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Three-dimensional Software Usage in Digital Art and Architectural Visualization Beyond its Traditional Applications

 

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Visual art is often regarded as a prestigious art form. The works demonstrate the artists' ability to capture and convey their ideas through various media. In today's world, advanced technology is expanding the possibilities for artists, from interactive videos to user-friendly Apps on mobile devices. People often question whether machines, like computers, can create art that evokes an emotional response.

In this presentation, the author discusses his experience blending traditional art with advanced 3D software to create digital art and architecture visualization. He started experimenting with 3D software in 1995 using AutoCAD but only fully embraced advanced 3D animation software, 3DStudio Max, in 2006. This program was primarily used by major film productions rather than visual artists. The author's interest in creating images using software grew and became integral to his work.

The examination of the author's retrospective work from 2011-2023 shows his effort to replicate the essence of conventional media. This presentation consists of two sections.

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Section 1: Art

His artworks' figures and scenes are crafted in 3DS Max in the visual art section. The software allows users to simulate natural and artificial lighting, physical cameras, and a range of real-world materials. He utilizes 3D sculpting software, Mudbox, to create intricate details unattainable in 3DS Max. Lighting the scene is one of the most challenging parts of the process. He successfully developed a lighting system regulation technique by designing a visual studio, evoking the style of classic masterpieces. The finished images are printed onto canvas. The retrospective works exhibit ideas, styles, and techniques development over time.

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Section 2: Architectural Visualization

The author discusses his new illustration style for architectural visualizations in this section. He blends Sumi ink and digital elements created in 3DS Max and draws inspiration from Sumi ink and Ukiy0-e. The illustrations explore three main themes: composition, perception, and color. The author combines manually inked elements with digital elements to achieve the desired fluidity in Sumi ink and Ukiyo-e. Unlike East Asian paintings, which tend to be flat and oblique, the built environments are computer-generated with 3D software. Sumi ink inspires a more desaturated color palette, while Ukiyo-e inspires a more vibrant color palette. The composition emphasizes using positive and negative space to enhance the narrative. In this painting, the landscape elements, such as mountains, water, and clouds, are more abstract and symbolic than realistic. Digitally composited scratch and paper textures provide a physical media appearance.

As technology continues to evolve, the ongoing pursuit of replicating the essence of conventional paintings through digital means is still in progress.