The first 3DCAMP Art show was run by committee member and sponsor Lori Betz of Betz Art Gallery. It was a wonderful addition to 3DCAMP this year that showcased a variety of cutting edge 3D technologies used in an artistic context. We plan to expand the art show to be even bigger next year.
Here are a few of the pieces from the show:
The original concept by ngArt took me completely by surprise. I was drawn to it and started sculpting immediately. It was the first piece that allowed me to be satisfied with the outcome as it involved many different surfaces and a face that had to be done justice. I touch it up every year and use the new features in Zbrush to get a better result each time.
Everything you see was created using Zbrush and PS. 99% of the work was done in Zbrush including texturing and colour maps. I used a number of features including Dynamesh, Zspheres, Dam Standard Brush and the Clay Tubes Brush. Photoshop was used for the background, bump maps and compositing the final renders together to get this result.
My identity is confusing and fragmented and plural. I live in a confusing, fragmented and pluralistic world. As the world gets more complex, formerly universal narratives have become fractured and reassembled—sometimes beyond recognition. One way or another, we must all navigate the fractured space between personal truths and universal realities.
My work explores this tense space. Negotiating my personal tensions—American and Israeli, gay and married, coastal and Midwestern to name a few—is the source of balance, beauty, symbolism, and narrative in my work.explore themes such as the construction and dissemination of masculinity; personal geographies and remapping of memory; and bi-nationality and displacement. My images and objects explore themes such as the construction and dissemination of masculinity; personal geographies and remapping of memory; and bi-nationality and displacement.
The concept for the piece stems from the reasoning that the skull is recognisable as a macabre stereotype. By removing the skull from the body and ‘re placing’ it at a different angle, it becomes ‘other worldly’ and to a degree, unrecognisable as a human being. The eye comprehends the body, as a human body, but not the face (or skull) – thereby introducing a juxtaposition in what we ‘see’ versus what we ‘know’.
The two sculptures reflect the other. There are subtle differences in their pose as and facial orientation, which explores the stereotype of ‘macabre’.
This piece is based off of photogrammetry data of the underside of a hominid skull from the Pitt Rivers Museum in Oxford, England. My work often examines the subject of Anthropomorphism. Here, I have explored the human/animal relationship, and included mythology and science to tell a ‘story’.
With Undine, I’ve explored the beauty of a Bottlenose dolphin skull (Tursiops truncatus), gathered from photographs taken of the animal in a display case. I’ve touched on the mythology of Undine – a water nymph from European folklore – to present the animal in ‘humanised’ form. This is not a foreign concept, we’ve all grown up with the popularisation of mythology in films, television, media etc.
However, what we ‘prefer’ to see, is complete ‘human’ form – as with the UnSeenBrothers, ‘… eye comprehends the body, as a human body, but not the face (or skull) – thereby introducing a juxtaposition in what we ‘see’ versus what we ‘know’.”
The features of the body (soft and feminine) reflect how I viewed the forms of the skull.
SLS Print; cm: 10.872 w x 19.038 d x 10.128 h
Most of Michelle Davis’s work stems from a fascination with nature, whether it be
medicine, biology, or botany. She enjoys exploring unique forms and patterns, working
to reveal the beauty in sometimes unexpected places. While she has worked in a
variety of media, traditional and digital, the use of 3D modeling software with 3D printing
for the creation of one-of-a-kind jewelry has been especially useful and powerful.
The ‘discovery’ of 3D printing was a huge catalyst for beginning jewelry work several
years ago. She looks forward to the expanding potential for original creation that the
continued development of 3D software and printing brings.
Michelle’s background includes an M.S. in medical illustration, and in addition to her fine
art and jewelry work she currently works as a Creative Director at a medical marketing
company in the Dallas/Fort Worth metroplex.
I’m an explorer in 3 dimensions, watching the beautiful events that take place in that continuum. I study transitions between inside and outside, the point at zero and the point at infinity, how the dimensional axes can be alike and different, and different ways that biomorphic forms can arise. I¹m often asked whether these designs begin with logic or intuition, and the answer is always both.
I trained as a studio sculptor, but when CAD/CAM began to emerge in the last years of the 20th century, I switched over instantly and forever. My designs exist first as virtual 3D models, then as physical 3D prints or other CAD/CAM media. I prefer processes that make archival materials, and my main medium is direct printing in a composite metal of stainless steel and bronze, formed by a powder sintering process. These two shapes are typical of that medium. One is built on the geometry of the hypercube, embellished with color symmetry; the other is based around a rhombic dodecahedron, with an unusual symmetry group plus an inversion through the point at infinity. But you don’t need the math to see them: they’re also playful shelly creatures that I made for fun!
I am artist because it is the conduit to release the ideas and visuals I carry daily. Since I was a little boy I have pursued my own exploration rooted in the unconscious mind and nurtured with daily practice using a variety of mediums of artistic expression. My artistic process developed organically from my father’s cabinet shop to the stainless
steel sculptures I create today.
I am very passionate about my current expression- Flow Series. It is the culmination of my life’s work. The overwhelming feeling of purpose and expression started with my design of George’s Horse. I wanted to do something new and contemporary, but it wasn’t exactly the idea of modernity that led me to this design.
The ribbons with which I was creating lent me direct lines of expression; and with these tools I could finally capture the dynamism and weight I was seeking.
I remember when I started to experiment shaping up the general line of George’s Horse. I could literally feel the infusion of motion enter my work in real time. With each ribbon, the eye bends, curves, assembles, deforms, and traces the edges of each subject. The ribbons direct my emotions and creative flow with a force like I have never felt before.
The smaller ones are subtle-the larger ones are essential, but they all flow together to create one being. The multiple patterns of the lines effectively illustrate the multifaceted parts of what makes us human. The designs are created digitally, and once a 3D form is printed out, it is then cast in stainless steel at a foundry.
I use modern machines and industrial processes as well as traditional craft techniques to create pieces that challenge our expectations. These pieces were drawn in 3D on the computer and output by a 3D printer using Selective Laser Sintered nylon. Combining handmade metal accents with the nylon material I emphasize the difference in the two materials and highlight the value of both.
A native Texan, I have lived in many cities around the globe. With a background in jewelry design I worked as a studio artist in San Francisco for several years before moving to Providence for graduate school. I received an MFA from Rhode Island School of Design in 2005 and moved back to Texas in 2006. I live and work in Austin, TX designing jewelry collections for museum stores across the country and creating sculptures and installations. I am always thinking about new ways to use technology to create art.
My works reflect the concepts and theories from the studies of Quantum Physics.Dark Flow; unknown, unseen “structures” lurking on the outskirts of creation. Black Holes, the Big Bang. Our Universe may be nested inside a Black hole that is itself part of a larger universe. In turn, all the Black holes found so far in our universe may be doorways into alternate realities.
My graphic design and typography skills are an important element that determines the look and feel of all my pieces. I construct the images digitally, using Photoshop and other techniques. Constellations are plotted, and images are woven together. Once printed, I cover each piece with resin, to further enhance the depth on the two-dimensional surface.
Concept of the artwork: I wanted to create an image that captures a character at his or her most emotional state. The essence behind the image is an old man missing his deceased wife and thinking about the memorable years they were married when they were young.
Technical Description: I used Maya to create the low-polygon base models. I then used Zbrush to sculpt the details such as skin pores, wrinkles, and cloth folds into the low-polygon base models. I also painted the skin textures in Zbrush. The models and textures were then imported back into Maya for shader, lighting, and rendering setups. The final render was done in Maya using Mental Ray with Final Gather. The final composition was put together in Photoshop with minor adjustments and additions such as color correction, depth of field application, shadow and specular enhancements. Total process took roughly one month.