Cesc creates his work as computer-rendered 3D models. The colours are vibrant and the surfaces have a nice, soft, almost spongy texture to them. These surfaces make it all the easier to imagine his designs being translated into toys and other physical 3D models. He says his influences include Japanese aesthetics and art toys.

© Cesc Grane, 2012

Jeremy enjoyed it so much that he decided to expand it into a children’s story, teaming up with his sister, who is an already published fiction writer.

Not one to just sit on the idea, he was proactive with getting it off the ground, using the community fund-sourcing website, Pozible. Not only has he already exceeded his funding goal, but the project has been feature all over the place, including in Digital Arts and 3D Artist magazines. He tells us more about the actual creation of the characters and we get a sketchbook peek.

To create a character: I start with a lot of reference. I scour the web for different angles of the animal I’m creating. I collect photos, diagrams, skeletal images (where applicable) and study them. Then I take these and simply sketch over them to break out the main forms. Once this is done I take my sketches into Maya 2012 and build them in 3D.

One of the most challenging things about the paper animals is keeping them simple, it’s very easy to get carried away with details. The more detail, the less they look like paper. Simplicity is key.

Once the character is built, I apply some paper textures which convey extra detail and give those lovely paper crinkles and folds.

Finally, after I’ve tweaked the model and textures and I’m happy with the character, I go about manipulating the creature in an interesting pose and rendering it out!

© Jeremy Kool, 2012

His drawings themselves are rich in contrasting textures and tones. Often showing vast natural scenes, areas of smaller, more precise detailing are set next to deeper, more expressive dark shades drawn with a heavier hand, giving a nice range or feeling throughout one piece.

In other work such as Vol. 7 of ‘Living Things’ by independent publishers, Little Otsu, Liam deconstructed his drawings and rebuilt them as these amazing dioramas.

They literally bring a new dimension to his work, with lighting bringing mood and atmosphere. We especially like the jaguar skulking in the shadows, while its prey graze in the softer light, unaware. He tells us more about how he works.

I predominantly work with my mechanical 0.7mm Pentel pencil, scalpel, paper and a little digital for slight adjustments etc. I keep a note book handy whenever I possibly can as I find ideas suddenly manifest at any time – It’s always good to make a jotting for future reference and work through them as and when. 

I have been working on an animated music video for a while now and that is due to be released soon-ish. So, my illustration work more recently has mainly been little visual experiments and one off pieces to keep my brain refreshed while I am engaged in this heavier, more time-consuming animation project.

At the moment I am trying to learn and sharpen my understanding of the animation process so that in the not too distant future I may be able to more confidently work towards a short I have loosely storyboarded.

The picture below is the view from my desk.

© Liam Stevens, 2012

Apart from being great examples of work by someone with a good eye for shape and colour, these get me excited about what can be done with 3D computer tools in the context of visual art and illustration.

The series here is part of various experimentations Timothy is doing, that we can now learn some more about…

What by way of experience/training have you had?

I went to school for architecture. Self-taught in 3D, I started out on SketchUp 4 before Google bought the company. I’ve been a 3D illustrator for the last 5 years, mainly working for marketing firms designing exhibits for various clients/brands.

Moved over to Cinema 4D for a job about 2 years ago and absolutely love the software. I’ve learned a lot through my professional work which I like to think helps me push ideas late at night for my own personal work. Most of my work on Dribbble is all self-initiated explorations.

How do you normally go about creating these particular works?

I usually begin with a plane [or any other primitive] and just manually push and pull the points until I’m happy with an initial layout.

Then start adding more details with other smaller shapes. I play around with lighting a lot, usually lighting a scene in at least two different variations until I’m happy enough with one to keep.

Materials are sometimes added, almost always with some subtle texture like paper or simple noise. Finally, some light post-work in Photoshop to enhance the colors and overall feel of the image.

What are your plans from here on?

I’m currently working on an iOS game I’m pretty excited about. Other than that, I’d love to get into storytelling, illustrating children’s books, making short animations/cartoons, more video game design, and I’m completely addicting to taking sketchnotes at any and all meetings/keynotes I attend.

I would like to push those forward as well, maybe traveling more in order to take them. I’ve also got a moleskine full of ideas for some new 3D series waiting to start too.

© Timothy J. Reynolds, 2012

There’s a wonderful juxtaposition here. Reclaimed wood and other organic materials usually give the assumption of more rounded shapes with softer, worn edges, whereas Aaron’s sculptures are geometric and edgy. The colours are also used for contrast, sometimes worn away, sometimes left as they have been found. Aaron tells us more about the finding and making process with some great photos of his workspace.

I make paintings and sculptures out of found wood that I find from construction / demolition sites, dumpsters, the side of the road … pretty much everywhere. Using an array of tools, I cut down my finds into a manageable size and work from there. The main power tools I could not work without are a table saw, band saw, and miter saw.

I work heavily with geometric forms, so I need those tools to accurately produce the shapes I require. Power aside, I rely on countless other hand tools to both clean up the pieces, and achieve weathering where desired.

© Aaron S. Moran, 2012

Looking through the entire project, we’ve enjoyed the progression of the architecture from Lego-inspired blocks to more complex, Escheresque buildings with warped perspectives. Overall, her tight, vector style and eye for structure makes it a body of work that is as interesting as it has been long-term.

I’m a designer in the daytime, and illustrator at night, although I do think these two roles can be merged. They are, in my opinion, same approach, different disciplines. I create my illustrations mostly with Adobe Illustrator.

The isometric lettering is one of my favourite projects. I started it without even thinking of finishing. My progress is sssssslllllloooooowwww. I draw very little in a long while. Sometimes, if I’m stuck, I would leave it for months. And, it’s been nearly 3 years now, it’s still ongoing (I’m doing the final letter Z). That is the fun of personal projects, because there is no rush. 

© Jing Zhang, 2012

The Plenty team had to work within a tight time frame and encompass the issue’s themes of mappings, projections, 8-bit and pixels. They decided to blend the themes along with their own inspirations from poncho designs and ancient indigenous graphites to create what they called a Latin American cocktail.

Using a 3D realisation of a single pixel as their base, they wanted explosive colours working to a great rhythm. They tell use more about the company.

Mariano Farias and Pablo Alfieri, Plenty’s owners, have been in the market for about 10 years. In March 2010 they joined forces and created Plenty, an art and motion direction company based in Buenos Aires and they put together an elite team integrated by designers, illustrators, 2D animators and 3D artists that allows us to work with different techniques that go from hyper-realistic 3D to stop motion and traditional animation, and anything in between. 

Although at the beginning we focused on TV Branding (worked for FOX, MTV, AXN and LIV among others), we now want to expand to the advertising market. We have walked our fist step with Schweppes, Vodafone, Chandon, Bic and Doritos, and there’s a long way to go!

 © Plenty, 2012

With as much scientific query as artistic, his work considers the engineering principles at work in paper sculpture. Similarly to how you might trace the root of naturally forming patterns to fundamental mathematical truths, Matthew reveals the beauty in physics and displays it in his work. Here, he explains his process more.

“Hi, I’m Matt.  I fold, cut, and glue paper for a living.  

I do design work for Apple, P&G and Ghostly International.  I am working on two NSF grants right now using paper folding as a way to understand micro systems engineering.  I teach at the University of Michigan, show my work at galleries and museums and give lectures and workshops all over.”

“In my work I use paper, tyvek, computers, plotters, laser cutters, bone folders, CAD, x-actos, PVA glue, tweezers …”

“As a paper engineer my work is rooted in print media, book arts and commercial design. Beginning with an initial fold, a single action causes a transfer of energy to subsequent folds, which ultimately manifest in drawings and three dimensional forms. I use my engineering skills to create kinetic sculpture which has lead to collaborations with scientists at the University of Michigan.”

“We work on the nanoscale, translating paper structures to micro folds. Our investigations extend to visualising cellular division and solar cell development. Researchers see paper engineering as a metaphor for scientific principles; I see their inquiry as a basis for artistic inspiration. In my studio I am a collaborator, explorer and inventor.

I begin with a system of folding and at a particular moment the material takes over. Guided by the wonder, my work is made because I cannot visualize its final realization; in this way, I come to understanding through curiosity.”

© Matthew Shlian, 2012

Below are some examples from his explosive ‘Computer Arts Projects’ piece, and a set of Christmas cards that mix harsh, geometric shapes with the warm, decorative nature of the festive season.

I graduated from the Academy of Fine Arts in Poznan, where I received my Master’s Degree in Graphic Design. 

My working experience includes corporate design, art direction, 3D illustration and interactive design. In 2006, I joined Conecto.net, which at the time was a leading company of web design in Poland. During that time I had the opportunity to collaborate with many creative and talented individuals. In 2009, I became an Art Director in an interactive agency GoldenSubmarine.

My studio— Heroes Design was established to create original and creative solutions for such clients as Porsche, Radical or Sony Ericsson. I aim to provide a thorough guidance for my clients, creating, thus, a solid base for their ideas. 

I live in Poznań with my wife Anastazja, who is a great fashion designer, reliable advisor and a great friend. I’m fond of new tech gadgets and Mercedes-Benz.

© Heroes Design, 2012