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We then “baked” the skin in virtual hellfire. The cover would then split open during the opening animation sequence, separating the symbol in half as it was on his forearms. Added to the cover was the tattooed symbol on Constantine’s forearms, which was the alchemical symbol for sulfur, or brimstone. We designed it with an organic shape and put a “Hell-proof” cover over the display screen. So if John Constantine had a real-world media player, what would it look like? Now remember, we hadn’t seen the film yet, but Warner Bros. What do you do for the supernatural? So we fell back to our design methodology of creating a skin that lived in the environment of the intellectual property. With properties like Terminator 3: Rise of the Machines, we had the T-X’s endoskeleton to rely on as the visual design base of the skin.
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Entertainment was feeding us amazing WMP skin design projects including the DC/Vertigo, Keanu Reeves film - Constantine, which would launch in theaters the following year. It was definitely a good time to be a gamer at The Skins Factory.
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XBOX brought us back to create the Official Halo 2 Windows Media Player skin and for about a dozen other properties. Movies and video games properties would begin to supplant recording artists as the top reason entertainment & media companies would come to us for customized, branded skins. They would also bring us in to design skins for their external partners as they pushed the Window Media format wherever and whenever possible. Microsoft was feeding us project after project, hiring us to create promotional WMP (Windows Media Player) skins for their own internal products for services like Windows XP Media Center Edition OS and Windows XP Tablet Edition OS. I’m not complaining, it was a good problem to have - the more people coming to our website, the more projects we would get. While most of our skins were sitting on Microsoft’s website, we wanted to push traffic to our own site, so we would just get hammered.
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There was no Google Drive or Dropbox back then, where we could upload the skin files and host them for download at no cost. Traffic to the site was so heavy, we were constantly breaking our server’s bandwidth cap. Our reputation for quality and reliability was spreading quickly, and we became the “go-to” resource for skins and user interface design. Future installments will cover greater periods of time. I’m not even covering all the work we did. Note: I was trying to include more years in this installment, but the sheer amount of projects we produced in just in 3 short years, would make this far too long to read in one sitting. I was still involved in the skinning communities, so I always had an eye out for new talent.
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The projects were coming in so swiftly, that I would occasionally have to bring in outside designers, who were not part of our regular team. We were now 4 years old, and our design output was through the roof. The years 2004 thru 2006 were to put it mildly… hectic.