View allAll Photos Tagged Visualisation
Our rendered landscape architect's plan for a residential development in west London. More information on Finchley Road on our website.
This application is a visualiser for the next generation of 3D ground avoidance sonar. It is coded in C#, using DirectX9 for drawing.
The 3D matrices retrieved from the echo sounder are processed and polygonised with the marching-cube algorithm.
The colour display is based on height or intensity of the echo, allowing a visual identification of the obstacles respectively by their depth or material.
The resolution of the processed 3D matrices can be changed arbitrarily.
Files can be displayed in succession via a playback function.
This screen is a point cloud rendering with a colour palette based on echo intensities. The transparency of the point can be modified to show the 3D shape and not just one layer.
The appeal of the R language has gradually spread out of academia into business settings, as many data analysts who trained on R in college prefer to continue using it rather than pick up a new tool with which they are inexperienced.
3D renders we did for a garden design company. they were rendered in cinema 4D, then photoshopped for more 'sketchy feeling'
Searching for Round the Bend V1.1 (GC4C24), Kev tries to visualise the depth of a hole in a tree. To learn about geocaching, visit www.geocaching.com.
www.disruptive-innovation.co.uk/cgi-imagery/
We don't design monsters or fantasy landscapes here at Disruptive Innovation but we do use the same C.G.I. technologies as leading Hollywood studios to produce our "photo-realistc" product images.
Our clients use high definition images like these to gauge commercial interest in their products and refine designs without ever having to invest in the product, the location or the photo shoot.
these kind of images are very good for showing different design proposals to customers. they don't cost much, and are much more readable than plans and sections.
Spinning in the park (later that night, I nearly broke my leg falling off a big merry-go-round disc in a playground).
Visual communication was a powerful tool in the journey to independence. Posters, t-shirts and pamphlets celebrated new national autonomy and promoted the cause of African liberation worldwide. Pan-African and international collectives, including the Organisation of African Unity, stood together against colonialism and imperialism.
The Organisation of Solidarity with the Peoples of African, Asia and Latin America (OSPAAAL) was born out of the Tricontinental Conference held in Cuba in 1956. OSPAAAL sought to promote cooperation between socialist countries adn anti-imperial liberation movements, and to stern interference from former colonisers and capitalist powers.
[V&A]
Taken in the Exhibition
Africa Fashion
(July 2022 to April 2023)
The irresistible creativity, ingenuity and unstoppable global impact of contemporary African fashions are celebrated in an extensive display of garments, textiles, personal testimonies, photographs, sketches, film and catwalk footage in this exhibition. Many of the garments on show hail from the archives of iconic mid-twentieth century African designers – Shade Thomas-Fahm, Chris Seydou, Kofi Ansah and Alphadi. Alongside these are personal insights from influential contemporary African fashion creatives, including Imane Ayissi, IAMISIGO, Moshions, Thebe Magugu and Sindiso Khumalo, as well as highlights from fashion trends of the day, which are on display for the first time.
Foregrounding individual African voices and perspectives, the exhibition presents African fashions as a self-defining art form that reveals the richness and diversity of African histories and cultures. Africa Fashion celebrates the vitality and innovation of a selection of fashion creatives from over 20 countries, exploring the work of the vanguard in the twentieth century and the creatives at the heart of this eclectic and cosmopolitan scene today.
Across contemporary couture, ready-to-wear, made-to-order and adornment, the exhibition seeks to offer a close-up look at the new generation of ground-breaking designers, collectives, stylists and fashion photographers working in Africa today. It explores how the digital world accelerated the expansion of the industry, irreversibly transforming global fashions as we know them.
[V&A]
This is a response to the artists Kensuke Koike, Anthony Zinonos and Caro Ma. I have applied techniques and processes I've studied from other artists to create an artwork inspired by their practices. I focus on transforming a portrait to serve as a background, and edit the portrait through cutting strips and rotating them instead of adding or deleting things. I really like this effect, it's clearer in the previous process photos, the focus on altering the original photos meaning. I stuck the photo of flowers over the portrait in a way that covers the bottom half of the face, and therefore accentuates the top half as if the face was hiding. I had the idea to use the portrait as a background by playing with scale and making it very big compared to the human subject in the foreground. I stuck over the flowers with harsh turquoise blue which is meant to represent a sky. I then stuck a little girl rollerblading over it. This composition is meant to present a relationship of man that wishes to invade and invalidate nature. This is why I stuck the blue over the flowers, it's like a sign of defiance or rejection. The blue is meant to feel sickly and the model in the background is meant to be a surreal component of the image to make the viewer uncomfortable like they are watching everything. Representing mans ugly qualities in contemporary society, like intruding on others matters etc. This response is simply meant to be a visualisation of the ideas concerning the brief in my head.
This artwork responds to the brief as it grotesquely manipulates man in relation to nature which peacefully is placed on the collage. This is meant to create a surreal landscape that