These styleframes came out of a slower period toward the end of the year — client work had eased up, and I finally had some breathing room to focus on something that had been lingering in the background for a while: my logo.

I’d been sketching out all sorts of vector ideas, trying to pin down something that felt like “me.” But after a while of going in circles in Illustrator, I realised the answer probably wasn’t going to come from picking the most refined mark off an artboard. So I shifted gears and took it into Cinema 4D.

Redshift had just released a new update with improved translucency controls, and it felt like the right time to play. I grabbed a model from ThreeDScans and started experimenting with extremely shallow depth of field, using light and material to create softness and presence.

While compositing, I started layering in some of the vector logo concepts I'd been playing with — not as a final test, more out of curiosity. But something about seeing them in that environment, with depth, light, and texture, suddenly made the right direction feel obvious. Less about choosing, more about recognising it when I saw it.

This series ended up being part style exploration, part identity development. A bit of visual R&D that helped bring the logo into focus — literally and conceptually.