Instagram Story Viewer

POV: you wanted to give someone 💐 flowers for the aesthetic + symbolism, but 💐they die too quickly.

… so you diffuse a 100 flowers (easiest with @krea_ai) to arrange as numbers, and print the card deck to give so they can play & make longer lasting memories ❤️ 🤞

#giftideas #cardgame #carddesign #kreaai #generativeart

#artvsartist for a pandemic era art wrap…
..
… makes me wish I did this each year to have things to look back on. It’s fun enough I’ll scrounge up work for a BeforeCollege-During-After comparison —

— but in the meantime! Cheers to the New Year coming and to the wonderful collaborators ❤️🙌✨🎉that I’m so grateful to have gotten to work with on pieces in ^ here: @praveensharma @katie.McIntyre @graycrawford @jasonyuandesign

Did some 3D modeling, lots of rendering…most by hand for @normani and @iamcardib.

Tag team with @mcintyredesign

Photo by @jorafrantzis
hair by @tokyostylez makeup @erika_lapearl_mua stylist: @kollincarter 🙏 #albumart #cardib #normani #albumdesign

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Underlying image crafted in late 2021 — another archival documentation, with the spin of 2024 LumaLabs video gen (what they have up as research preview of ‘Dream Machine’, no text prompt, just seeing what the model has implicitly inferred)

I’m pretty bad at keeping up with posts.

Trying to do them roughly in order 😂 of the arc clip-diffusion models took. This one had GAN’ed moodboard imagery and diffused images for its interesting texture (from Gray Crawford @graycrawford)

Back when clip-diffusion was more useful as somewhat abstracted textural, material, and particle render reference than illustrative ones (low resolution outputs, lots of hallucination and not as much coherence) it was a delight to use, because it was such a relief not to have to simulate, and then render those billowing purple sulfur vapors (y’all x particles is $$$$ for a personal thing).

I delighted in the surprising, hallucinated textures.

it was still an era where I enjoyed maximalist, indulgent detail (I still do, I’m just…. Fatigued of it as of late)

❤️ I was in the Rift headset sculpting the layers of skeleton, veins, skin and muscle for the joy of learning anatomy a little better by having to piece them together spatially (inspired by Gio Nakpil’s @gionakpil sculpting expertise).

Having to sculpt the anatomy stretched every moment of considering a part down.

😂I think my high school anatomy class should have had sculpture homework assignments and modeling exams to create that meaningfully paced, slow absorption.

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

Lizzo piece from 2021… 😅archival documentation now.

This was my last VFX client work classically modeled, composited, and hand painted in the process of designing the virtual outfit and landscape.

Today I am still fond of the hand modeled digital couture in this piece, but it’s bittersweet as the intentionality of the manual piece (manifest through a meticulous attention to detail, doing a final hand-paint pass through every render) is lost in the sea of ‘high production value’ aesthetics of prompted generations.

I remember quite distinctly, the frantic 😂 scramble of brushing in more trim light to Lizzo’s hair, brushing through each ambient occlusion shadow to make it feel just right, working through my first day on vacation with friends, in an Airbnb to get this giant .PSB file of 8k resolution layers and layers out the door.
….
And then within the hour of handoff seeing the early clip-diffusion models on Gogole collab notebooks and feeling immediately immensely relieved, elated, and devastated.

lol.

Relieved — because it meant I’ll never have to hand paint and composite something as repeatable/mundane as sky again.

Elated — because I could bring high production value craft and detail not just to paid work, but for truly very personal gifts that I make no money on. I could create a hundred variations of flowers shaped like numbers for a card deck I gift my boyfriend’s mother, just as easily as I could a few commissioned images for celebrities.

Moody — because level of care in a design could no longer be implied by the technical craft of execution. The fidelity of an idea and how resolved it may be, no longer had a relationship.

And that’s fine, it’s an end to an era overall that has been wrapping up with polished visuals brought everywhere. This era we just need to think more critically about the ideas/designs/visuals we’re receiving, because the production quality no longer implicitly tells us how long someone has at minimum thought about or considered it….

Photography & creative direction by Jora Frantzis & Katie McIntyre, (+ VFX collab from Katie), with the bald bust of Lizzo sculpted by …. 🫣… I don’t recall, another 3D artist…

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

2024 WWDC memories ❤️ what a joy it was to banter with @geppyp on stage and to meet all the developers (and designers!) that came in person.

I dare say it was the most adorable storytelling 😉 people could get for a session on model optimization and the hidden benefits of inference time.

(😅no link to any recorded session because it was exclusive to the live event)

“Dirt Fam”, the first single off my upcoming album, “Triple Transit”, is out now! I’m so grateful the incomparable @lumar_isa’s work on all the artwork for my recent and upcoming releases. For “Dirt Fam” and “Triple Transit”, Marisa used a mix of generative AI and hand drawn illustration to create a hazy yet optimistic atmosphere that set the stage for the music to shine. 🔗 in ☣️

“Dirt Fam”, the first single off my upcoming album, “Triple Transit”, is out now! I’m so grateful the incomparable @lumar_isa’s work on all the artwork for my recent and upcoming releases. For “Dirt Fam” and “Triple Transit”, Marisa used a mix of generative AI and hand drawn illustration to create a hazy yet optimistic atmosphere that set the stage for the music to shine. 🔗 in ☣️

“Dirt Fam”, the first single off my upcoming album, “Triple Transit”, is out now! I’m so grateful the incomparable @lumar_isa’s work on all the artwork for my recent and upcoming releases. For “Dirt Fam” and “Triple Transit”, Marisa used a mix of generative AI and hand drawn illustration to create a hazy yet optimistic atmosphere that set the stage for the music to shine. 🔗 in ☣️

Image prompting through control net has been great for getting sheer volume in 🙌 for making playing cards! And it was much easier on @krea_ai than it’s been local ❤️

It’s been a few weeks of a lot of different techniques! Lots of process to document….

Many iterations, many alternates drafted, 😆maybe too many different softwares used. A whole lot of compositing and a custom avatar later….

Art made with @katie.mcintyre, on exhibition by @decentralartpavilion
https://superrare.com/0xd9f4b4676ad7f5fa930f5f2a7112da4033aaf1c2/rebirth-24

It’s been a long time since I’ve had a casual post…

Just picked something nice from my camera roll. Love prompting GAN for fab texture detailing and flowing abstracted forms…

Generated in #midjourney without any manual retouching.

#diffusionmodel #ganart

It’s been a long time since I’ve had a casual post…

Just picked something nice from my camera roll. Love prompting GAN for fab texture detailing and flowing abstracted forms…

Generated in #midjourney without any manual retouching.

#diffusionmodel #ganart

“Rebirth” is a piece with @mcintyredesign, on exhibition @decentralartpavilion in Venice that takes on the challenge of visual contrast; taking the messy, often uncomfortable visual motifs of physical birth, and crafting it sculpturally as a metaphor celebrating women reforging themselves and each other.

It was started in 2020, so the VR sculpted elements were still made in @adobemedium, but excited for the Modeler beta for future pieces
.
.
.
#3dart #3d #3dartist #3dmodeling #facegen #customAvatar #3dmodel #zbrush #adobe #adobemedium #vrsculpting #oculusmedium #xrartist #adobemediumsculpt #vrart #vrartist #arartist #virtualrealityart #designervinyl #creativebooms #digitalsculpting #concept_art #womenartists #womenartistsofinstagram #procreate #procreateapp #ipadprocreate #applepencil

❤️love that @adobemedium made modeling this fast enough to do in one sitting after work, and before dinner

Very grateful 🙇‍♀️🙏for the opportunity

@fkatwigs @theweeknd

Directed @agjnyc
3D Artist: @whois.sim
Type Designer: @nitze
Type Animator: @jasonyuandesign ❤️
@objectandanimal
Type Modeler: @lumar_isa
editor @chiaochen

🙇‍♀️much ❤️ to @gionakpil for evangelizing and teaching on modeling methods. Wouldn’t have enjoyed organic sculpting without him!

❤️love that @adobemedium made modeling this fast enough to do in one sitting after work, and before dinner

Very grateful 🙇‍♀️🙏for the opportunity

@fkatwigs @theweeknd

Directed @agjnyc
3D Artist: @whois.sim
Type Designer: @nitze
Type Animator: @jasonyuandesign ❤️
@objectandanimal
Type Modeler: @lumar_isa
editor @chiaochen

🙇‍♀️much ❤️ to @gionakpil for evangelizing and teaching on modeling methods. Wouldn’t have enjoyed organic sculpting without him!