NEIL HOWARD 2017 DESIGN PORTFOLIO
TABLE OF CONTENTS •• WEBSITE REDESIGN _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
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•• PRINTS / POSTERS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
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•• LOGOS / PACKAGING _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Page 13 •• SKETCHES _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _Page 20 •• ARCHITECTURE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _Page 26 •• DIGITAL RENDERINGS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _Page 35 - College Project
SPEC SHEETS
PRODUCTS
CONTACT
SEARCH
FEATURED
VOLT WEBSITE 3
V.L.G. WEBSITE REDESIGN ••
The project: redesign the website of Volt Lighting Group (VLG), an architectural lighting company based out of Beaverton, Oregon.
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The concept: emphasize VLG's refined-yet-affordable branding through a minimalist design focusing on utility and modern typography. For a company with over 200 products to showcase, an easy-to-navigate design was critical. This led to a black and white color scheme intermixed with gold accents to enhance the tone of modern luxury. Oswald and Acumin Pro Condensed fonts strive for eye-catching,titles while the more subtle Franklin Gothic URW Compressed font adds neccessary legibility to the numerous technical details.
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Excecution: due to the complexity of a catalog-based website, Volt's prexisiting development team left the website with a relatively intuitive UX design but unsatisfactory UI design. This is where I stepped in. The process began by taking screenshots of all the pages within the existing website. These screenshots were then overlaid in Illustrator with new design variations, thus helping to visualize a new aesthetic without radically altering the website's code. Once design hierarchies were established, the mockups were annotated with all requested changes to be made in the website's backend (see example to the left). These changes were implemented by Ryan Niswonger, a freelance web developer hired by Volt to pick up where the previous team left off. From there, Ryan and I communicated back and forth to revise the design until it closely resembled my original concept.
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Result: greater navigation for employees and customers alike; revamped branding which places Volt Lighting Group alongside other industry leaders. View its current state at: http://voltlightinggroup.com
PRINTS/ POSTERS Portland, Oregon
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Photo: Collin Gaylord
SKIHIVE DETONATOR T-SHIRT ••
The project: hired by Skihive, a pro-Utah, pro-winter clothing company to design their flagship T-shirt/poster graphic.
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The concept: draw viewers into the design through a balance of complexity/simplicity. Achieved by containing the design within the outline of Utah, thus maintaining visible recognition from afar (simplicity). Upon close examination, the state is actually a story board of various winter scenes specific to Utah (complexity).
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Excecution: 4'x3' particle board was painted blue then wrapped in auto body masking tape. Images were then sketched and refined on masking tape surface. Next, images were cut from masking tape using an X-Acto knife,,exposing the blue background and creating a stencil relief (see page 6). Once all relief cuts were finished,,the artboard was spray painted white and allowed to dry. Masking tape was then removed resulting in final image to the left. Artboard was then scanned into Illustrator for vector conversion necessary for production.
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Result: artboard was printed on apparel and posters sold both online and in local farmers markets around the greater Salt Lake City area. http://skihive.com/collections/mens-tees/products/skihive-detonator-classic- tee?variant=18544178116
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BURNING MAN 2015 GIFT ••
The project: create a unique sticker as my personal gift to those attending the annual gathering of art and community known as Burning Man.
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The concept: the concept has two parts: 1) create a design that emphasizes all the worldly influence that helps produce Burning Man while simultaneously highlighting its actual geographical location. 2) Visually symbolize the seemingly-chaotic nature of Burning Man but in a way that instead portrays a collective, community energy.
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Execution: the entire project was created within Illustrator. First, a raster image of the globe was imported then live-traced to form the basis of the design. A star radiating from Nevada was created using Illustrator's 3D extrude tool, thus satisfying the geographical design requirement. The swirling helix behind the globe was also imported then subsequently live-traced. This element served to satisfy the second design requirement by representing the chaotic energy mentioned above. Balancing this, however, was the inclusion of the radiating, orderly circles meant to symbolize the global energy of Burning Man's participants. Finally, the orange-blue color scheme was chosen to reflect the morning sunrise colors common to the event's desert environment.
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Result: the design was then printed on vinyl stickers for distribution during the event. Reactions to the design were so favorable that many individuals requested extras following the end of the event. Most importantly, these stickers generated many spontaneous hugs and mini declarations of love, woo-hoo!
ENJOY THE RIDE ••
The project: employed to design the T-shirt for a friend's spring 2015 river trip down Westwater Canyon in southern Utah.
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The concept: embody the surreal and sublime emotions the southwestern Utah desert tends to evoke. This was accomplished through imagery of red rock spires that morph into the faces of friends amazed at the endless desolate landscape and the image of one individual set against a vast night sky. Complementary colors served to epitomize a similar color palette also found in the southwestern desert.
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Execution: the entire image was drawn in pencil then inked in pen, using a photo from Arches National Park as a reference for the rock art. The resulting image was then imported into Illustrator for refinement and vector conversion. Color and text were also added via Illustrator.
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Result: very stoked rafters. ���
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G.H. DAY 2015 ••
The project: commissioned to design the Alta Ski Patrol's annual Groundhog Day T-shirt for the 2015 winter season. Special emphasis placed on groundhog-related imagery.
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The concept: create a unique portrait of Alta idolizing it as a piece of skier's history while simultaneously showcasing its present day character. The former was accomplished by pairing the infamous “Alta is for skiers” slogan with an equally infamous image: Mount Superior (seen in the design's background). By showcasing this mountain from a profile recognizable to the community since the area's inception in 1939, the design acknowledges the importance of the past in a strictly-visual sense, especially when aided by a purposeful black and white color palette. Contrasting this, full color anthropomorphic groundhog skier/snowboarders (drawn to represent extreme sports athletes) were included to balance the past with a more modern view of skiing/ snowboarding. Finally, the "no more questions" tag line is a tongue-in-cheek nod to a recent lawsuit, its inclusion primarily meant to make light of a hot-button policy decision.
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Execution: first, a stock photo of Mount Superior was imported and live-traced in Illustrator. With this serving as the project's basis, the groundhogs were then drawn from real world photos and similarly imported and converted to vector images (see below, left). From there, the groundhogs and Mount Superior were composed within a portrait frame bordered by the above-mentioned slogan and tag line..Color was then administered using Illustrator's gradient tool.
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Result: following a full winter of sales, I was pleased to learn that this design was the highest grossing T-shirt in the history of Alta’s Groundhog Day celebration.
WEDDING FLYER ••
The project: asked to create a wedding flyer for two close friends getting married in Glacier National Park, Montana. Only requirement was that the design include images of their spirit animals: a sea turtle and a squirrel.
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The concept: create an overall light-hearted design that focused on the excitement of their summer marriage and the beauty of the Montana wilderness.
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Execution: the river near their ceremony site was photographed at sunset to provide the right emotional undertone for the poster's background. Next, their respective spirit animals were hand drawn using pens and Prismacolor markers. This image was then touched up in Photoshop and superimposed upon the river background in InDesign. The supporting text and simple mountain icons were then created and arranged in InDesign, yielding the final composition to the left.
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Result: the posters were printed and posted all around the couple's small town, allowing more people to attend their wedding than would have been financially possible had they opted for traditional invitations.
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G.H. DAY 2014 ••
The project: commissioned to design the Alta Ski Patrol's annual Groundhog Day T-shirt for the 2014 winter season. Special emphasis placed on groundhog-related imagery.
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The concept: create a shirt based upon the design of a playing card and the movie poster for Fear and Loathing in Las Vegas. The former was achieved through mirror, ing images of the groundhog and the latter by distortion and swirling imagery near the head of the groundhog.
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Execution: the entire image was created via Illustrator. Photos, symbols, and text would be imported then subsequently altered/rearranged until the final composition was derived. Smaller badge design was pulled from the main image to create a graphic for the shirt's breast pocket.(see below, left).
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Result: the shirts were printed and sold, raising roughly $3000 for the Alta Ski Patrol fund, which helps support their operational costs and other various charities.
LOGOS / PACKAGING Cordoba, Argentina
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LOWDOWN
DUBSATCH COLLECTIVE 2013 / 2014
SAM COHEN CHRISTIAN MANDAL
DUBSATCH COLLECTIVE IS AN ADVENTURE FILM PRODUCTION COMPANY BASED OUT OF SALT LAKE CITY, UT Started in 2010 by three like minded friends with a couple of GoPro cameras, Dubsatch has progressed into an emerging Company in the ski industry. The past few years we have steadily built a reputation while keeping our roots tight and staying humble. For the 2013/14 season we plan to go all out, commiting our entire season soley to the progression of our production value and athletic skill. We have outlined our season plans in this proposal and would like to offer your company affiliation and content provided by the Dubsatch Collective.
WHY FILM? Having grown up in the Wasatch mountains, skiing everyday possible, ski films and magazines became that of a bible to our daily habits. Clipped articles and endless hours of ski cinematography were implanted in our minds, leaving us dreaming of one day being in the films just like our heros. Now that we are older we have found an outlet to channel these ambitions into our own influential media. It is not something we seek to learn, it is something we have lived our whole lives. We know what our industry has created in the past and more importantly, we know how we want to change it.
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BEN PRICE Home Town: Salt Lake City, UT Home Resort: Alta Age: 24
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DUBSATCH SPONSORSHIP PROPOSAL
DUBSATCH 2013/2014 Nate Cahoon Sam Cohen Neil Howard
Director / Producer / Web Designer Cinematographer / Photographer / Editor Graphic Designer
801-349-6240 801-201-1950 801-824-8144
DUBSATCH COLLECTIVE LLC
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6810 S. Brookhill Dr. Cottonwood Heights, UT 84121
The project: asked to design the winter 2013-2014 sponsorship portfolio and logo for Dubsatch Collective, a grassroots Utah ski cinematography company.
Email: dubsatch@gmail.com No offering is made or intended by this document. Any offering of interests in Dubsatch Collective will be made only in compliance with Federal and State securtities laws. This document includes confidential information of and regarding Dubsatch Collective. This document is provided for informational purposes only. You may not use this document except for informational purposes, and you may not reproduce this document in whole or part, or divuldge any of its contents without the prior consent of Dubsatch Collective. By accepting this document, you agree to be bound by these restricitions and limitations.
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The concept: provide a personality to the proposal by focusing primarily on the athletes. Accomplished through em-phasis on photo portraits of each individual athlete accompanied by a short bio. Layout focuses primarily on images with typography only serving to emphasize a sense of modern professional legitimacy. The main inspiration came from Smith Optics' 2013-2014 Winter product catalog, which I found very sleek and directly relatable to the outdoor community, the same target audience my project was focused upon. The logo was designed to reflect the mountains the collective calls home; a concentric design was selected for ease of placement regardless of layout or media.
JOHNNY COLLINSON Home Town: Alta, UT Home Resort: Alta / Snowbird Age: 21
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Execution: asked their photographer Nate Cahoon to photograph portraits of all athletes and to provide previous action/lifestyle shots. Photos were then imported to Photoshop for touch-up and light editing. All photos were then compiled and arranged with text in InDesign,,resulting in the final proposal. Logo was first hand-sketched then imported into Illustrator for refinement and vector conversion.
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Result: proposal was distributed to potential donors, eventually earning $8000 in funds to cover travel and production costs. Logo now appears on all official productions under the Dubsatch Collective name.
SAM COHEN (SAMMO) Home Town: Cottonwood Heights, UT Home Resort: Alta Age: 20 Dubsatch Producer
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BIG LINES, TOWERING CRAGS, AND SWEET SINGLETRACKBorn in the high reaches of Little Cottonwood Canyon, the Alta Bar is our homegrown solution to energy elevated. Athlete developed and tested, each bar is made with real food: milled chia, flax, and 9 other natural ingredients designed to give you healthy, sustainable energy that will last through any adventure. The Alta Bar donates a portion of every sale to protect the places we love and inspire adventure.
Nutrition Facts
Serving Size 1 (70.75g) Servings Per Container 1 Calories 315 Calories from Fat 154
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Ingredients: Almond Butter, Wildflower Honey, Date Paste, Flaxseed Meal, Chia Meal, Almonds, Apples, Chocolate Chip, Cinnamon, Nutmeg, Sea Salt Keep your energy elevated with The Alta Bar–visit us at www.thealtabar.com
Net Wt 2.5 oz 70.9g
ENER GY E LE VA TE D 54367
Amount Per Serving
Total Fat 17g Saturated Fat 2g Trans Fat 0g Cholesterol 0mg Sodium 67mg Vitamin A 0.1%
57248
% Daily Values* Amount Per Serving
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% Daily Values*
26% Total Carbohydrate 37g 10% Dietary Fiber 8g Sugars 23g 0% Protein 7g 3% Calcium 11.9%
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12% 32% 14%
Iron 16.7%
* Percent Daily Values are based on a 2,000 calorie diet. Your Daily Values may be higher or lower depending on your calorie needs. Total Fat Sat Fat Cholesterol Sodium Total Carbs Dietary Fiber
Calories Less than Less than Less than Less than
2,000 65g 20g 300mg 2400mg 300g 25g
2,500 80g 25g 300mg 2400mg 375g 30g
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The Alta Bar P.O. Box 8011 Alta, Utah 84092
THE ALTA BAR ••
The project: contracted to design the wrapper and box design for the Alta Bar, an organic energy bar startup based out of Alta, Utah.
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The concept: celebrate the beauty of the mountainous environment through simple vector graphics evoking ridgelines on the wrapper design. Bold colors are used to visually reference flavor. Box design capitalizes upon the sense of remoteness and exploration common in mountain sports by continuing the ridgeline graphics and incorporating a compass as the focal point.
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Execution: all graphics were created in Illustrator. Production guidelines were requested from printing manufacturer to properly align graphics. Box design was initially created in Illustrator then superimposed on a digital "box" created in Rhino. Graphics were then digitally cut and folded to conform to the shape of the box. Once com, plete, graphics were then flattened and exported to Illustrator again for final touchup (see page 16).
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Result: product is in full production and can be found in various grocery stores throughout the greater Salt Lake City area.
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ACE LOGO
SNOWFLAKE FESTIVAL
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The project: recruited to design the logo for the Alta Community Enrichment (ACE) 2014 Snowflake Festival, a month long series of events celebrating winter and the local ski community of Alta, Utah.
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The concept: the design sought to convey the same geometric beauty that is found in natural snowflakes. This led to a design language focused heavily on geometric shapes and sharp lines rather than texture or color..
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Execution: the initial process consisted of sketching various in, tersecting shapes with the goal of creating a balanced composition. The combination of a triangle and circle was chosen due to the frequent occurrence of triangular patterns in snowflakes and due to the unity that circles tend to denote in our culture. The concept sketch was then transformed into a vector file using Illustrator. Finally, a modern and sharp font was used to convey a sense of legitimacy to a small nonprofit organization.
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Result: the logo was used on T-shirts, emails, flyers, etc. to help promote the event.
FRANK WORLD CLASSIC ••
The project: design a sticker logo for the First Last Annual Frank World Classic, an 80's style, feel-good ski competition that doesn't take itself too seriously (as the title suggests). Only design requirement was that it include images of bacon and hot dogs (amazing).
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The concept: celebrate the goofiness of the contest by depicting a hot dog riding a piece of bacon in a way that emulates the Pendleton whiskey logo (see bottom left).
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Execution: the hot dog/bacon centerpiece was created by tracing over the Pendleton logo (see bottom left) for reference then reworking the man and horse into a hot dog and piece of bacon, respectively. The image was then scanned into Illustrator where text and color were added, resulting in the first iteration (see bottom, right). The client liked the design, but wished it had a more Americana feel. The first iteration was then redrawn to incorporate an American flag, leather chaps, spurs, and horns for the bacon-bull, resulting in the final design shown above, left.
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Result: the client was extremely pleased and stickers were quickly produced to promote the event. Also, to this day, very few people can look at this project without laughing, which is a definite win.
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SKETCHES
LIBERTY PARK ••
The project: sketch a local environment in one point perspective.
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The concept: sketch an area containing people to give the drawing a relatable human element rather than a cold, sterile modern building.
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Execution: went to a local park and sketched the long promenade that spans the central field. Sketched via pen by never removing the pen tip from the paper, thus creating bold and loose line weights. Color was then added by layering the drawing with different Prismacolor markers, working from lightest to darkest.
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Result: The project earned a 4 out of 5 on the professor’s grading scale.
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HARBOR FOLK ••
The project: craft a detailed scene from an urban environment using mainly chalk pastels; special focus given to architectural elements and lighting/textures.
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The concept: I decided to select an archetypal location of human interaction for this project: the harbor. However, to distance the design from stereotypical images of lighthouse-dotted piers, the final composition is actually a collage of different images compiled together to create a fantasy harbor. This allowed the drawing to focus more on composition, lighting,,and textures as a whole rather than the creation of another architectural form.
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Execution: the collage was created by scanning various images into Photoshop for compositional rearrangement resulting in the image shown above, left. The image was then printed and traced onto paper using a light table (see below, left). The smooth gradients were accomplished by blending pastel shavings together using a combination of rags and erasers. Once the color gradients felt satisfactory, the composition was then inked in pen to accentuate hard edges and to provide a clean, "polished" aesthetic.
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Result: this project also earned a 4 out of 5 on the professor's grading scale.
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BIRD OF PARADISE ••
The project: create a colored pencil drawing of a close friend.
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The concept: depict said close friend as a peacock riding a mountain bike in reference to an inside joke about his flashy bike attire.
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Execution: the process for this drawing was very similar to the process used in "Harbor Folk" (see page 23). First, a photo collage of my friend, a peacock's plumage, and a mountain bike was created via Photoshop. That image was then traced onto paper using a light table then subsequently outlined in black pen. Next, the drawing was colored using Prismacolor pencils. Finally, hatching and line weights were fine-tuned with additional pen work resulting in the image shown to the left.
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Result: lots of eye-rolling whenever acquaintances of my friend view this drawing.
ARGENTINA SKETCHES ••
The project: sketch examples of adaptive reuse projects in the town of Santa Fe, Argentina. Part of a larger, two month study abroad project focusing on Argentine architecture.
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The concept: depict two buildings in particular: El Molino/Fabrica Cultural and La Redonda. The former was once a grain silo and railroad shipping facility and the latter a railway switching yard. They now serve as a children's art/ science lab and an interactive art gallery, respectively. The decision to sketch these buildings rather than simply photograph them was to represent their forms in a tangible, intrinsically human manner. This seeks to reflect their new purposes of facilitating human interaction through art and discovery rather than reflecting their old purposes as physical barriers to retain and oversee industry.
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Execution: both sketches were drawn from observation and the processes for both were very similar to the processes used in "Liberty Park" (see page 21). The only difference being that whereas depth and shadows were achieved via Prismacolor markers for "El Molino," hatching was used instead for "La Redonda."
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Result: these drawings were used as supporting images in a project that drew comparisons between Argentine adaptive reuse and adaptive reuse here in the US. The full project can be viewed at:
EL MOLINO
LA REDONDA
https://issuu.com/dubsatchitect/docs/independent_study
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ARCHITECTURE
HORIZON LIBRARY (SEE RIGHT)
HORIZON LIBRARY •• The project: create a new branch library as part of the Phoenix Public Library system including the integration of a “hybrid” program element not found in a typical library. This project served as the spring 2013 senior year studio project for the University of Utah’s College of Architecture. •• Site context: local community of South Mountain. Mixed demographics, with mainly African American and Latino communities. High percentage of industry and labor jobs. •• The concept: to design a more experiential public space, emphasizing awareness of architectonic qualities rather than 21st century gadgetry. Based upon the horizon as a literary motif of discovery and yearning, the form consists of three sculptural volumes that reach out from the center of the library towards the horizon. Each volume houses one of three special reference libraries unique to the community. These reference libraries satisfy the special programming requirement and are as follows: automotive library, construction library, household library. •• Result: the project earned an A letter grade and was chosen as 1 of 3 examples from a class of 50 as an exemplary project to be displayed in the College of Architecture's lobby.
PARTI DIAGRAM Rhinoceros, Adobe Illustrator
1. Concentric view of the horizon as a starting point
2. View broken into seperate elements
3. Seperate elements oriented to surroundings
4. Elements pulled upward to create mass
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1/192 SCALE MODEL Balsa Wood, Chip Board
GROUND FLOOR 1. FOYER / ENTRANCE 2. HELP DESK 3. CENTRAL LOBBY 4. KIDS LIBRARY 5. OFFICE 6. RESTROOM 7. AUD ITORIUM 8.TEENS LIBRARY 9.WALK-UP CAFE 10. MEDIA LIBRARY 11. STORAGE / M.E.P. 12. MEDIA STUDY ROOMS 13. FREIGHT ELEVATOR
2ND FLOOR
FLOOR PLANS Rhinoceros, AutoCAD, Adobe Illustrator
1. ATRIUM 2 OFFICE 3. TRADE LIBRARY 4. RESTROOM 5. CLEANING 6. FAN ROOM 7. AUTO LIBRARY 8. SPANISH / INTERNATIONAL READING 9. GENERAL READING 10. STAFF LOUNGE 11. STORAGE 12. FREIGHT ELEVATOR 13. HOME LIBRARY
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20 FT. OVERHANG TO SHADE UPPER HALF OF GLASS CURTAIN WALL VERTICALLY ALLIGNED OPENINGS TO ALLOW HIGH NATURAL DAYLIGHING IN CENTRAL LOBBY AND ATRIUM
HIGH NATURAL DAYLIGHTING FOR REFERENCE LIBRARIES AFFORDED BY FULL-HEIGHT CURTAIN WALL
P.V. POWERED ARTIFICIAL LIGHTING FOR INTERIOR SPACES RECIEVING LITTLE NATURAL LIGHT
NATURAL DESERT LANDSCAPING TO SHADE LOWER HALF OF GLASS CURTAIN WALL
MECHANICALLY OPPERATED, FULL HEIGHT VERTICAL LOUVRES
BUILDING SECTIONS Rhinoceros, AutoCAD, Adobe Illustrator
MECHANICALLY OPERATED, HORIZONTAL LOUVRES
DOUBLE PANE CURTAIN WALL
CHERRY PEAK SKI RESORT •• The project: design a ski day lodge for the proposed Cherry Peak Ski Resort located in Logan, Utah. This project served as the fall 2012 senior year studio project for the University of Utah's College of Architecture. •• Site context: rocky, steep, mountainous terrain on all sides. The terrain and isolated location,suggests alternative forms of energy more cost effective than constructing new water and electrical lines.. •• The concept: the building is an analogy representing a parasitic relationship between a parasite and another living organism. The building itself represents the intermediate host that transports humans (i.e. pathogens) up into the mountains (i.e. the definitive host). The building design is that of sleek, sharp corners piercing into the ground, alluding to the concept of parasitic attachment. By separating program elements into individual buildings, the design effectively funnels people through the complex towards their final destination, symbolic of pathogenic infection. The building also utilizes a tension louvre system which is directly linked to the starting and stopping of the chairlift. This works to passively heat and cool the building, but is mainly symbolic of the structure hard at work dispersing people (pathogens) into the landscape (the definitive host). •• Result: the project was deemed "experimental architecture" (which fell outside the project parameters) but was nevertheless allowed to be pursued to completion. The final project earned an A letter grade for stellar performance in pushing the boundaries of what is considered feasible architecture. •• Special Thanks: CTEC-Geneva chairlifts for providing chairlift schematics and to my partner Cameron Bowen. I assess that all following work is primarily my own creation.
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NIGHT RENDER Rhinoceros, 3DS Max, Photoshop
SITE SECTION CUT
FLOOR PLAN, CIRCULATION Rhinoceros, AutoCAD, Adobe Illustrator
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ELEVATION, SECTION Rhinoceros, AutoCAD, Adobe Illustrator
DIGITAL RENDERINGS CHERRY PEAK SKI RESORT (SEE LEFT)
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FLOATING RESEARCH LAB ••
The project: produce a series of highly detailed renderings of a fantasy research lab. Project did not need to be grounded in feasibility, primary focus was on visual effects.
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The concept: model a spaceship-like structure based upon vines and other jungle flora.
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Execution: the exterior rendering (page 36) was modeled using Rhino scripts to create the parametric spines and ribs. The architectural elements of the interior renderings (see left) were also created in Rhino, only without the use of scripts. Once modeling in Rhino was complete, the forms were then exported to 3D Studio Max. Materials and lighting effects were then applied and the scenes rendered. The renderings produced were then imported into Piranesi, a post-production software specializing in creating hand drawn effects and textures. Finally, the images were imported into Photoshop for color and contrast correction.
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Result: the project earned a 5 out of 5 on the professor’s grading scale.
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FIN, END, NADA MAS All artwork and photos are 100% original unless stated otherwise. http://issuu.com/dubsatchitect