LookingOutwards-05

LO-05 3D Computer Graphic

In 2016, Johnathan Zawada created “Skin” for Flume’s Grammy-winning album of the same name. Zawada created this 3D computer graphic with node structures and algorithms to generate different variations of the flower petals and patterns/textures on the petals. He also used Adobe programs in editing.

I admire the level of detail in this piece. Zawanda created intricate patterns on each petal creating a really interesting composition in contrast to the simplicity of the background. I also admire how his use of color evokes the same emotion as the music from the album. This sync between the imagery and the sound enhances the experience of the song.

Zawada’s artistic sensibilities are seen in this piece through the balance of “light and feathery” like the flowers and “concrete” elements like the silver bells. Zawada states he wanted to “explore ways of making the digital become organic and find tension points between comfort and discomfort.” Zawada went on to create more audiovisuals for Flume’s live shows and future albums.

The Creator’s Project interview with Zawada, 2:08-3:05 discusses “Skin”

LO 5 – Computer Graphics

Christoffer Bjerre – Echoes of Light (2016)

Chris Bjerre is a multidisciplinary motion graphic designer whose works are dark, intricate, and maximalistic. His interest in dark and moody atmosphere with a monochromatic palette is seen all throughout his works, especially Echoes of Light. Echoes of Light is an exploration project of geometric infinity. The film shifts from a light (white) to dark (black) scheme. The structures create a chaotic pattern from a simple paradigm. The top softwares he uses are After Effects, Premier Pro, Adobe Illustrator. This specific project’s renders heavily relied on a software called Octane compiled and produced in a software called Cinema 4D. Bjerre states, “the fractals are just made with any type of geo and multiple instances of moextrude.” I admire the shapes and sharp color contrast in this video the most.

Echoes of Light by Chris Bjerre / Music by Johann Johannsson

Looking Outwards 5: 3D Modeling

A piece from Iris van Herpen’s Sensory Seas collection

The 3D modeling project I chose to highlight is Iris van Herpen’s portfolio in 3D printed fashion. In 2011, Iris van Herpen created intricate fashion designs through 3D modeling which paved the merge between technology and fashion. Iris van Herpen is known as the Dutch fashion designer that fused technology with traditional couture craftsmanship.

A video that shows the 3D modeling processes. Start at 2:08.

What I admire the most about her and her designs is that mathematical computations are difficult enough as it is – but seeing her being able to bring life to such beautiful 3D designs is a whole other story. Her creativity and intelligence is inspiring. It’s really obvious how the themes behind each of her clothing lines really shine through in the way the clothing looks and makes somebody feel. It’s not just some random patterns – you can see the craftsmanship behind them.

LO 05 – 3D Computer Graphics

Peter Tarka

AUDI Q-riosity

Today, I will be talking about a 3D rendering project done by Peter Tarka in the Niche & Wearesoclal design agency for Audi UK. For Audi’s advertising campaign in the UK, Peter was asked to think of a new space for the vehicles to exist in—representing the car’s personality and features in abstract form. I admire this project because through shapes and color, the artist was able to successfully encapsulate the branding of Audi, yet still modernizing the vehicles for the advertising campaign. Peter Tarka effectively creates a new innovative (dreamy) environment, merging the artificial world with the real-life product. I believe that Peter used a 3D rendering software to complete the designs: perhaps C4D, or keyshot, etc. It is also very possible that Peter implemented code in order to streamline his code, or apply physics, or rules for the animation.

Visit the portfolio here

LO – 05

The 2004 film, The Polar Express, is a film I am very fond of. It is a film I have watched every year over the holidays since it was released. It brings back memories of when I was younger, the biggest being how I thought it was so cool that they animated the characters after actors, like Tom Hanks as the Conductor (among other characters) and Josh Hutcherson as the Hero Boy (although he didn’t voice him). I didn’t know what it was called at the time, I just remember my older siblings telling me they made the characters look like the voice actors. I know the term now to be called motion-capture (mo-cap), which digitally captures actors movements, features, emotions, etc., with a computerized camera to help develop virtual characters . Director Robert Zemeckis brought on the Sony ImageWorks team to insert actors like Tom Hanks into a CGI environment, called Performance Capture. Performance Capture is an improvement of mo-cap that uses digital cameras with a 360-range to help simultaneously record multiple actors’ facial expressions and body movement. Jerome Chen’s was the visual effects supervisor of ImageWorks who initially worked on the advancement of mo-cap, that was later called Performance Capture (as mentioned above). Along with the mo-cap aspect, there was a lot of time put into the rest of the animations (like the train, etc.). However, the biggest thing that stood out to me when I was younger were the characters. Zemeckis really wanted to articulate the emotion of each character, and with too small a budget to do live action, he turned to mo-cap and created a world that is hard not to love as it gets played every holiday season. To check out more information about the production of this film check out the link below:

Performance Capture CGI Technique In ‘The Polar Express’: An Advance For Animation

And check out the trailer if you’ve never seen The Polar Express:

The Zoo, 2004

The project I chose is titled “The Zoo” by German 3D graphics design firm Zeitguised. I admire the ‘real-world’ utilization of the rendering software here, as many of these types of animated computer renders are done in synthetic environments, so having a synthetic subject interacting with a real environment adds a lot to the piece in my opinion. I know that algorithms exist that use a technology called ray tracing to understand how light interacts with objects, and algorithms define the different ‘materials’ as having different opacities, reflectiveness, and roughness. Using these algorithms in combination with real light and environment data only adds to the realism of these surreal forms, objects, and animations, making this project very successful.

“The Zoo” Zeitguised, 2004
https://vimeo.com/2917970
https://zeitguised.studio/

Looking Outwards-05- 3D Computer Graphics

Tentacle Towers (2005)- Yoichiro Kawaguchi

Tentacle Tower by Yoichiro Kawaguchi is a mixed-reality work that uses 3D imaging to bring movement and create space. Created in 2005, Kawaguchi used a Lenticular 30 Picture Light Box to create this. The viewer is encouraged to look at this work and interpret the space only using their eyes, and the result is that they experience movement that has rhythm stimulated by stereoscopic CG visuals. What I admire about this work is how the artist incorporated color as well as scale of the different shapes in the art that created this suggestion of 3D space in a 2D surface. I think this is interesting because mimicking 3D form on a 2D space using these techniques holds a lot of thinking and skill to master. This makes me wonder how 3D form is visualized and what are the requirements that need to be met so that the viewer can understand the work as 3D.