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3D CGI - 3D COMPUTER GENERATED IMAGES Zona 3D Zona3d.ro Zona3D
Imagini 3d spectaculoase
Zona3d.ro - Primul site integral 3D din Romania. Totul in format Stereo 3D.
3D CGI - 3D COMPUTER GENERATED IMAGES Zona 3D Zona3d.ro Zona3D
Spectacular 3D images
Zona3d.ro - First 3d Website. All visuals in Stereo 3D.
An abandoned slaughterhouse. One of the most incredible places I have explored. Still looking up the history of this place.
[b]About the (conversion) project:[/b]
After a long hiatus an anime character model again! This Rei Ayanami figure was inspired by a photo-realistic illustration I found while browsing A.I.-generated artwork at playground.com, and the respective artwork was created by a prompt from someone called “YCTt”.
I liked the less anime-esque style of the character, and the red-and-white plugsuit design with many colorful contrasts, and saved the artwork as an inspiration – until I recently felt the urge to build “something different” from my usual what-if military vehicles and went through my stock of resin anime character kits to find a suitable “canvas”.
I eventually settled upon a 1:6 scale model of Rei Ayanami in her authentic white plugsuit, even though it’s a more anime-ish rendition and not so “realistic” as the A.I. illustration. The kit is just a recast and I had preferred a smaller scale, but I found that the figure’s upright standing pose and the plugsuit’s rather simple style would be a good starting basis.
The parts were cast well, without bubbles and with almost no seams, but details and edges not particularly crisp. The white resin material was not very dense either, everything felt light and a bit delicate – but not brittle. However, the kit was quite cheap, and you get what you pay for – and that was/is not bad at all, esp. as a conversion basis.
After cleaning the fit of the major parts (torso and legs were a single piece, and both arms, together with an area of the flanks, cut out along natural seams of the plugsuit) turned out to be very good, so that the arms could be worked on and especially painted separately, to be assembled later without PSR!
For display I built a neutral 4x4” base from a piece of laminated chipboard, pimped with edge band. A 2.5mm iron wire was mounted as a figure holder, and the same material was also used to strengthen the connections of the figure’s major components. Once completed the base was painted with semi-matt acrylic black paint from a rattle can.
The figure was built mostly OOB, I just made some minor tweaks. One fundamental thing I changed was the head position. The original figure looks over the left shoulder, but I wanted to present her later in a frontal view, so that the eyes should rather look forward. That was not so easy to realize, because the neck had to be modified, with a wedge-shaped plug under the chin to lift the face into a proper new position. This was sculpted with 2C putty around the head’s iron wire connector and some fine acrylic putty for a smooth finish.
From that point on head and body developed separately. The boxy things under the breast were removed, and instead I sculpted a W-shaped ledge, again with 2C putty, to come closer to the A.I-generated, somewhat “cleaner” version of the plugsuit.
The head was taken OOB, but the eyes required some attention, because they were sculpted in a rather protruding fashion, and overall it did not have much resemblance to the original character. However, I did not dare to take the risk of physically modifying the eyes and the IMHO too pronounced lips – a decision that later turned out to be better than expected (if you do not cling too much to the real Rei Ayanami character and her traits).
Head, body and arms were worked on and painted separately – the arms made it insofar easy as they were molded with the body’s armpit sections, using natural edges of the plugsuit to hide the kit’s seams.
Painting started with an overall coat of grey acrylic primer on everything, followed by a foundation with RAL 9002 (Grauweiß) on arms and body, plus some Tamiya TS-26 (Pure White) post-shading “from above” to support light effects. This was not really necessary, though, because the figure is at 1:6 scale (1’ tall!) large enough to produce realistic light and shade effects on its own.
In the meantime the face was spray-painted with a foundation in Tamiya TS-77 (Flat Flesh) and some shading with Vallejo “Pale Flesh” from a rattle can. The lip’s line was laid out with thinned Humbrol 70 (Brick Red), and at first I painted the lips themselves in a rather dark and reddish skin tone – but that looked too exaggerated and obtrusive, esp. for Rei’s introvert and reclusive character. This was later changed to a much lighter skin tone, similar to the rest of the face.
The eyes were experimentally created with the help of decals; I had ordered a set of generic anime eye decals of various sizes and colors before the build, and luckily there was a pair of suitably red female eyes in the set that I tried. To make them fit properly onto the face I separated the yes from their brows, though, and the rather tall eyes had to be trimmed to fit on/into the sculpted eyes sockets in the resin face. Weird task, but it wok4ed better than expected, also because of a rather sturdy but flexible clear carrier film, reminiscent of vintage Matchbox kit decals.
However, this was not the end concerning the eyes: I added some eyelashes and eyelids with black paint, some lighter red sections to the pupils and small white light reflexes. In the end the combined method of decals plus painting worked well, with a presentable result.
After the face had been finished it was sealed with matt acrylic varnish and the “hair helmet” had to be mounted and PSRed around it – another delicate task, followed by paint work on the pale blue hair for which I used Humbrol 47 as basis, mixed with Cobalt Blue for some deeper areas and hair strands and with some white for highlight, tips and an artificial light reflex halo around the upper head, frequently seen on the animated character.
In the meantime body and arms received contrast areas in deep red (Revell 34), Garter Blue (Humbrol 221) and Oxford Blue (Humbrol 104). This stunt required a lot of masking, and the demarcation lines between the red and the white sections on torso and legs were later added with generic 2mm black decal stripes. After a light black ink washing to emphasize edges and recesses the suit’s wrinkles were post-shaded with lighter shades of their foundations – only as a subtle effect to add a bit more materiality to the figure. The “00” on the breast was created with 45° USAF letters from an aftermarket decal sheet, while the large “0” on the backpack was laid out manually with black acrylic paint.
A lot of detail paint and corrections followed, everything was sealed with a coat of matt acrylic varnish, and the figure was finally assembled.
A tough project, and at first I was a bit disappointed by the kit’s face which does not resemble the anime Rei Ayanami at all. However, once completed, the face and the figure’s expression matches the A.I.-generated, rather realistic picture of the character more than expected, as if the figure would rather be a physical model of that picture than of the “real” anime Ayanami. Odd, but a pleasant and conciliatory outcome of a quite challenging conversion project. And the colorful plugsuit variant looks pretty good, too.
(Knuth)
0 Hornbeam
1 Beech
2 Maple
3 Elm
4 Alder
5 Great Willow
6 Elder
7 Hazel
8 Ash
9 Oak
10 Chestnut
11 Linden
12 Hawthorn
13 Rowan
Wind turbines generating electricity on the San Gorgonio Pass Wind Farm serving Palm Springs, California.
Image © 2009 Clarence Holmes / Clarence Holmes Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to use this image for any purpose, please see the available licensing and/or print options for this image on my website or contact me with any questions that you may have.
Generate London 2015, the conference for web designers, presented by net magazine and Creative Bloq.
17 and 18 September 2015 at the Grand Connaught Rooms in London.
Generate a hyper-detailed, futuristic scene featuring a massive, interstellar docking platform under stormy metallic skies. A gleaming chrome vehicle—half luxury automobile, half starship—sits at the center, reflecting neon lights and industrial shadows. Behind it looms a colossal space fortress with sprawling towers and a transparent spherical command core glowing with inner circuitry. Emphasize polished metal textures, intricate engine parts, and vast mechanical scale. Cold, moody color palette, cinematic realism, deep depth of field, epic sci-fi atmosphere. 🚀🔧✨
Generate London 2015, the conference for web designers, presented by net magazine and Creative Bloq.
17 and 18 September 2015 at the Grand Connaught Rooms in London.
It was like this all day - the mountain seemed to generate the cloud.
So sah das den ganzen Tag über aus - der Berg schien die Wolke selbst herzustellen.
Generate London 2015, the conference for web designers, presented by net magazine and Creative Bloq.
17 and 18 September 2015 at the Grand Connaught Rooms in London.
Photo: Conrad Schmitz
cargocollective.com/stefanodalessio
Out of Countenance
AudioVisual performance
Stefano D'Alessio | Martina Menegon
Vienna 2013
Out of countenance is a dialogue between two faces, deformed and transformed by a digital process into something strange, obsolete. The facial expressions are exaggerated and amplified, drew in a 3-Dimensional space, bringing the common feeling of expression in a different and distorted perception. The human face as known looses its physiognomy, allowing the other face to overlap, mix, fuse within it, turning into a digital creature, an extension of the human being in the digital era.
Two performers stands in front of their computer, positioned one to the extreme left and the other at the extreme right of the stage. The computers capture the performers faces thru their internal webcams, generating an interactive video flow that is projected on a screen. The projection screen fills the whole stage standing between the two performers. The two computers generate also an interactive audio flow. The performers interact with the system thru their movement, the expressions and distortions of their faces, generating different visuals and sounds.
The software in use in the two computers is created within MaxMSP/Jitter, two different patches are running on each computer.
The video images are captured in realtime by the two webcams, combined in different ways, distorted in time and space and transposed in a 3d environment.
Video and audio are always related, in sync and always interacting between each other.
The audio has different natures, pre-made, modified in realtime, realtime generated and generated via webcam interaction. The two software contained in both computer act as one audio visual generating flux and it has a fix time schedule that permit the performance development to have a precise order and execution.
Generate London 2015, the conference for web designers, presented by net magazine and Creative Bloq.
17 and 18 September 2015 at the Grand Connaught Rooms in London.
Design and print of a corporate brochure using unique and impactful materials, print finishes and fixtures. Cover is produced using a tactile Plike material finished with black foil block. An 'insert' format is used fixed together with nickel metal screws.
For more information, view our case study at :
Generate London 2015, the conference for web designers, presented by net magazine and Creative Bloq.
17 and 18 September 2015 at the Grand Connaught Rooms in London.
This is the result of a computer program I've been working on recently.
Random sized slices of random images are chosen from a photo collection and are composed together in a way meant to express general colour schemes and highlights and thus give a general impression of a photo set.
The final result is completely random.
This is a photo set of montreal by night.
A promising energy source for many current and future applications is a ribbon-like device that could simultaneously harvest and store energy. Due to the high flexibility and weavable property, a fabric/matrix made using these ribbons could be highly beneficial for powering wearable electronics.
Unlike the approach of using two separate devices, here we report a ribbon that integrates a solar cell and a supercapacitor. The electrons generated by the solar cell are directly transferred and stored on the reverse side of its electrode which in turn also functions as an electrode for the supercapacitor. Photo. Monirul Islam Shi Xue Dou and Konstantin Konstantinov