Roman Bratschi is the owner and creative director of his 3D designs made in Switzerland. He is also an experienced animation director, and has experienced his career as a graphic designer. His work is inspired by natural shapes, forms, and patterns. His techniques are expert in exposing their natural simplicity in the final piece. One thing I enjoy about his work is how all of his work reminds me of MacBook Wallpaper. Also, I love how organic some of his work is. Some of them resemble fruits and other vegetables, but they all have the same theme.
The LED display located in COEX K-pop square simulates the motion of a wave through virtual reality. The design took about three months to develop; the display screen size is superb and can fit four basketball courts. This interaction of waves splashing down is made using an anamorphic illusion through the curved screen. When we begin to design 3-dimensionally, we also need to consider all x, y, and z planes and how the shapes/forms of design construct through those planes. In this work, the plane is transformed into a curved surface, allowing visual illusion as well as depth. Because of its color and lively motion, the plaza is filled with energy and enthusiasm for people to learn more about the artwork. Lee Sung-ho, CEO of d’strict explained: “We plan to get motives from nature moving forward so people can also experience a healing within the city.”
In her artwork, Nimbes, Joanie Lemeecier and James Ginzburg attempt to capture the paradox of observation: how as we observe and understand more rules and truths in our universe we understand that we know less and even that through a different lens these truths no longer apply. These digital artists use 3D rendering to compute a series of images that consist of small individual pieces that occasionally relate to each other to create a recognizable image of a church or tree canopy for example before exploding. This disintegration of the recognizable, the observable, represents the limits of our understanding and how the truths we may understand as the image of a church are in fact irrelevant. I find their work particularly interesting because it serves as a reminder of the chaos that exists outside our collective and individual perception of the universe.
I looked at the project “Celestial Beings” by Jonas Pfeiffer, where he used computer graphics to create angles that are true to the description in the Old Testament. What I really admire about this object is that the artist utilizes elements the audience is familiar with but rearranges the elements to create something completely out of imagination. The freakish appearance with the familiar elements allows the audience to be both terrified and linger on the image. And through the manipulation of color, lighting, and other factors, the author made it resemble the description of an angle. I find it astonishing that computer graphics can realize one’s imagination or recreate mythical creatures that wouldn’t exist in real life.
It is most likely the author has modeled the objects in 3d modeling software and animated the object and put it through a renderer. The model might be generated through an algorithm that would pattern existing elements together, as shown by the clear repetitive elements in the angels.
It can be comprehended that the artist is interested in Christian mythology, but enjoy modern texturing as shown in the rendering style of the angels. The modern accent is also displayed in the rendering of the “Orphan”, where there are elements that seem to be written by markers on the giant eye.
This project explores the infinite out of the finite, and is composed of differing, abstract shapes that change shape and form and travel from left to right, panel to panel in a 5×5 grid. The shapes never repeat themselves, and whenever they pass a panel grid line, they change their look and behavior in a larger form. The shapes in each vertical panel are different, but they hold some similarity because their parameters that control their growth are the same. I admire how it resembles a grid lithographic printing, with multiple shapes, textures, and compositions. I feel as though it shows how applicable and universal the options are with 3D computer graphics, even without the use of complex systems. The algorithm that generated this work is a closed loop.
Eugene Golovanchuk (aka Skeeva) is an art director and 3D digital artist. His artwork uses “3D dark art surrealism, captivating in its cyberpunk flare.” Much of his work has a focus on fashion, developing outfits digitally. I chose to look specifically at his project “Oversized” made in March 2020 which was one of his personal projects where he wanted to learn how to use “Marvelous Designer” to simulate clothing and animation. This project shows animations of three different outfits (with a focus on oversized coats), and the video above shows the first outfit of the series. He uses imagery and animation to show off the garments he designed, and they are so cool. His artwork is fascinating as it seems so real, yet so out of this world and like nothing I have ever seen before. The patterns and textures are mesmerizing. I think this is also very interesting because so much of fashion is about texture and materiality, and Skeeva is able to achieve this kind of detail all through a computer.
PK3D Studio is a CGI-based studio in Warsaw, Poland that was founded by Piotr Kosinski. His main speciality of design includes automotive and technology advertisements.
CGI is a field of 3D Computer Graphics that focus on real-life characteristics. I am truly inspired by Kosinski’s work related to automotive advertisements because I am a passionate car enthusiast. He is very good at making cars blend in any background he chooses.
You know when you see in-focused cars speeding down mountains in ads? That’s a huge majority of Kosinski’s portfolio. I really admire how he takes crip, high-quality photos of cars at different angles, and then blends that car with any beautiful landscape using CGI.
His advertising skills definitely work. Kosinski has a good eye for design, as evident through his diverse automotive portfolio. Every time I see his ads, it makes me want to buy that exact car!
Below are 3 of my favorite CGI-designed automotive ads:
3D scanning is no longer a novel topic today when everyone can take a series of images of an object and use computer software to process these images to generate a clean model. However, the project I am interested in expands the scope of 3D scanning drastically by reproducing the Laojun mountain temple in China. The immense size of temples requires them to use drones to take images of the temples carefully. To do that, they used software to select a region they wanted to scan. The software then calculated the flying route to control the drone so it could scan the temples accurately.
Temples in real lifeTemples in digital forms
The best part I love about this project is that they have to climb up the mountain several times to control the drone and get to appreciate the temples in real life. Many ancient architectures are not properly taken care of, and even for those that get protected, they will eventually collapse someday. Therefore, 3D scanning could be a reliable way to produce 3D models of these buildings and make sure they exist in digital forms forever.
I admired the project because of the beautiful colors and structure that was used to create the abstract and otherworldly environment. It seemed like this project took a long time to create, and it shows in the details of each piece. The texture of the coral really brought this piece to life, and I can imagine a beautiful animated movie that happens in this world.
I know that the artist used ZBrush to create the world, VRay to render, and After Effects to comp it all together. I do not think there was an algorithm that was used to create this landscape. Rather I think the artist created this landscape completely by hand. He also used some floral elements and ice models that were created by his wife.
I am not sure what the movie project is about or if the artist captured what they were going for. I do know that a trailer of it came out in 2016, and all of the subtitles are in Chinese. I think the story is mythical, powerful, and mysterious based on the trailer. Therefore, I would say the artist’s sensibilities manifested well in the final form. The world he created is very mythical and mysterious.
When I was in Italy over the summer, I went to the Galleria dell’Accademia di Firenze, where Michelangelo’s David’s is housed. After looking at David, there was a nearby room that showed a screen with a collection of 3D models made from real life historical sculptures, specifically busts of Michelangelo made by an unidentified artist. These 3D models were created by scanning the bust, and allowed for a greater degree of investigation of technique. On the walls there were many, many iterations of these models along with actual 3D printed busts themselves, and it was really interesting to see the way these digital images existed in the real world. Obviously, the meshes of these models were more complex than, say, stylized Pixar character models, and the detail that was able to be achieved was really interesting. Ultimately, this heightened ability to investigate the bust allowed for it to be attributed to Daniele da Volterra, made in the 16th century. I also find the gap of time between the creation of this piece and digital re-appropriation to be really fascinating, and it really made me think about how the people who would’ve been renowned clay sculptures back in the day likely would’ve made great character modelers within the 3D animated film & game industry (and vice versa).
Michelangelo Busts – Galleria dell’Accademia di Firenze
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