This piece came from experimentation with Cinema 4D’s motion graphics capabilities. The scene itself is fully animated, but because the animation was a bit jerky and unappealing I’ve decided to use a still. It was my first attempt at any substantial animation, and it was extremely good experience. It’s named after the gemstone Tourmaline, which comes in a few different colorations. The most interesting variety is Watermelon Tourmaline, which graduates from a deep green color to a magenta. I’d never used a color scheme like this, and figured I ought to give it a try. It’s a bit difficult to get right… and I haven’t tried again since.

This is the second of three visual journal entries I made during the last week of winter vacation. I wanted to explore some of the hair rendering capabilities of Cinema 4D and try to make something more symbolic rather than just cool or pretty. While the symbolism doesn’t really come across to anyone but myself, I’m happy with the outcome.

This was created over the past summer during my time with Shatterbox. Gray Construction hosts a dove hunt every year, and unfortunately would not be able to host it this year. The type wasn’t used. It was only dummy text that I used to keep myself entertained. They did end up printing the design though, with different copy.

The world flows around them. They view through their bounds, everything they can behold. Occasionally a droplet of their reality will collide with one of the seers from behind and it will be confronted with doubt. Why didn’t I see what hit me?

This piece was done for my Digital Art class at the University of Kentucky. Under the direction of a particularly demanding, yet oddly understanding, professor I created some of my best pieces. The symbolism isn’t meant to be terribly blunt, though I did discover during the formal critique that many of my peers misinterpreted the imagery. If you think you’ve got it, you probably don’t.

There’s energy there. Point anywhere you like, and the answer is the same.

LuMontagne came about as many of my projects do, through stylistic experimentation. I wanted to take an approach that didn’t involve 3D renderings as the basis of my image. As an experiment, I think it was extremely successful. I learned a ton about my own stylistic sensibilities and preferences, and found a way to break out of that paradigm I’d been locked into for so long.

The website is different again, but it’s an easier post-structure to deal with. I’m going to update every wednesday with new art and design. I’ve cut down the number of pages and categories. I really don’t need three different pages of experimental speed-art nonsense. So, come back wednesday evenings for new art every week.

PolyScape is a continuation of my exploration into the mechanics and aesthetics of physically accurate lighting. The scene is lit equally from all sides, to give it a dreamy feel. The lighting also softens the hard angles of the central mesh. The floating polygons hint to some amount of motion. The brightness of the image lends realism to the lack of motion blur, for the photographers out there. Very little post processing was used on this image, and it is very close to what was originally rendered.