Diving into the world of main title design, inspired by industry giants like Saul Bass and Kyle Cooper, led to the creation of “HELP,” a unique fictional series. This project deviated from reimagining titles for existing shows, favoring the development of an entirely original narrative centered around an art dealer’s transformation into a serial killer amidst personal and professional turmoil, set against a darkly envisioned New York. Season 2 – “Dreams at the Terikona Institute” transitions to the stark and isolating environment of the Terikona Institute, under the shadow of the “BlackRoad” program.
The main titles are designed to convey a profound sense of isolation and foreboding, delving into the eerie aspects of human psychology. A key visual theme is the presence of small, glowing white spheres, symbolizing the protagonist’s memories and the institute’s sinister capabilities to manipulate and predict behavior, adding a layer of depth to the narrative’s exploration of control and freedom.
“HELP” is an endeavor to intertwine dark, horror-themed aesthetics with the art of storytelling through visual design. This project reflects not only a deep exploration into the human psyche but also my personal evolution as a designer, embracing the darker sides of creativity and narrative.
My design process starts with pen and paper, sketching out ideas that gradually take shape through 3D modeling and animation. For “HELP,” this meant evolving each concept daily, allowing the original idea to transform significantly into a unique visual story. This flexibility and willingness to iterate are what bring my projects to life.
Having worked as a 3D Generalist for many years, I’ve become adept at using a variety of software tools, making me versatile in my craft. Season 1 of “HELP” was created with Cinema 4D and Octane, while Season 2 saw a shift to Maya and Arnold GPU. My toolkit also includes Nuke, DaVinci Resolve, After Effects, Houdini, and Unreal Engine, ensuring I can choose the best tool for each task without being limited by technical constraints.
Email
LinkedIn
X
Threads
WhatsApp
Telegram
More
Diving into the world of main title design, inspired by industry giants like Saul Bass and Kyle Cooper, led to the creation of “HELP,” a unique fictional series. This project deviated from reimagining titles for existing shows, favoring the development of an entirely original narrative centered around an art dealer’s transformation into a serial killer amidst personal and professional turmoil, set against a darkly envisioned New York. Season 2 – “Dreams at the Terikona Institute” transitions to the stark and isolating environment of the Terikona Institute, under the shadow of the “BlackRoad” program.
The main titles are designed to convey a profound sense of isolation and foreboding, delving into the eerie aspects of human psychology. A key visual theme is the presence of small, glowing white spheres, symbolizing the protagonist’s memories and the institute’s sinister capabilities to manipulate and predict behavior, adding a layer of depth to the narrative’s exploration of control and freedom.
“HELP” is an endeavor to intertwine dark, horror-themed aesthetics with the art of storytelling through visual design. This project reflects not only a deep exploration into the human psyche but also my personal evolution as a designer, embracing the darker sides of creativity and narrative.
My design process starts with pen and paper, sketching out ideas that gradually take shape through 3D modeling and animation. For “HELP,” this meant evolving each concept daily, allowing the original idea to transform significantly into a unique visual story. This flexibility and willingness to iterate are what bring my projects to life.
Having worked as a 3D Generalist for many years, I’ve become adept at using a variety of software tools, making me versatile in my craft. Season 1 of “HELP” was created with Cinema 4D and Octane, while Season 2 saw a shift to Maya and Arnold GPU. My toolkit also includes Nuke, DaVinci Resolve, After Effects, Houdini, and Unreal Engine, ensuring I can choose the best tool for each task without being limited by technical constraints.
Credits:
hakagbalian@gmail.com