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Artwork Feature #6: Diftnorm - Golden

Alexander Otto, better known as Diftnorm shares his experiences with a 3ds Max project he has been working for 4 weeks. "Golden" is a collection of fine elements mixed with a lot of surrealism I've never used any kind of 3D applications to work on my stuff, but in last year's October I got pretty familiar with Cinema 4D. Actually I was highly surprised by it's super easy interface and workflow and how easy it is to create simple renders. But I stopped using it early this year because I jumped into 3ds Max which has totally blown my mind away. From that I needed to learn a lot of stuff, very easy like what render engines are available, getting familiar with the interface in max, starting to create simple models, et cetera. After that I tried different Plugins in 3ds Max like Rayfire, Multiscatter, Fume FX, how to render large scenes with Vray proxies, integrate RealFlow meshes, render a composition with Vray and much more. I haven't worked on a personal piece in a while so I thought this would be a great project to combine it with my new skills. I really love hyperrealistic situations turned into surrealism. So basically I created this piece to show up some of my new skills — Golden contains three levels of golden elements mixed with a lot of surrealism. In the very beginning I had the idea of creating some kind of box model with 3 floors, each special in theme, style and object choosing. For reseach and development I put a few models that has matched with my concept into different compositions for getting a feeling. You can find three selected pieces here — I like them because they've some kind of lo-fi tech feel: RESEARCH & DEVELOPMENT After I had the right feeling of what style, objects I'd use in my piece I concentrated myself on building a shape that allows me to integrate all my stuff. I've chosen a very high rounded box with just three stages. All three levels are visualy linked with the red cracked crystal in the middle. Below you can find a screenshot I took to give you an idea how it looks like in the 3D application - just in case you've never opened 3ds Max. The final scene was way to heavy to render it on my old PC - yes I was working with a PC - so I needed to split the scene into 6 pieces for rendering it in a high-resolution. It was a nightmare, trust me. Detail Renders: For more information about Diftnorm please visit

Artwork Feature #5: Alexander Otto - Solstice

This is part of our new series of posts. Here we feature a selected piece of art and have a little chat with the designer who made it. They give us a bit of background information and details about how the work was conceptualized and created. This week's pick is from german graphic designer Alexander Otto, better known under his moniker "Diftnorm". Mr. Otto sat down exclusively for Abduzeedo and wrote about the background of the image exclusively. Enjoy. Solstice About Solstice This issue was curated by KDU partner, Josh Vanover, KDU Core member, Victor Antonio and KDU Founder, David Gensler. Containing over one hundred original images, it represents our continuing effort to crate the future while resisting the Digital Haze and Hype. Alexander Otto about his "Solstice": After I've gotten the briefing from Josh Vanover and Victor Antonio my mind was blown away. The final magazine contains over one hundred original images produced by top KDU members. So was I pretty aware that my illustration needs to fit into the style of the old issues of Solstice - Also I wanted to develope a new rough dark style and show a range of good quality technical skills in my piece. I've put together some images to visualise the process of the illustration. First I've started with a black hi-res PSB and begun to create the background. I like to play with textures and stocks in the very early beginnig and try to make a nice composition with them - have a look at the only background version for what I was up.Afterwards I started to add more colors and begun with the dark mountain which contains the KDU Logo and a big box on the top. I developed the look with the help of a few stocks and matte painting technics. I than concentrated more on the foreground, I was sure I would need something that matches more the concept and the composition itselfs. I used different stocks and textures to create than the painfull looking girl in the front. In the end I am always going to add tons of adjustment layers, overwork and add details to the main parts on the illustration - in my mind the best part in the process of creating an illustration - and add some more textures. Visit his website at Details