EXAMPLE : augmented reality in flash, augmented reality in c++, 3d (modeling, texturing animation), exhibition/kiosk
A work of art entitled “Revision” that I created has been on display in an exhibit called Materials and Meanings since June 2009 and will remain so until early January 2010. The prototypes were created using flartoolkit for flash, while the final installation piece was created using ARtoolkit in openframeworks (c++). The majority of the models, texturing and animation were created by me as well, with additional work done by Brett Bullion, who was generous enough to help.
My primary goals were to create a rock solid installation that a) applied some theories from art history b) showed disparities in cultural product and c) was fun and age appropriate.
I achieved this by using augmented reality to overlay 3d models and animations that further defined the graphic symbols on each plastic marker.
During the creation of this work, I worked closely with the other artists involved and helped organize and maintain schedules and communication. My home and garage became a sort of hub for meetings and general merriment that go with these events.
Working with the DMA and the other artists of this project has been one of the most fulfilling experiences of my life thus far.
EXAMPLE : 3D FOR PRINT, PAGE DESIGN
I really enjoy mixed media, the challenge of 3D modeling and rendering for print medium. This page design won 3rd at the Texas Intercollegiate Press Advisers Association.
My usual approach, especially with projects that have many interdependent parts, is to develop a good workflow. I had used Illustrator to generate some clean text in a previous project, which imported nicely to lightwave (my 3D package of choice) where I was able to make a 3D model quickly. There are many advantages 
to Illustrator files in this scenario, like file size and scalability.
All models, and initial textures where created in illustrator as 2D paths and shapes, then exported out to lightwave for modeling and photoshop for detailing the textures. This proved to be a very powerful and quick way to get a clean, industrial look.
The best part is that I documented every test render and experiment along the way, and afterwards created a very small cheat sheet and style guide that has really sped up my work since.
EXAMPLE : 3D FOR PRINT, PAGE DESIGN
I really enjoy spreads. Fruit spreads on biscuits, cheese spreads on toast, and especially spreads on paper. The bulk work of any publication is going to be quick and clean, following the style book and fitting the puzzle pieces. It’s rewarding work and can be challenging.
Though every designer secretly wants (read: begs for) a nice and fat two-page spread. Give me room for info-graphics, 3D renderings, giant pull out quotes that sum up the story, and in this case, panoramic pictures and a design that mimic and online edition with more information and interactivity. And please, give me 4-color next time!
BACK STORY: Originally, this was not slated to have 3D modeling
in it at all. Tim, the panoramic photographer, needed a few extras hours to get the stitching perfect, and we were somehow ahead of schedule. So I took the very rough models I had started for the interactive, beefed them up and presto, secondary art elements.
EXAMPLE : 3D FOR PRINT, PAGE DESIGN
Two days is not a lot of time to create a full page sports feature like this, especially when there’s 3d modeling and texturing involved.
Wanting to take the 3d modeling skills I had learned in game design classes to a higher level, I volunteered for this assignment. There are many differences between 3d modeling for game design and modeling for print. They are similar to the differences from games to film, in that the final render will be at least 2,000 pixels wide (4k in this case) so your textures have to hold up to a higher standard, yet render quickly as possible. (This is a daily paper after all, and you are working on this in your spare time, as though that exists.)
For this I pulled out all my tricks (notice the multilayered different kinds of grass in the details picture) and just about every software package
I know. I used Illustrator to create the size mockups and yard meters, transfered that to photshop to paint in the grasses, while creating bump an spec maps. The same process worked for the cards and the chips with a simple export to eps to speed up the modeling process and insure exact texture fitting.
OUTCOME : 2nd place TIPAA
EXAMPLE : FLASH, GRAPHICS DESIGN, ANIMATION, 3D MODELING
Quick warning, the example on this site was extracted from an interactive CD, and as such takes a while to load and function as you’d expect a web product to.
Our goals for this were multi layered. We needed something to win advertisers over with, something to entice more students to join the paper and my manager really wanted to learn Flash. So I drafted up this interactive CD, which won a national student advertising award (Symbam or something – I’m not really into awards). The CD was to be 2/3 created by me and 1/3 by my Boss. She had three tiny sections each showing here basic things in Flash like timeline animation, rollovers and masks. My part, the part that loads on this website, simply used all those techniques to a higher degree of mastery.
I created pre-rendered 3D animations for the recruiting section, shot chopped and exported around 20 video interviews then assembled everything into Flash and created the interactive CD.
It was a great use of my 3 weeks as a then part time employee.
My primary goals were to create a rock solid installation that a) applied some theories from art history b) showed disparities in cultural product and c) was fun and age appropriate.
