Windows 10 by Microsoft : the Hero Desktop Design
The Hero Desktop Design for Windows by Microsoft. Not all desktop images are created equal. Blasting lasers, pumping smoke machines, colored filters and falling crystal dust.
How to Design the Hero Desktop for Windows 10 by Microsoft?
Video: Hero Desktop Image | Behind the Scenes with Light
Take a look behind the scenes at the making of the iconic Windows 10 image in collaboration with world renowned, San Francisco-based director of design, Bradley G. Munkowitz aka GMUNK.
Interview transcript with Bradley G. Munkowitz aka GMUNK
Discover how it was made in collaboration with San Francisco design director Bradley G. Munkowitz aka GMUNK.
Bradley G. Munkowitz aka GMUNK introduction
GMUNK: It’s very exciting to be an artist in these times where is constantly changing. We gathered everyone here in the San Francisco, this beautiful photography studio on the Mission, assembled an amazing team. We’re all collaborating to make really stunning, fun, sweet little images for a billion people.
We built two installations to create the Windows logo out of light. My name is Bradley T. Munklewicz. I’m the creative director of the project, I suppose.
Men team member: Bradley, yeah, he’s somewhat of a design star. He’s worked on feature movies like Oblivion in Tron. He’s done all kinds of user interface design and motion design.
Women team member: He really is creatively thinking in ways that I didn’t even know imaginable until I walked into that set.
Design of the Windows 10 Hero Desktop Image
GMUNK: Microsoft has been really open to us taking it into a very vibrant, experimental direction. A whole new look than we’ve seen from Windows before, and that’s been really exciting.
The project’s all about one-point perspective and kind of looking at the logo itself as a portal that was allowing us to look into space.
Camera mapping techniques, video and lasers projections
GMUNK: In order to do that, we had to develop some kind of weird techniques, kind of a camera mapping of the logo.
Men team member: We’re shooting projections isolated from lens flares, isolated from background textures.
GMUNK : With that camera mapping, it allows us to play in the space where we create a volumetric area of light, haze, lasers and projections and little details everywhere, lens flares, aberrations.
Obviously, there’s a ton of design, but it’s more about the physical presence of it and really paying attention to how the camera captures these physical objects.
I love the idea of delivering one perfect, pristine still.
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