Lots of time spent reading and experimenting my way through 3D. Even on guard, I had underestimated this microcosm of art and design, not to mention the entertainment industry towering above it. My brain has adapted to now remain in a molten state—why waste energy assuming you’re done learning anything. Every time I discover an amazing creator, I’m forced to reconstruct my perspective. It makes the gap between us very clear, as well as what it takes to fill it. My future holds but work. Being commercial as a business person is another factor that needs serious attention.

What is surprising is how valuable photography experience is turning out to be. Obtaining an eye for composition strikes me as primary in design, particularly when working in three-dimensional space. Creating a scene is close to finding the ideal shutter moment; one has to have a sense for the encompassing lighting, the science of proportion, speaking in contrast, and establishing harmony between all planes to allow for any overarching message to emerge. My favourite thing to do in 3D at the moment is sculpting. The drabbest must be UV mapping and (re)topology; creating maps that properly work for all channels when exportingn to a package, seams and grouping, etc. It does stoke my interest in rennaissance sculptors in a way. The anatomy materials I’ve collected will certainly come in handy, when I learn to concept biological models or get to practicing drawing. One suspicion, still, is that understanding procedual dynamics and simulation better will open the doors to an exponential amount of possibility.

Something I’m glad about is that my instincts proved working. Doing only photography in the past, although in a very serious fashion, I had this inkling that it was necessarily a vignette of sorts. I studied just about every ressource I could find online, even going into optics and the construction of lens elements, but still felt this story wasn’t building towards a climax. Often, I’d find myself drifting to abstraction, weird lighting techniques, and digital manipulation; distorting reality. 3D is supreme in that regard—it presents itself a sandbox for the imagination, governed by similar mechanics. There is a certain limit to how unreal you can make a scene appear in a drab, urban place, even when you’re Ernst Haas. In a virtual environment, you can do without the professional studio or exotic locations—even the breathtaking girls—, and still have a shot at diverging from anything too common. Given time, and effort (and GPU performance), you can bring things to life in four dimensions. Regardless of where my career will take me, this is something I never want to miss. As much as I admire photography and treasure my influences, I will need to rediscover the craft in its entirety with a fresh mind after building higher skill as a designer, motiongrapher, and businessman. Its most beautiful aspect may be that of documentation, of showing reality in an unbridled yet cozily ephemeral way. Finding out some day will be exciting.

The project I’m working on now is an app design, to get something UI/UX under the belt. I will be including a CAD-based hard-surface model, some sort of conceptual AR feature, and a more streamlined way of doing case studies—projects so far weren’t suited for it, but I realize the need for people less interested in design to have a well layed-out, grid-based, description of what is going on in a piece of work.


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