After the last feature I told myself I was going to take a break from these and get around to some other work I’ve been meaning to do around here. Virtually as soon as I posted the feature with Steve Winter I stumbled upon the work of Joe Vinton, or as he is better known in 3D art circles such as Renderosity and DAZ 3D, Orbital. Like with the first feature posted here (Santosky), seeing Orbital’s amazing Bryce renderings triggered some deep sci-fi/exploration/creative grey matter. I knew instantly that I wanted to feature Orbital’s work.
Joe Vinton’s works have been exhibited in UK galleries and taken him to foreign lands. He primarily works with Bryce, or at least did so until recent years where his work has increasingly incorporated Photoshop. Even in many of Joe’s latest works published on his various online galleries Bryce still features heavily. In his latest posting, shown above (“Astonishing View”), the focal elements and space craft are all 3D rendered while the nebula and stars are Photoshop. As with many of the artists featured on the pages of DigiSprawl, Joe Vinton shows that the often underestimated Bryce, can still hold its own.
Jim: So, Joe, getting any sort of detailed info on you out of the intawebz is not the easiest business. I have found some interesting tidbits though – I know you hail from the UK, you’ve been using Bryce since 2002, that your art has landed you at least one gallery showing (others?), took you to the National Space Symposium in the US in 2007, and won you artist of the year at Renderosity in 2008. In 2009 you picked up a Wacom tablet, but before this you had very little experience with drawing or painting, digital or otherwise. More recently your artwork was selected for the 30th Space Symposium commemorative poster (slated for May 2014).
This about the size of things? Or are there any major developments I’ve missed? Continue reading
Steve Winter’s work grabbed my attention some months ago amid many posts to a Bryce themed Facebook group. The particular image was of an imposing insectile machine standing amidst a gloomy rundown cathedral. It was the mecha monstrosity that caught my eye more than the overall image presentation. I was particularly drawn and stunned because Steve does his modelling entirely in Bryce (mostly 4), a program that few would associate with heavy modelling tasks. Steve’s designs are complex, frequently composed of millions of Bryce primitives and Boolean operations.
Steve’s works gets even better, not only is he a master of Bryce of model mancery, but he is a skilled visual artist (digital and traditional), so while many of his renders are WIP demonstrations he also has a stunning collection of superbly finished images. Most of his digital works can be found at his Renderosity gallery where he goes by the name The Lord Of Dragons, a title endowed by a Japanese business man who bought several works from a youthful Steve Winter back in his homeland (UK). His 3D works have a serious sci-fi bent, with his renders of the last few years dominated by his InZect creations. His publicly available works do also include some other spectacular renders.
Jim: I admit to being awed when I first saw your mecha-insectoid creations (still am). The idea of creating such complex models in a program that was never designed to be a full featured modeller is mind boggling. Is it a gruelling project putting together one of your InZects, or is Bryce a lot more adept as a modeller than an outsider might expect?
Saiyaness is one of those artists that’s humble to a fault. She will constantly play down her strengths and will be the first to draw attention to any flaws in her work. She also suffers from bouts of project killing procrastination and perfectionism. In short, Saiyaness is an artist so many of us can identify with. Her roots are in traditional mediums like drawing, but for a number of years she has been working almost exclusively with digital mediums. Daz Studio, Photoshop and GIMP are her key tools.
Jim: If your deviantART gallery is anything to go by I would say your roots are solidly in traditional mediums like drawing and photography. How did you discover the love for 3D arts and how has a background with trad mediums influenced your current work?
Saiyaness: I can’t paint to save myself. I can barely use coloured pencils. If it’s not blank paper and an old HB pencil with an eraser to destroy the evidence, I’m doomed…
Jeremy Mowen was one of the first friends I made in the Poserverse. He was one of those cool guys with an awesome gallery that doesn’t mind slumming with the initiates and sharing his thoughts and knowledge. Getting any sort of feedback in a crowded environ like deviantART is a rare business, especially for those among the endless ranks of lowly newbs, so I always enjoyed talking shop with someone that had a good head start on me. Eventually we moved to exchanging correspondence and WIPs via email and began collaborating on joint projects, all of which have languished long in a mutually agreed murk and may never see the light of day in their fully intended forms.
One of the primary factors in this agreed stasis was Jeremy’s shifting efforts to push out his literary/graphical chimeras before they wither on the vine. The foremost front runner in his undertakings is the Autumn Risen (set amidst a cataclysmic war-torn US), with Revenant emerging out of the frozen wastes of distant UV Prime.
Jeremy primarily works with Poser and Photoshop, but he also makes heavy use of DAZ Studio, Vue, and Reality 3D among others. Whatever the programs used you will notice bold contrasting colours, grungy vivid postworking techniques, strange beings and flawed heroes, big weapons, and lots and lots of wings.