plan.
Inspired by Greek pottery, Imaginary Forces and I used all the graphic patterns, colors and textures of the period to bring Kratos' story to life in-game cinematics and the main opening. A lot of hours were spent playing the first two games to get each key moment in his journey right.
An explosion of rorschach prints, the clear gel would create three dimensional forms to allude to the fun had with both pre and gametime products.
For the premiere of this show, we decided to use the transformation from day to night to signify the awakening of their dark arts. I also had the opportunity to assemble the team from look dev through compositing, to execute my styleframes.
I got to help out on setting up a new gyroscope 360 video dome and figure out what kind of lighting would work for this awesome open for the NFL network.
Lots of sketching and hand drawn elements, the script asked for playful and intriguing ways to combine data visualization with the end of the mayan calendar.
Taking the concept of space and playing with the two key ingredients in this Smirnoff drink, I created frames to show the power as blueberry meteors collided with lemon planets.
A pre screening event to draw in thousands, my role was to take all the information and create a thread for the anthem spot.
A single moment playing out in slow motion, each character would have a light source as they rotate within the darkness, the idea was to light it like a Baroque painting.
A reinterpretation of the ford logo endtag with a more intense impact.
A collaboration with Johanes Kurnia, this piece was an experiment to combine 3D with a more illustrative style.
For EDUN's 2008 fall collection I was charged with creating illustrations reminiscent of the old victorian age style of ghost imagery.
Theodore Daley is an Emmy nominated director & designer, born in Toronto, Canada and currently based in New York City.
He has been recognized for his work on numerous projects ranging from TV, film, commercials, show packages, events, digital and print campaigns. Clients include AMC, NBC, ESPN, NIKE, NFL, Showtime, MTV, Ralph Lauren, Sony and Microsoft. His work has been published in numerous design publications and exhibitions worldwide.
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