Decided to learn ZBrush after learning about some fancy features it’s got over mudbox like dynamesh and insert multi mesh. I’d been reading the berserk manga so thought it’d be a good first test project to make Gatts’ berserker armor. I liked the scene where Schierke’s trying to get him back under control so thought it’d be fun to sort of recreate. I actually had it in mind to do some effects animation to go with it, so here’s a little gif of it (and by little i mean like 3mb) .
I spent a little too much time trying to make a perfect loop and ended up getting lazy about some of the particles so it’s kind of the worst of both worlds; oh well. Guess I’ll count it in as a little scene for my next demo reel update where I won’t need to worry about it looping.
New EP out on Connessione recordings! Available on Google Play, Beatport, and iTunes.
A couple of drum&bass tracks and a couple ambient this time. In “Sirène Noir” and “Zephyr” I did some more experimentation with sampling, which was a lot of fun as I usually just sequence my own stuff with softsynths. “Solace” is somewhat of a sequel or evolution to “Lily” on my 2009 album Phase Shift. Though it was started in late 2011, “Starfall” eventually took some general inspiration from Diablo 3 (despite its mostly lackluster soundtrack, disappointing story and comparatively friendly visual style).
So I had this head I sculpted in mudbox some months back. The project I’d planned for it never reached fruition but I still wanted to use it and somehow got it in my head to do an evangelion fanart, even though I last watched it many years ago. Guess I figured it’d be easy – short hairstyle, form fitting outfit, no cloth, glossy, etc… well, I learned some lessons the hard way about topology and UV layout while trying to get my mudbox mojo on and it ended up taking me maybe a week longer than I’d planned. Basically ended up sculpting and texturing the plug suit twice. But overall it was a good experience, learned a lot of new things and tried a bunch of new techniques out. Initially I was thinking of playing more with lighting and adding more background stuff but Diablo III is out in three days so I figured I’d better wrap it up before it gathers dust in my project folder for another half a year.
So, two and a half years after the release of “Phase Shift”, I finished another album. Though it’s again something of a compilation of individual tracks I’ve done over the time period instead of an intentional collection, I feel it’s definitely more focused and cohesive than my previous effort. This is partly due to an attempt to narrow down my sound and stick with the kinds of elements I really enjoy rather than just experiment, and partly due to a sort of last minute attempt to create a continuous experience and stick them all together with a bunch of ambient samples and chord washes a la Future Sound of London’s ISDN and Dead Cities, two of my all-time favorite albums.
Available streaming on soundcloud, and download via bandcamp.
Having implemented wordpress on a number of sites (including my own blog) since the development of my previous flash site at the beginning of 2010, I’ve slowly been won over by the ease of adding posts, comments, contact forms, gallery items, etc without having to edit XML and resize thumbnails manually.
Also despite its speed and huge function set, flash is now widely considered passé, at least for galleries and informational sites.
So here it is! Merged my old blog in and looking to add new music soon, and hopefully keep updating with more experiments and release-able professional work.
Testing out some leaf materials again here. I read Yokohama Kaidashi Kikou over the past few weeks, which I thought was a beautifully done manga. It took me a few volumes to get into it, but eventually I realized how much of it is about negative space, both in the dialogue and story as well as the art. I guess I was a little inspired by Ashinano’s sparse and effortless landscape drawings, through which much of the emotion of the story is conveyed. At the same time I’m also testing out plant and tree stuff for a bigger rendering I’m gearing up for (ie, recharging spent creative juice by gaming, relaxing, doing other things besides commercial work)
And now for something completely different. A few years ago I had it in my mind to do a fan-art of the creepy “legion” monster from Castlevania. Though in most of the games it’s a boss, in Circle of the Moon it was a normal, albeit tough and scary, enemy. If I recall correctly, when it touches you you’re cursed and can’t attack until you have something uncurse yourself. I thought Circle of the Moon was one of the harder games in the series, at least among the ones I’ve played.
Here’s the original art for reference:
Been playing with tree meshes and materials, partly to ramp up for a project idea I had and partly just because I’ve seen so many damned impressive archviz renders lately. There’s some really inspiring stuff out there. I used to have this opinion that architectural rendering was more about accuracy than realism and found them generally flat and boring compared to, say, game cinematics. But from what I’ve seen lately their level of detail and photorealism trumps even the most expensive game intros (see Ronen Bekerman, Bertrand Benoit and Peter Guthrie, for example). On the other hand, there’s been quite a shift over the past ten years from pre-rendered to in-game sequences, which could play a part in it also.
Technical acumen aside I’ve also started to appreciate the beauty of a meticulously detailed architectural rendering. Not unlike a well-done landscape, I think archviz too can be inspiring and bring out emotion, capturing the stillness of a moment, the contrast between the natural beauty of trees, land and organic textures with the orderly man-made objects, the way light and shadow play across both. I find it a bit hard to describe, but there’s certainly much more feeling and art in it than a simple presentation of a blueprint to a client in 3D.
Anyway, I’m no architect and only have a vague inspiration here, so I just wanted to play with materials and light and capture that sort of minimalism and stillness.
Switching gears, a couple weeks ago I busted out another Janet remix, this time sort of a quickie. I think it’s actually closer to the original, using mostly 808s. I had an idea to do a soft minimal drum&bass version of it with a little more play on the drums, some LPF chords and a decaying arpeggiated 1/8th note synth. Kind of has a lullaby feel to it, or it would if it weren’t for the pace of the beat.