Designer and digital artist Simon C. Edwards, of HistoryRebuilt & 3DArtvision, has created many detailed illustrations of historical scenes -- forts and castles, bridges and steamships, art and architecture. Some of this work is simply for the pleasure and insights gained by translating art into the real world. The prints of James E. Allen were a particular inspiration, in the artists' words ...
"During the 2020 Pandemic and inevitable looming recession we find ourselves in, I found myself drawn toward the imagery and art created during the early Twentieth Century following the Spanish Flu pandemic and the resulting Great Depression. The drama of terrible times such as these can inspire a great passion in art.
With a background in architecture and the environment I was drawn toward James Edmund Allen and his dramatized industrial scenes. His black and white prints often feature an exaggerated perspective and have been designed around highly contrasted lighting and deep shadows. His resulting works illustrate great monumental drama and passion.
Quantum Computing Companies: An Ultimate 2023 List
Recreating these three works in a 3d environment forced me to place additional ‘highlight’ lighting sources around the subject and to subtly warp and twist the scenes in the pursuit of the requisite illustrated drama. There is much to be learnt from past masters and peers and by digitally reproducing these particular pieces I have endeavored to build upon my own compositional and environmental skills."
Art imitates life but need not replicate it. An accurate model of the bridge segments under construction would not, in fact, join up properly as Allen depicts them. "I had to adjust the scales and positions of the two halves of the bridge until they matched Allen's composition. The result meant that if i actually tried to connect the two halves they would not meet, by quite a long shot as it happens."
Edwards' rendering shows another example of how the artist's freehand style can take small liberties in composition to achieve a desired results. For the foregound figure, "I was unable to manipulate the guy into exactly the same posture as in the print without disproportionately stretching the right arm." In this case Edwards chose to stay faithful to the 3d model, leaving the worker with a rather casual and dangerously tenous grip on the top of the beam.
Ways To Learn Vocabulary And Explore Language With The New York Times
The leather straps around the farmers waist in Allen's print proved problematical since photos and text from the period would have one side over the shoulder against the neck for quick release should the horse lurch forward. Simon takes both straps around one side, loosely draped on the opposite arm for the same reason.
Recreating these three works in a 3d environment forced me to place additional ‘highlight’ lighting sources around the subject and to subtly warp and twist the scenes in the pursuit of the requisite illustrated drama. There is much to be learnt from past masters and peers and by digitally reproducing these particular pieces I have endeavored to build upon my own compositional and environmental skills."
Art imitates life but need not replicate it. An accurate model of the bridge segments under construction would not, in fact, join up properly as Allen depicts them. "I had to adjust the scales and positions of the two halves of the bridge until they matched Allen's composition. The result meant that if i actually tried to connect the two halves they would not meet, by quite a long shot as it happens."
Edwards' rendering shows another example of how the artist's freehand style can take small liberties in composition to achieve a desired results. For the foregound figure, "I was unable to manipulate the guy into exactly the same posture as in the print without disproportionately stretching the right arm." In this case Edwards chose to stay faithful to the 3d model, leaving the worker with a rather casual and dangerously tenous grip on the top of the beam.
Ways To Learn Vocabulary And Explore Language With The New York Times
The leather straps around the farmers waist in Allen's print proved problematical since photos and text from the period would have one side over the shoulder against the neck for quick release should the horse lurch forward. Simon takes both straps around one side, loosely draped on the opposite arm for the same reason.
Recreating these three works in a 3d environment forced me to place additional ‘highlight’ lighting sources around the subject and to subtly warp and twist the scenes in the pursuit of the requisite illustrated drama. There is much to be learnt from past masters and peers and by digitally reproducing these particular pieces I have endeavored to build upon my own compositional and environmental skills."
Art imitates life but need not replicate it. An accurate model of the bridge segments under construction would not, in fact, join up properly as Allen depicts them. "I had to adjust the scales and positions of the two halves of the bridge until they matched Allen's composition. The result meant that if i actually tried to connect the two halves they would not meet, by quite a long shot as it happens."
Edwards' rendering shows another example of how the artist's freehand style can take small liberties in composition to achieve a desired results. For the foregound figure, "I was unable to manipulate the guy into exactly the same posture as in the print without disproportionately stretching the right arm." In this case Edwards chose to stay faithful to the 3d model, leaving the worker with a rather casual and dangerously tenous grip on the top of the beam.
Ways To Learn Vocabulary And Explore Language With The New York Times
The leather straps around the farmers waist in Allen's print proved problematical since photos and text from the period would have one side over the shoulder against the neck for quick release should the horse lurch forward. Simon takes both straps around one side, loosely draped on the opposite arm for the same reason.
0 comments
Post a Comment