RITA LOURO: “WE ARE GOING TO HAVE AN OVERDOSE OF SEXY RENDERS”

With singular visuals, Rita Louro has really caught my eye in the 3D scene lately. Born in Lisbon she has, after a bit back and forth ended up back in Portugal where she is currently active as a 3D artist, doing work for clients all over the world. Many creatives might be able to relate when she talks about her personal journey into a creative industry – having found a voice, then figuring out your place in the world. In Rita’s case, geographical location has not always been an easy pick.

You used to live in London and later moved back to Lisbon. What are the main differences between the two, being an independent creative?

E V E R Y T H I N G ! Let’s start by saying that this was not a career motivated move. I moved for love. Love for my family, for my boyfriend and ultimately for my mental health. After 5 years in the UK, the “ Saudade” ** was becoming a bit unbearable and I found myself at a crossroads: I can stay here in London, the European epicenter of opportunities and do the standard up the ladder progression OR I can move back and be happy as a person first to then make my career work independently of where I am. I chose the latter. I chose to tailor
my job/career to my personal needs/personality and not the other way around. It took me 10 years to have this mental breakthrough and it was certainly not an easy one. There’s not much of an industry here in Portugal and the one that exists it’s a bit behindthe industry in London, New York, LA and so on. Not because there’s no talent, there are a lot of hard working talented people here, but because there’s a lot of financial and cultural constraints. In fact, I’m not sure if there are any motion designers besides myself in the city I’m currently in, Barreiro – on the south bank of the tagus river, 20 minutes by boat to the heart of Lisbon. It’s not Lisbon but it’s pretty close and I unexpectedly totally fell in love with this place (that’s another long story… ).

As crazy as this might sound, I found that all of these differences are a good thing. Firstly because nowadays I find my inspiration inside myself or around myself in things that have nothing to do with motion graphics and not from other designers thoughts or ideas. Yup… that happens when you are just surrounded by people that only do the same you do. It’s our biological instinct to adapt to our peers, to fit in. This results in a blur of great work, but that work doesn’t stand out. Don’t get me wrong, I love chatting with my motion designer friends and discussing ideas about the industry. I follow the work of people I admire too.

I love all the possibilities that places like London offer and I often miss all the meetups and events related to the industry. However, I am increasingly coming to the conclusion that if I want to make goodwork, meaningful or special, I need my moments of mental detox which I didn’t find possible in London. This move has been working for me, more than I was expecting. It’s important to note that this setup might not work for everyone and one should not settle in a place just because it’s institutionalised that is where you will be fulfilled and successful. I am very grateful for the times in London, that’s where I learned the most in all my career. I know this might sound naive or romantic, but I have this view that if you really love what you do, you will find a way of making it work no matter where you are. Just go for it ( but have a plan and save some money first just in case ).

** Saudade : portuguese word for “a deep emotional state of nostalgic or profound melancholic longing for an absent
something or someone that one loves”

You work with a variety of visuals in the 3D space but many of your projects include textile objects. What makes you drawn to the textile space?

I could say that my interest for textiles started when I was 6 or 7 years old and decided to cut up my mom’s scarfs to make things for my dolls ( sorry mom but you were only investing in my art education! ). Or because my grandmother was a seamstress and my mother inherited the skills influencing my interest in it. Those things might have, or not, shaped my interest in textiles. I honestly don’t know. However, I do know that I love the form and movement of fabric and all the creative possibilities it has to offer. Fabric has a tangible element in digital artwork, an element that one can easily relate to, more than any artificial cube or any other geometrical shiny shapes. Itgives a touch of reality to a digital environment and that’s an element that I really love. I’m taking advantage of a real world paradigm in a digital context. Just like in the real world, where we can knit and embroider to create textures, combine different outfits to show off different looks and choose fabrics to decorate our houses.

Rita Louro’s collaboration with Chris Hoffmann from studio Zeitguised


Technology advances at a very high pace – what do you think it will be like working as a 3D artist in the future? Will the profession in itself still exist?

Like many other jobs I don’t think it will disappear but it will certainly evolve into something quite different. In fact, it has changed a lot already in the past 10 years. It’s just a matter of knowing if you are passionate enough to evolve as a 3D artist as well.
For example, 6 or 7 years ago it was quite hard to make something look real. Render engines required a bit of learning and machine specs were quite constraining. As a 3D artist this was something that restricted your work. Nowadays, with the introduction of render engines like Octane or Redshift, realism in the 3D space it’s very easily achieved. Anyone can do a sexy render ready to serve on social media. And we all do this, I’m no exception. If we want to stand out we will need to have
something else to offer aside from the render skills, hence the need of evolving as a 3D artist. We’re all going to have an overdose of sexy 3D renders, which may lack meaning or that je ne sais quoi that makes a piece of work memorable. And again, we will move on, possibly through the development of another technology, because we humans are technology dependent. This might direct us again towards storytelling or more meaningful visuals. Hopefully.


If you got to do an artistic project completely non related to any type of digital software what would you do?

Uff , I have an extensive list of artistic thingies I would love to do outside the digital world. Probably most of them won’t ever be more than I bullet point on a list. Others will probably become something else and many will be inserted back into the digital medium because the real world logistics can be quite overwhelming sometimes. Since I moved back to Portugal I’ve gone back to doing more things with my hands, with real materials: drawing, crochet, painting, and sculpting.. So I would probably enjoy doing a mixed-media sort of exhibition / installation about any of the themes I spend hours dwelling on my head: Capitalism, Mental zombification, Social Alienation, Neo-Narcissism, The meaning of life, Why do we have thumbs and so on….


Who would your dream collaborator for a future project be if you could pick anyone in the world?

There are so many people I would love to collaborate with! Just to name a few: the artists behind Toiletpaper Magazine ( Maurizio Cattelan and Pierpaolo Ferrari with the art direction of Micol Talso ), Kristen Liu-Wong and, because I am allowed to dream even bigger, Matthew
Barney, Bjork ( all of her music videos are pieces of art ), Stanley Kubrick and Fritz Kahn if they were still alive!

Ritalouro.com

Chris Hoffmann Uglystupidhonest.com 

Also read “A Quasi world in 3D”

Teamlab transforming fashion and space

“Digital [art] has allowed us to liberate art from the physical and transcend boundaries.”

– teamLab

TeamLab is an interdisciplinary art collective of over 500 members who use space as their primary creative canvas. Retail spaces, galleries, dining venues and more are transformed into imaginative, seamless hybridizations of the digital and physical.

“When we started teamLab in 2001 at the rise of the digital age, we had the passion to eliminate boundaries and work beyond existing disciplines, which was becoming possible by digital technologies.”

Teamlab

This collaborative exploration is the inspiration behind the namesake of the collective which is further driven by an interesting perspective on how technology has historically empowered us and how it can creatively evolve.

“It seems that the main focus for Silicon Valley originated technology is the extension of someone’s mind. Personal computers and smartphones are certainly extensions of the mind. Twitter is an extension of a person’s statements and Facebook is an extension of our personal relationships. These digital domains see the ‘self’ as the principle, and are meant to be used personally.”

Many of teamLab’s experiences are interactive and immersive, allowing participants to “think and feel with their whole bodies”. Through physical engagement or, for instance, via mobile device such as within Digital Light Canvas (a commissioned work created for The Shoppes at Marina Bay Sands), the resulting experience is one that “ambiguates the boundaries between people and the artwork”.

With the current state of retail undergoing a “seismic” shift as reported in BoF’s The State of Fashion 2018 and the emergence of spacial, experiential technologies, it is exciting to see how visionary artists such as teamLab are pioneering and influencing how space can be explored and utilized as a creative medium.

“If ‘light’ is our paint, we want to use everything as a canvas to make art. And if clients, including brands, resonate with our philosophy and provide us with a ‘canvas,’ we certainly would be happy to work with them.”


For open exhibitions, please see the following list:

TEAMLAB: A FOREST WHERE GODS LIVE

The 500,000-square meter Mifuneyama Rakuen Park was created 172 years ago in 1845, during the end of the Edo period. Sitting on the borderline of the park is a 3,000-year-old sacred Okusu tree of Takeo Shrine, which is Japan’s 7th largest. Also in the heart of the garden is another 300-year-old sacred tree. Our forebears turned a portion of this magnificent forest, with Mifuneyama Mountain at the center, into a garden while utilizing the trees of the natural forest. The border between the garden and wild forest is so ambiguous that when wandering through the garden people will enter into the woods and animal trails. Enshrined in the forest is the Inari Daimyojin deity surrounded by a huge natural rock. The cave houses the Five Hundred Arhats and the Three Buddha Figures that are carved into the rock face, believed to have been carved by the great priest Gyoki 1,300 years ago.

The forest, rocks, and caves of Mifuneyama Rakuen have formed over millions of years, and for thousands of years people have sought meanings in them. The park that we know today sits on top of this history. It is the ongoing relationship between nature and humans that has made the border between the forest and garden ambiguous, keeping this cultural heritage beautiful and pleasing. Lost in nature, where the boundaries between man-made garden and forest is unclear, we feel like we exist in a continuous, borderless relationship between nature and humans. It is for this reason that teamLab decided to create an exhibition in this vast, labyrinthine space, so that people will become lost and immersed in the exhibition and nature.

teamLab is executing an art project called “Digitized Nature” where “Nature Becomes Art.” The concept of the project is that non-material digital art can turn nature into art without harming it.

We exist as a part of an eternal continuity of life and death, a process which has been continuing for an overwhelmingly long time. It is hard for us, however, to sense this in our everyday lives. When exploring the forest, we come to realize that the shapes of the giant rocks, caves, and the forest that have been formed over the eons, are the shapes of the continuous cycle of life itself. By applying digital art to this unique environment, the exhibition celebrates the continuity of life.

Date: Jul 19 – Oct 28, 2018
Mifuneyama Rakuen, Takeo Hot Spring, Kyushu, Japan

TEAMLAB : AU-DELÀ DES LIMITES

People move freely, form connections and relationships with others, and recognize the world through their own bodies. The body has a concept of time. In the mind the boundaries between different thoughts are ambiguous, causing them to influence and sometimes intermingle with each other.

Artworks too can move freely, form connections and relationships with people, and have the same concept of time as the human body. While the artworks remain autonomous, they transcend the boundaries between the works, influence and sometimes intermingle with each other. This is one borderless world created by a group of such works.

People lose themselves in the artwork world. The borderless works transform according to the presence of people. As we immerse and meld ourselves into this unified world, we explore a new relationship that transcends the boundaries between people, and between people and the world.

Date: May 15 – Sep 09, 2018
La Grande Halle De La Villette, Paris, France

MORI BUILDING DIGITAL ART MUSEUM: TEAMLAB BORDERLESS

teamLab Borderless is a group of artworks that form one borderless world. Artworks move out of the rooms freely, form connections and relationships with people, communicate with other works, influence and sometimes intermingle with each other.

Create new experiences with others, immerse yourself in borderless art, and explore the world with your body.

In a vast complex, three-dimensional 10,000 square meter space, 520 computers and 470 projectors create a completely new world, the likes of which have never been seen before.

Jun 21, 2018 – Permanent
MORI Building DIGITAL ART MUSEUM, Tokyo, Japan


Piece written by Carver Wilcox in collaboration with
The Fashion Robot

Further links

Teamlab
Leanne Luce

Also read:

Zeitguised – a quasi world in 3D

 

Can an AI do Balenciaga better than Balenciaga?

Will designers be replaced by algorithms in the future of fashion?

The thought of a fully automized society where robots and AI take over simple chores is not a futuristic utopia. It is, in fact, becoming more of a reality. But can machines also do more complex work that requires both imagination and artistic thinking?

Robbie Barrat, artist, and AI researcher, plays with the idea in his project, where he trains a neural network with image data from five different fashion shows from the luxury fashion house Balenciaga. The result is videos generating new models with outfits based on the training data. The garments, shapes, and textures might not be directly translatable into new pieces. Yet it shows on Artificial Intelligence’s ability to create combinations, shapes, and textures a human eye might never have come up with.

To date, Robbie does not seem to have gotten himself recruited by the ancient fashion house. However, he clearly offers radical perspectives on how artists and designers might be able to make use of AI as a tool in their daily work to innovate their creative work process.

The project in itself evokes curiosity around how similar approaches could shake the fashion industry to its core.  Would we accept paying large numbers for designer products completely generated from datasets? Or will the touch of a human become a stamp of quality in the near future?

Follow Robbie’s work process on Twitter 

Also, read Machine Learning – the future of Design? 

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Atacac – using game technology to turn fashion upside down

“We want to show a completely new way to produce and sell fashion. Another world is possible” says Atacac founder Richard Lindqvist. With a renowned career as a fashion designer running his own studio as well as consulting mega brands such as Vivienne Westwood topped with a PhD he was ready for a new adventure. Together with Jimmy Herdberg, digital creative and founder of studio Kokokaka, he decided to try a new radical approach with starting a fashion studio that had very little in common with fashion production as we know it.

The studio – Atacac founded in Gothenburg, Sweden in 2016, does not only apply innovative ideas on garment construction but also new models on how to sell and price products. Using 3D software traditionally used by the game industry, Atacac generates realistic 3D models of the garments and selling them online to customers instead of already existing products, cutting stock-holding and over production out from the production chain. The Atacac on-demand model is using pricing in the same way as flight tickets – the earlier products are purchased the better the price. Keeping the entire production chain in one spot can enable an end to end process of only a few days – something the bigger fashion brands can only dream of. Atacac is a fresh example of a small innovative player challenging a slow and unsustainable fashion industry, enabled by game technologies. But how does it work and what is its goal? Rickard and Jimmy elaborates on potential futures from their studio at Ringön.

 

Is Atacac a brand using new technologies in selling its products or a technology platform using a brand?

-We see Atacac as a creative fashion studio. This studio is elaborating with new technologies with the aim to reinvent the fashion industry. As a part of this, we do among other things run the Atacac brand and the Atacac micro-factory.

-We are currently elaborating with custom-made services together with some chosen customers. In this project, the customer downloads the 3D model together with the 2D pattern from our shareware section. She then re-designs the garment and sends the digital garment back to the Atacac micro-factory (aka 3d printer for garments) for production. We see a huge potential in making digital products available for consumers, which might eventually lead to major changes in how we relate to products, brands and production. Soon altering 3D models will be a public domain.

 

 When launching Atacac as a service, what parts didn’t work as expected? What has been your main challenges building your business?

-Delays in producing abroad made us start our own in-house micro factory for being able to elaborate with super-quick turnover times. This was not a part of the original intention but turned out to be an important part of the creative work.

You are surfing global top trends using local manufacturing with short production cycles, on-demand production and unconventional pricing models towards a more sustainable fashion industry. Will it be possible for the bigger players in the industry to adopt this way of selling products?

-Our proposals for ways of working is primarily developed from a creative perspective. We believe that the consequences of a good creative work is profitable from many perspectives. Expressional, economical and sustainable ones for example.

-Yes, it will be possible for larger companies to adopt this way of working. Most companies will have to change the ways they work in order to still be around. Some will be successful in doing so while others will disappear and be replaced by new ones.


 

What is the end goal for Atacac? Will you scale up the core brand or rather keep it small selling the platform to other brands as a service? Will Atacac ever be a multi brand platform?

-Our goal is to develop creatively and to inspire. We change from day to day. We have no end goal, there is only the end of the day. Atacac as a brand will be scaled up, to which scale is an open question.

-In a way Atacac already is a multi brand platform. As a part of elaborating with the future of retail we recently we started a monthly Fashion-Art-Technology market, that we call F.A.T market, in our studio every last Saturday of the month. We invited other brands, artists and companies to sell their things next to our products. Some of the other fashion brands produce their garments in the Atacac micro factory. This could very well also develop into a virtual multi brand community as we deliver both a digital and a physical product from the factory.

 

 

Atacac

CLO

Kokokaka

 

Zeitguised – a quasi world in 3D

Since its founding in early 2000 they have kept pushing boundaries in crafting 3D, building their very own visual universe. Berlin-based studio Zeitguised clearly blurs the line between art and commercial work. However continued exploration of their personal voice catapulted them into becoming true pioneers – a path that later attracted even more and renowned clients rather than the opposite. Today Zeitguised has formed a commercial arm ‘Foam studio’ allowing the other part of the studio to focus on experimental work.

Zeitguised’s work is difficult to describe yet visually irresistible. In one of their latest projects, Geist.xyz “handcrafted algorithmic textiles” are portrayed in dance-like movement. Its artistic expression feels realistic yet abstract at the same time –  referred to by the studio themselves as “synthetic art”. Experimenting with algorithms and light simulations they remind us of the famous quote by Arthur C. Clarke  – that “any sufficiently advanced technology is indistinguishable from magic”. Henrik Mauler, one of the founders of Zeitguised took time to elaborate with me on their studio and on virtual textiles and its potential futures.

Henrik – if aliens landed on earth, how would you explain to them what Zeitguised does?

ZEITGUISED is a conceptual design studio that explores the aesthetic potential of digital design and its poetic application in the materiality of the physical world. Okay, that doesn’t sound apprehensible for aliens.
Humans are a life form mostly on the surface of this planet that doesn’t know better than expanding the reach of their minds by refining their techniques and habits via repetition and variation. We’re some of them, making representations of a quasi-world, an extension of the human mind and its imaginations, a world that might not physically exist yet very much does via sensual experiences.

There is a clear voice in what you are creating. How does a studio of many people like Zeitguised keep a consistent aesthetic?

We are a diverse group of artists, commanding different aesthetics. Yet I think we share some sensibilities, so if we discover something new via exploration, we’ll try to tie it into our expanding own cosmos. We realized our common denominators are probably, on the one hand, an empathic approach that allows inanimate objects become beings that behave and speak through shape, colors and materials. on the other hand there is the love for tension, to unite elements that seemingly don’t belong together yet make for good aesthetic dance partners.

What is the most important key in making virtual textiles to look and feel realistic?

The relation of texture detail and simulation detail. There is no algorithm that makes this easier to achieve through automation yet, it’s still a manual art and craft.

zeitguised_7

What do artificially generated textiles have that real ones don’t?

The possibility to expand their character, which is one between a dynamic, living sculpture and a lifeless, passive drape. Suddenly there is the possibility to become a being, a life form, through this means.

Technology is advancing and in the future computers are likely to generate imagery that is today created by humans. Do you think an AI ever could create good art?

Actually, we entertain the daring thought that a sophisticated AI, much unlike the vulgar AIs that we talk of nowadays, might be capable of making art that is more powerful, mind-expanding and envelope-bursting than anything humans could ever conceive. We’re talking about an AI that is not modeled to resemble the human mind. Until then, the race is on for us humans to show that we can come up with the more unexpected concepts and aesthetics.

What client do you dream of a phone call from?

We had a couple of dream clients calling us which made us realize afterwards: we’re our own dream client…we just haven’t called ourselves yet. 🙂
On the other hand, our dream clients trust us and our creative potential and vast experience and want to see objects and products that are unique, unseen, unusual, exciting, emphatic and full of character.

Zeitguised

Foam Studio

geist.xyz

 

Machine learning – the future of design?

Online retailer Zalando has teamed up with Google, using machine learning to create a new virtual fashion experience letting shoppers create their own designs in 3D. The initiative called Project Muze uses a neural network trained with design preferences such as colours, textures and imagery. By answering a few questions such as mood and style the shopper will generate a design based on the answers. This together with data from the Google Fashion Trends Report and top trending objects from Zalando’s online platform.

The project taps in to the trend of using machine learning to create a personalized experience using Google’s open-source platform TensorFlow combined with a set of aesthetic parameters. It launched at trend show Bread&butter in Berlin earlier this fall where a few handpicked designs were highlighted. The chosen pieces were later to be translated into real garments. Considering the visual experience the project clearly shows a big gap between digital and physical dimensions yet to be filled. However the concept of combining algorithms with 3D product interaction suggests a potential future where shoppers can virtually create their own products based on personal data.

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project-muze-designs

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Read more about 3D avatars and CGI in fashion

Twisted lamb merges fashion and gaming

Why does one of the leading game companies in the world decide to let a fashion stylist design their game characters?

Being two very different industries, fashion and games rarely intersect as they operate on separate markets. With household tech taking giant strides forward in terms of complexity as well as availability, the demand for games or gamified products increased. This likely resulted in a dual effect. The game industry, usually perceived as conservative began to open its doors to new influences.

One of the first to enter those very doors was Mary Lee, fashion stylist and creative director of renowned fashion blog Twisted Lamb. Her distinct and peculiar style has attracted clients such as Kanye West and Nicola Formichetti and could be described as a flirt with alternative culture as well as goth and tribal aesthetics. A visual expression she was later given the chance to transfer to game characters working with titles as Eve Online and World of Darkness together with Icelandic CCP games.

You were handpicked from one of the leading multiplayer companies in the world, how come they chose to work with a fashion stylist?

-CCP Games wanted to create virtual assets to sell in the game and for the players to have options for their characters. it was a bold step and very ahead of its time. They brought in myself to create current and futuristic virtual collections and to merge fashion and gaming together.

Tremeresmall

What was your role working with their games, how much influence did you have on the production as a whole?

-I worked with a team of illustrators in Iceland and Atlanta to create the digital collections. We would create separate collections based on the type of vampire clan. For example the Brujah are very punk so we tailored outfits to them while the Tremere are rich and high end so we created clothes that would fit their lifestyle. 

How did the project actually come together, where there any culture clashes?

-The project turned out beautifully but the concept for the gaming world a bit ahead of itself. We found that many players were resistant to adopt the virtual clothing aspect.

Tremere.Witch

 

Tremere.SacrificialLambSome years ago Nicola Formichetti, close collaborator with Lady Gaga and former Creative Director of fashion house Mugler launched a project with the very same company, CCP games. With this he sought to bridge the gap between fashion and the digital world. A digital replica of fashion model Rick Genest also known as “Zombie boy” was recreated as a life-size avatar on a virtual catwalk, specially designed for a pop up store on New York Fashion week. A fashion experiment between digital and physical worlds in which Mary Lee aka Twisted Lamb worked as the producer, a project that created quite a buzz in the fashion industry.

NicolaPopupShop

How was the collaboration perceived from the game industry, any aftermath?

The gaming industry loved this project! The aftermath was all positive and it was the beginning of all fashion/gaming collaborations. 

Back then Nicola Formichetti claimed that virtual fashion will become a core part of the fashion industry. Do you see that happening?

-Absolutely. This is just the beginning.

NF_FilmStills
NF_FashionStills

 

Note: CCP title World of Darkness was unfortunately never released. However, with Paradox Interactive recently acquiring the rights to the World of Darkness property and its assets, a wave of expectation has swept across the hordes of excited fans for a continuation of the popular franchise.

Twisted Lamb 

CCP games

What fashion can learn from character customization

Customizable characters or the ability to create your very own avatar is a well known element in video games. Major game studios are even creating customization interfaces that are reminiscent of a real world fitting room including the ability to pick characteristics such as eye colour, skin tone and hair style.

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The importance of identification has positioned character customization as a component for game studios with graphic ambitions. It has also raised the issue of lack of diversity in an industry with reputation to only be representing white men as has historically been the only character option to choose from. Insomniac games is one of the studios rebelling against that norm in their action game Sunset Overdrive. In it, the players are given the option of playable female character as well as customization options that are unrelated to gender. It points out the importance of identification in recreating yourself digitally: you not only have the possibility to represent your physical world self, but who you want to be or, even let your imagination take you to a new digital self.

sunset-overdrivesunset-overdrive-customization

In Bungie’s Destiny as well as BioWare’s fantasy title Dragon age: Inquisition, the player can choose his or her appearance with high level of detail in everything from race, gender and class to face features. As computer graphics have advanced into close in on photorealism, the gaps in implementation have decreased. The type of self-visualizing which has so far only been used for character design is now of interest when we digitize our lives for different kinds of services.

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Fashion ecommerce is constantly looking for new visualization tools to provide stunning digital experiences with technology used by game artists. 3D content such as creating personal avatars, virtually trying on 3D rendered garments or customizing products are services now popping up globally to bring us new ways of living our digital lives. The skillset of a CG artist is suddenly pure gold in a new fashion landscape. As shown by the advances of self-visualisation in gaming we will most likely see great innovations in the near future at this very intersection, taking the shown examples out of their original context. When it comes to visual experiences fashion has everything to learn from game art and digital storytelling.

Bungie

BioWare

Insomniac Games

 

Also read about the work of Joseph Cross and Chris Wells

The researcher who puts 3D avatars on the fashion runway

Kate Moss will have to look for a new job – the instant media response after a Manchester Metropolitan University  press release suggesting a new virtual direction in fashion. Runway models are replaced by digital replicas – “near-faultless copies”  that need no sleep or expensive plane tickets. Academic research has never felt more like science fiction.

Dr Andrew Brownridge with Dr Peter Twigg use a combination of 3D scanning and motion capture in developing the hybrid avatars that creates a human digital copy to be digitally dressed in virtual haute couture. From there you can either render a fashion show to video file with animated characters ready to distribute or have a live performance with models in motion capture outfits, working in real time.

However the research project did not start out with a fashion focus but as an analysis tool for the movement of ballet dancers.

How come ballet was the focus of your research Andrew? 

– The research began when we were approached by the Northern Ballet School enquiring about using motion capture equipment. Their interest was for use within augmented performance which had been touched upon by the Melbourne Dance Company previously. We suggested developing the technology further in order to provide a database of gestures for choreography purposes. Upon speaking to the dancers and researching the discipline it occurred that the motion capture technology we were using had the capability of recording very accurate measurement of movement which could be used for analytical purposes for corrective coaching and training.

Would that focus have been possible outside an academic context?

– No, I don’t believe so. It takes researchers who do not have the pressure of training and performance constantly present to look at methods and processes in a different way to see further possibilities of applying the technology. We also had equipment and appropriate expertise readily available to bring technology and physical performance together.

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How did the research move over to fashion?

– Following discussions with researchers in the fashion department, it was pointed out that modelling is simply a different form of performance and the same technologies associated with movement analysis and physical representation in a virtual world could be applied similarly in the fashion industry. The fashion department had an excellent high specification body scanner which we were quick to employ and develop techniques for generation of life-like avatars.

When research has a strong technological focus, what really drives the innovation in implementation? Do those ideas come from inside the team or from the outside?

– Personally, coming from a creative background, I found it fascinating that the technologies we were using had such a wide range of application in various other fields. I had recently studied feedback methods and motor skill learning and saw the potential for utilising the motion capture technology to analyse a performance and provide detailed and accurate feedback to aid coaching methods.

What really is your personal drive as a researcher. Do you feel stronger about “cracking the code” or does how it is being used equally interest you?

– I think if you are involved with technological research, you cannot help but constantly try to be innovative and creative. I personally feel stronger about the application and how the technology can be used, and the ‘cracking the code’ is more of a means to take the technology and implement the idea.

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The fashion avatar reminds you that physical reality and virtual worlds are merging at a fast pace. On a philosophical level, what impact do you think that has on how we look at ourselves? Will we stop looking at things as “real” or “digital”?

– My personal view is “Yes!”. Initially as the visual appearance of virtual characters becomes increasingly life-like, both from an image and a movement point of view, correspondingly the levels of artificial intelligence that can be used to drive and control such avatar will rapidly develop to the point where it would not be possible to distinguish between real and digital. For example, Windows ‘Cortana’ virtual assistant is very much in its infancy, but imagine a character like this being super imposed on an avatar in a decades time. The possibilities are endless.

 

Manchester Metropolitan University

Also read about virtual prototyping

CGI meets haute couture in Thomas Traum’s virtual experiment

Team of creatives at Thomas Traum, a Swiss agency for digital innovation teamed up with British fashion designer Cristopher Raeburn to land this magic fashion concept for his S/S collection. Titled “Meridian” the movie clearly crosses that mind tickling border between fashion, storytelling and video game graphics.

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Meridian sets place at a military wasteland, inspired by a desert boneland in Arizona where old airplanes are stored waiting for reappropriation. In a digital rendered replica a model is by flying airplane particles dressed in one of Christopher Raeburn’s signature looks. “We wanted to explore the possibilities of 3D-modeling clothes in a high fashion context and make a virtual version of a complete 3D fashion look,” says Thomas Eberwein, founder of Thomas Traum.

The film does not strive for photorealism but instead brings fashion concepts and storytelling together in a product line. By using 3D scanning and 3D software Marvellous Designer, earlier featured on Magic Fabric, the film results in an expression we have so far only seen in video games and opens up a new interesting digital landscape in fashion.

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thomastraum.com

christopherraeburn.co.uk

Augmented reality disrupting the fashion show

Digital fiction is still where the most mind-breaking and visually seductive stories take place. But as technology advances the opportunity of creating interesting visual experiences expands to a wider group of creatives.

Speaking to the humans senses in digital and physical form simultaneously creates great and memorable experiences. In this virtual fashion app a digital fashion show appears just at the palm of your hand. By printing out an online available catwalk card and downloading the augmented reality app, the user points at the card and a 3D-catwalk pops up.

The show gives you front row to London College of Fashion graduation show and was developed by students Chirag Grover and Tanisha Arora in collaboration with augmented reality specialists Holition and media partner Shopping Spy.

There’s no doubt that augmented reality has the potential of disrupting the concept of fashion shows and its alternate futures.

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ARapp

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Download the app at myshoppingspy.com/frow

 

London College of Fashion

Holition

Also read about Virtual Prototying

Fashion magician Jacob Kok

Dutch Jacob Kok proves what research already knows about the characteristics of an innovator – double degrees.  Having background in animation he stepped in to the role as a fashion designer ending up winning the Dutch version of the well-known tv series Project Runway. However his journey in to the high fashion world did not end up just building a ready-to-use fashion line but followed the path concept of an “Evolution” – the name of one of his  collections that brought him in to a groundbreaking collaboration with software company Autodesk.

– How did you really end up working with Autodesk Jakob?

– After seeing a demonstration of the 123D Catch application I was instantly intrigued and impressed Autodesk is able to offer such complex technology in such an accessible way. I contacted them to work together, and they were up for it, curious and excited like me.

Using the app 123D Catch the Evolution collection is brought to life letting the user rotate and interact with the model, zoom and examine the garments in detail. A digital fashion experience far from convention.

It is not the only virtual collaboration Jacob has taken on. In 2013 he presented his “Paradise” Collection, a both physical and virtual fashion experience brought to the runway as well as on the famous game platform The Sims by Electronic Arts. Without compromising his psychedelic, spectacular aesthetics  he entered the game industry.

– I’m generally very attracted to the game aesthetics, and I like the idea of interaction. Fashion is very personal, but fashion shows can be distant and impersonal. I’m working towards a similar playful interaction between fashion and the wearer. 

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Lover of aesthetic “tackiness” and “awkwardness” his specific style in fashion entered the virtual every-day life in the Sims. As a concept, you downloaded Jacobs collection to use on your very own Sims character.

Your aesthetics differ from most of the art in the video game industry, what were the reactions to the Sims collection?

– As a statement it worked very well, and people in fashion were excited about the project, but obviously people that got to play with it were mostly gamers. They were, to say it mildly, not into it at all.

You have now been making collections that both have a physical and a digital life, claiming that virtuality gives fashion new dimensions. Would you consider only making the garments digitally, or are they mutually dependent?

– Fashion is in essence about people wearing it. Even though the core of my work is about visual stimulation I tend to find it necessary to also work towards a physical purpose. I would like to state I can fully let go of the physical and investigate solely the virtual, but something inside me tells me I need to work on both. 

Jacob Kok

 

You are working in an innovation landscape of virtual technology with many possible directions such as art, computer games, online retail, product development etc. What path would you want to take from now if you could choose?

– At the moment I’m working towards a broader interpretation of my vision, approaching my brand as a design studio. Doing so I don’t restrict myself to any field. The vision and the fascination need to be guiding me.

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Jacob Kok

futureoffashion.nl

 

Also read about Virtual Prototyping 

 

Joseph Cross pushes the magic border between fashion and fiction

How does our perception change when fiction looks as real as reality?

Joseph Cross,  senior concept artist at American Bungie pushes the magic border with his robotic characters, excelling in tricking the human eye. Originally trained in traditional illustration Joseph bounced around different areas of commercial art, teaching and retail jobs until landing the first job in games as an environment concept artist on Dead Space 2 for EA Visceral. Since then he’s been working on a variety of other projects and games including Dead Space 3 and Destiny.

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 What is the story behind these characters?

-All of these are personal works. If you had asked me before I started working as a concept artist what I imagined myself doing in the field, I probably would have said designing characters. But as it worked out I’ve spent the vast majority of my career as a concept artist designing environments and spaces. So that’s what these guys are born out of, years of pent up desire to design characters.

– Aesthetically these characters come from a growing interest and appreciation of fashion, and being inspired by all the amazing character concepts out there. I did all these characters fairly quickly over about a month or so, and I really tried to think of them as fashion designs (as opposed to concept art) and myself as a fashion designer. It really freed me up mentally, and I tried to focus on textiles, materials, trends, color blocking, as opposed to rendering and how “cool” can I make this character.

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For many of us, it’s hard to grasp that these outfits are actually 2D and not 3D looking amazingly realistic. They are also highly detailed descriptions of textiles and materials. How would you for someone outside of game context explain how you technically go about?

– I always start with a photograph in Photoshop, usually of a figure that has a nice gesture or lighting, and is not too stylized design wise, something utilitarian that will provide a nice “canvas” to work on top of. Then I’ll start searching through my library of photos that I keep of industrial objects, fabrics, textures etc. looking for things might be interesting to combine with the original photo. For example a section of an airplane wing overlaid on a figure in the same perspective might provide an interesting design idea for a helmet. Then I go through that process dozens more times, with each new element informing the next, and painting in areas of the design where the materials or textiles or lighting doesn’t match. It can be tedious, and I never really know what the end result will be, but that’s the fun of it. Spontaneity is really important for me, I love reacting to design decisions that I didn’t know I was going to make.

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When is high realism something to strive for in concept art and when is it not?

– In production art I like to think realism is always ideal and something to strive for, but not always required. As a production concept artist it is your job to provide visual information and inspiration to other artists whose job it is to turn that art into a usable asset or 3D environment.

-Realism=information so the more realism the better in most cases. There are definitely times when it is not required, like if an environment artist has a tight budget or schedule and just needs a couple of quick ideas for a prop or a motif for a room to slam in. Or a quick proof of concept sketch to show a particular size of door will work in a space etc. There are also concept artists who specialize in more illustrative work, and are brought into to create amazing paintings of castles and ships to inspire the story and generate ideas in a more grand sense. In that case realism certainly isn’t a requirement.

 

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Your concepts are, as I assume imaginary futuristic. What do you think the actual future will look like in terms of aesthetics. Are the alien like, sci-fi and robotic shapes we use to describe the future ever likely to come true?

 “Predicting the aesthetics of the future” is definitely in the job description of a concept artist. It’s a slippery slope and can do your head in if you think about it too analytically, but it’s also what makes the job so fun.

– The way I see it there are a few key points or rules that I keep in mind when thinking about and designing the aesthetics of the future. These are in no way meant to be a formula for predicting the future of design, but I think they are valuable things to keep in mind if you find yourself in the position of having to do so for a living:

 1: Design is cyclical

2: There are periods of design that are objectively outstanding/superior to others

3: Life imitates art

 

So in practice I try and apply those points like this:

 For whatever point in the future you happen to be designing for or thinking about, it is reasonable to draw aesthetically from some point in the past (or present).

 –Whether it’s art, architecture, graphic design or industrial design, when drawing from the past or present make sure you have educated yourself thoroughly in as many fields as possible, so that you can make intelligent, informed and creative choices for your references.

 –Have confidence in your ability as an artist and visionary and know that artists have always had a profound influence on industries outside of the medium. 

 

Joseph Cross

Bungie

 

Also read about Chris Wells’ work for Gears of War

Sergi Brosa – Punk gangs and bikers in post apocalyptic adventure

Catalan Sergi Brosas’ biker gang illustrations brings you into a playful, punky world after a possible apocalypse. The characters are a part of an upcoming title from Canadian studio Kemojo. As the project still is at an early stage of development, we can only enjoy parts of the artwork so far, imagining the story growing.

–  These are children of the wasteland. At this stage, we are producing my own concepts. So I’m allowed to choose what I want to do with each character. They are choosing if they want more girls or more boys or when we change clan of people. I’m just starting with a new clan, kind of different from the Biker Crew.

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Living and working as a freelance artist in Barcelona,  game concepts was not an obvious choice of career.

–  I ended my studies some years ago not feeling professional enough to start working for the industry. I guess that happens to many students. So at that time, I was  working as a freelance artist. I started doing commissions on DeviantArt while I could do freelance work for some companies. The one that offered me a permanent job at that stage was a toy company. I was working on a variety of things; tiny toys, advertisement stuff, cards… Meanwhile I was trying to finish off comic projects for a French company, a project that failed. So, I decided to focus on other areas, like video games. I believed video games wouldn’t get me stuck on the same topic, so I would fall  into a routine. Video games is also one of the faster growing industries where art have an important place. 

 

 How are you proceeding with the material and turning them into 3D characters? How much of your artistic expression gets lost in the transition?

– As we are at an early stage of development, I can’t really say. But I guess we will lose some expression. For example,  in the visuals I am using a strong cell shading style, mixed with dark lines. This gives the characters an attitude that 3D rendered colors will lose. And this is why I love cell shading because I can express this fluent.. this flowing look to the final piece. This final expression could also be achieved with fast and messy brush strokes. Thing that 3D can’t offer at all. I am talking in general 3D terms, not this game in particular. I’m sure that in the next years there could appear some 3D software that would generate this hand made look. I know there is a cell shade look for 3D, like in video games like Dragon Ball. But they still need to be more fluid in the forms.

 

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Do you see any trends in character art right now looking at game studios around the world?

-I am not sure. If we take a look at the final visual style (color, lines), I think this kind of style is being used for old school role playing video games, and old school fight games. I’m not really seeing too much of this style in modern video game art. Usually everything is looking more painty, in games I like to play, looking very realistic.
-About the topic of the game, this postapocalyptic stuff is hitting big. Many movies have been made on that topic aswell as video games. The game Rage was the trigger that pushed me to produce postapo stuff. I always loved sci-fi, but postapocalyptic is for me on a different level. I love how everything is wasted and I love the freedom of doing what I want to do without social acceptance. Many of the things I have in my head..it’s accepted in this crazy no laws world. 
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If I let you predict the future of game production 20 years from now, what would it look like? What would you want it to look like?
-Haha, good question. I imagine an ungravity room where you can wear 3d view glasses and have your whole body covered by a some kind of armour to be able to move your it to control characters. Run, Jump, etc.
If we travel to a more futurist moment in time, directly connecting video games to your brain to feel everything, to make it as real as reality. But watch out for viruses.
Sergi Brosa

 

virtual prototyping

-It’s as if I was in a computer game. Once you know the rules, you can play for hours’, explains Design student Jennifer Droguett. This virtual “game” is 3D virtual prototyping software developed by Lectra. Designing clothes with this technology can feel like playing a game with an avatar

Software for garment prototyping seems to continue winning ground in the fashion industry and fashion schools worldwide are preparing their students for a new, 3D oriented craft landscape.

Tech company Lectra recently collaborated with dutch AMFI in letting the students innovate with their virtual 3D software.  High function aswell as more experimental suggestions were made.

AMFI teachers stress the fact that a fashion designer of today need to know the physical craft aswell as keep up with new technology.

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-For companies such as Adidas and Nike the virtualization of their collections is already implemented. By reducing samples they reduce costs, that’s a fact

-Fashion companies like Dior Homme and other fashion brands are following. They will all need the 21st century designers that graduate with these 3D skills in their portfolio. (AMFI)

Alicia Isabelle

 

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Lectra

Also read about Marvelous Designer  

 

steampunk – a digifashion phenomena

Are there visual styles with a stronger digital connection than a physical one?

Steampunk might be an example of subculture grown strong in digiculture, a phenomena at the fringes of pop culture.

Steampunk as a term bloomed in the eighties having grown out of a vast referencial system in literature and film. Cyberpunks sci-fi sibling has been described as “what the future would have looked like i it had happened sooner”. It is a pseudo Victorian dream with attributes of industrialism playing with element of air balloons, steam-powered machinery and mechanical computers.

“Steampunk may also, though not necessarily, incorporate additional elements from the genres of fantasy, horror, historical fiction, alternate history, or other branches of speculative fiction, making it often a hybrid genre. The term steampunk’s first known appearance was in 1987, though it now retroactively refers to many works of fiction created even as far back as the 1950s or 1960s.

Steampunk also refers to any of the artistic styles, clothing fashions, or subcultures, that have developed from the aesthetics of steampunk fiction, Victorian-era fiction, art nouveau design, and films from the mid-20th century.[2] Various modern utilitarian objects have been modded by individual artisans into a pseudo-Victorian mechanical “steampunk” style, and a number of visual and musical artists have been described as steampunk.” (Wikipedia)

Still with cross media popularity it still is mostly appreciated in video games while having a movement like analogue life. It is a popular subcultural manifestation outside the fashion spotlight still evolving finding new visual expressions.

 

The Steampunk Tribune

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Demons and Deities by Mike Corriero

Sometimes you come across work that is hard to categorise, that walks on a thin magic line for one to really know if you are looking at a game concept, illustration or an advanced fashion sketch. Mike Corriero’s  project “Demons and Deities is reminiscent of a high fashion moodboard, still being part of a completely different work field.

– I used a very different technique to tackle the specific Demons and Deities for this personal project. It involved fashion design as the base and using a lot of real world tribes and various cultures all across the globe as reference. Runway models helped establish the basic lineup and a few of the general silhouettes.
The majority of the concepts were built upon multiple layers of lasso tool selections and gradient fills. A lot of custom brushes were used as dominant shapes and patterns and most of the designs were created through graphic and abstract shapes with hints of real world armor, cloth and trinkets. This was a very experimental process that turned out to be quite relaxing and fun to explore.”

Mike Corriero Demons and Deities

Mike has nearly 10 years of experience as a freelance Concept artist and Illustrator for the Entertainment Industries. He has worked for companies such as Liquid Development, Radical Entertainment, Applibot Inc., Paizo Publishing and Hasbro Inc among others.  One of his specialities is creature design and his Da Vinci like way of sketching creates interesting tension, considering the computerized context.

“I’ve always been intrigued and mesmerized by all of God’s creatures in this world. Whether I went fishing with my Dad and my brothers or whether we were camping, I was always wading in swampy water, weeds and flipping over rocks searching for “creepy crawlies”. I would collect all sorts of insects, frogs, toads, salamanders, snakes, newts, turtles, lizards and anything I found interesting. I always released them but it was fun to observe and study them even at such a young age.

– My interest in animals is what feeds and fuels my desire to create and design fictional creatures. It’s something that’s so natural to me that it’s become second nature. As far back as I can remember I had an interest in films that explored vast and exciting worlds with abundant and believable ecosystems. I love watching nature documentaries like BBC’s Planet Earth, Life, Madagascar, and Africa.

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What are you currently working on? 

– I’m currently working on world building with an idea about a vast array of cultures, tribes, creatures and exotic environments. It’s a joint collaboration in which I’ve invited a small handful of other artists I respect to join me in exploring this concept. The project will be driven and steered in whichever direction the work takes it, but the current topic revolves around “Demons and Deities”. Exploring the mythological, tribal and biblical beings and using those as a base stepping stone to design a fictional world where these beings exist in reality and remain a mystery to the cultures and tribes that worship and fear them.

– The thing that drives me as an artist personally is the basic principle behind creation. I am happiest sitting down in front of my computer or a sketchbook, with a cup of coffee and listening to music or watching a good movie for some inspiration. I could sit and sketch until the day grows old and lose myself in the world and ideas that come pouring out of my mind. To be able to fill a blank sheet of paper or a digital canvas with creatures, environments and all the crazy thoughts that run through my head is such a great feeling. It’s an addiction that fills my every thought and waking moment.

 

 

www.MikeCorriero.com

ID presents the future of fashion

What can we expect from a future fashion industry when advanced technology makes itself both available and cheap for the average every day consumer?

While ID Magazine released its new digital channel it made its stylistic suggestion; a 15 minutes high-tech runway installation at the New York launch party. A web glimpse of the concept is available on the site letting the user move and rotate models while changing sound and background.

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 “Onstage models entered a holographic diorama and were immersed in digital projections, enhanced by a multi-dimensional musical experience – every variation of model, scene and look triggered a different element of the original score by Yeasayer’s Chris Keating. During the event the audience was invited to haptically draw on the diorama using the Samsung Galaxy Note 3, after which they could interact with and create their own personal fashion shows using the main diorama alongside one of three scale models. Playing with buttons on the devices´ touchscreens allowed attendees to choose their designer, design and environment, while swiping allowed them to rotate the model and apply audio filters. Using your cursor, you can re-create and personalize your own interactive fashion show. ID_3

In a video ID lets people in the business speculate around the new marriage between fashion and technology. Interestingly enough it still has the perspective of a top down trend system. Fashion veterans welcomes new technology such as 3d printing as a way of strengthening the brand towards the customer.

The possibility of a two-way interaction in the fashion industry is sometimes raised using customization in online retail but rarely used as a force of changing the perspective further. Environmental issues questions a system where the consumer is eager to buy and eager to throw away. It’s lack of functionality aspects it works against entrepreneurship and underground innovation when an unknown label can never be first to market with the latest thing and has to build up to a high level of integrity before it can make money.  With interactive technology we now see new possibilities of letting the consumer having a voice instead of being market dictated.

Beyond possible new business model there is also the underlying philosophical question mark; what does the industry use technology for and what does it need to use it for? Fashion gurus will continue to scratch their heads to keep up with an unstoppable revolution.

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ID magazine 

Also read about Lectras’ collaboration with Dutch AMFI

Conan inspired Concept art by Christoffer Lovén

Christoffer Lovén studies at Future Academy in Stockholm, an aspiring  Swedish 3D artist. In addition he already works as a Concept artist for Machine Games.

Christoffer’s work has a softness and subtlety to it and the theatrical expression of it reveals a great interest for filmic and scenic art.

What was your inspiration developing these characters?

-My fantasy characters are a part of my creative process in developing interesting individuals for a book. My inspiration for these came from different ancient cultures mixed together and spiced with influences from the fantastic world of Conan.

What are the most important thing to think about when designing a character for a game?

-To let the characters convey their history and culture through how they look. When you have established your character’s back story it’s then easier to come up with designs on how they dress and to find a place for them in the world.

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Looking at Concept art sketches  it may seem like a world with endless possibilities. In opposite of working with real life, product design it’s a world of fantasy, storytelling and artistic freedom.  However, the technical framework requires a specific artistic mindset.

What are the main challenges transforming concept art into real, functioning 3D characters?

-To create a character which is easy for the player to read in terms of silhouette and colors and that fits within the rules established in the game. It’s also very important to know and understand how the character that you are making is going to move. The animators should be able to get a feel of the motion of the character just by the concept art.

Read more about Christoffer Lovén at loveusart.com

 

Chris Wells’ amazonian women for Gears of War 3

Third title in Epics cover shooter Gears of war sold over 3 million copies during the first week at release and has over the years grown into a legendary title in it’s genre. It holds a lot of the characteristics of a classic shooter game and has despite of criticism of “dude bro” masculinity and excessive violence quite a large audience of female gamers.

Chris Wells, Senior Character Artist at Epics art team has over 16 years of experience as an animator for game development and played an important part in the process developing the characters for Gears of War. It might be hard for an outsider to imagine the creative process of an entertainment product of this scale; the technical skills and massive team work where with the level of detail a game character holds today.

Chris, if you were to describe  for a kid, a five-year old what it is that you do all day. What would you say?

-If I were to describe what I do to a child, I’d say that I make puppets on the computer.  In simple terms, that’s really all that I do.  It takes a team of artists and animators to bring them to life.

A skilled 3D artist of today has the opportunity of designing concepts,  environments and people that don’t exist in real life.  At a technical level where cloth, textures and physique looks fairly realistic that is an extremely powerful tool, even outside of a game context.  In game production there’s very little room for mistakes, going back to the drawing table would mean throwing away huge amounts of work.

To look into the actual visual possibilities is like a “God’s particle” discovery. Although the technological evolution in the game industry has not as it may seem made the process quicker and easier, it has actually raised the bar for the developers at a time when gamers get used to more detailed and advanced graphic experiences.

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Gears of war has been criticized for the lack of female characters och decided in it’s third entry to introduce playable female characters. The result is amazonian in comparison to a more sexualized definition of femininity.

When you decided to female characters into the third title, what was your starting point? Did you just transfer the attributes from the male characters or did they have other characteristics?

– As with all game projects, it really is a team effort.  The idea started with Cliff as I recall.  As he and other developers traveled to comic con and other events, they (myself included) were surprised to find that in addition to male cosplayers in COG costumes, there were several female cosplayers doing the same thing.  

– So once design brought the mandate down for female COGs, it went from the Art director (Chris Perna), to the concept artist (James Hawkins), to me.  We wanted to make sure the women were heroic, like Ellen Ripley of the Aliens movies.  For me, it took some time to get the look right, and I would find myself continuously revising and polishing the female models even a year after they were technically complete.  

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-Some of the hurdles were technical, because hair in UE3 at the time was best if it was dark.  Anya is a blonde of course, so that required a lot of attention to detail, as well as coding support for new tools specifically for hair.  Aesthetically,  Chris Perna had a clear vision of what he wanted, but gave me a lot of room to explore and add to the look.  

The guys were really strong, armored and heavy,  so we needed to keep the females to be believable as well.  I figured that we could sell it if we had ‘pockets of femininity’, for lack of a better term.  Basically alternating the bulky, hard surface forms of the armor, with a graceful curve in the waist area and the hips.  I also tried to make their faces as attractive (yet still strong) as possible, and I used inspiration from fashion models athletes, and even the final fantasy series for cues.  In addition, Maury Mountain and Mike Buck did amazing work texturing the bodies of Sam, Anya, and the Queen.  I’m really proud of what we accomplished as a team, and thanks to all the fans who enjoy the series!

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Chris Wells

Epic games