The Library

2000+ directions, one studio.

Sixteen are shown here, each one a real page we built and then recorded scrolling, so you watch the layout and its motion the way a visitor would.

Contact sales See the boards

Every window takes a different design language to the same brief.

These are not active websites but are visual representations of what we can professionally produce. Contact sales for information on design capabilities.

Type, colour, rhythm and motion pushed somewhere distinct. Pick the ones that feel like you and we will build from there.

Sixteen concepts in four families. Open a family to play its four recordings.

Black ground, one accent

Concepts 01 / 03 / 06 / 09 4 recordings

Near black grounds carrying a single saturated accent, used as punctuation rather than as a surface. Scale and tonal steps do the work that weight and shadow normally would.

nextgendesign.net — concept 01

Quiet Void

Black canvas, oversized light type, one violet action. Scale carries the hierarchy, never weight.

nextgendesign.net — concept 03

Ember Chamber

Condensed uppercase on near black, tonal steps instead of shadows, rust used only as a stroke.

nextgendesign.net — concept 06

Prism Split

Sculptural 136px display, zero filled buttons, and an RGB channel split used purely as artefact.

nextgendesign.net — concept 09

Arterial

Gallery wall black, monument display type, and a single arterial red used only as punctuation.

Paper and print

Concepts 02 / 13 / 14 / 15 4 recordings

Light grounds borrowed from print: frosted paper, pastel board, magazine rhythm and a broadsheet grid, each holding one signal colour and no bold weights.

nextgendesign.net — concept 02

Clinical Light

Frosted paper, hairline borders and generous radii. A product interface rather than a poster.

nextgendesign.net — concept 13

Sticker Pop

Pastel paper, hand-cut black outlines, crushed display type and a marquee that never stops.

nextgendesign.net — concept 14

Warm Marble

White canvas, warm near-black ink and one signal orange. Magazine rhythm, no bold weights.

nextgendesign.net — concept 15

Broadsheet Green

Printed financial page reimagined: monumental serif headlines, rules everywhere, one neon green.

Interface and instrument

Concepts 04 / 08 / 10 / 11 4 recordings

Product screens rather than posters: hairline panels, translucent chrome, monospaced data and exactly one action per view.

nextgendesign.net — concept 04

Gilded Ledger

Serif display against a UI sans, one white action per screen, copper reserved for editorial labels.

nextgendesign.net — concept 08

Command Deck

Immersive black with translucent blurred chrome, tiny interface type and a serif body.

nextgendesign.net — concept 10

Violet Terminal

Developer-facing black with a violet code accent, hairline panels and a real terminal block.

nextgendesign.net — concept 11

Trading Terminal

Dense three-pane interface, tonal steps in place of shadows, monospaced data and one ice-blue signal.

Glass, gradient and band

Concepts 05 / 07 / 12 / 16 4 recordings

The surface carries the design: full bleed colour tiles, frosted glass, midnight and white bands, and gradient filled monument type.

nextgendesign.net — concept 05

Chromatic Tiles

Whisper-weight display at a crushed line height, with colour allowed only as full-bleed tiles.

nextgendesign.net — concept 07

Frosted Glass

Midnight canvas, faint grid, gradient headline and exactly one vivid violet fill.

nextgendesign.net — concept 12

Cockpit Twilight

White and midnight bands, a 187px architectural hero, headlines that end with a full stop.

nextgendesign.net — concept 16

Type Foundry

Dark hero with gradient-filled monument type, then a light canvas of sharp-cornered panels.

Behind the build

How the work gets made

77 screenshots, renders and working files from the build of this site, sorted into four boards. Open one to see what each image was doing at the time. Nothing here is a stock picture.

77 images 4 boards Shot in the studio No stock

01 The Work library, sixteen windows WORK PAGE / CONCEPT RECORDINGS 17 images

Sixteen web page concepts built as small React compositions, then recorded frame by frame and encoded as looping clips for the Work page.

Deterministic Recorded Sixteen

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*01.01*C01 QUIET VOID Concept one. A constellation of frames drifts on black while a six digit code is the only way in.

*01.02*C02 CLINICAL LIGHT Concept two. A white control panel counting frames released, events, live albums and storage used at a glance.

*01.03*C03 EMBER CHAMBER Concept three. Warm ember light in a dark room, sitting behind the promise that every frame stays private.

*01.04*C04 GILDED LEDGER Concept four. A midnight vault that treats each photograph as a line in a ledger which balances exactly.

*01.05*C05 CHROMATIC TILES Concept five. A midnight gallery of quiet wealth, with the access code field tucked under the headline.

*01.06*C06 PRISM SPLIT Concept six. Light broken into three channels through obsidian, one archive shown with no compromise on colour.

*01.07*C07 FROSTED GLASS Concept seven. Violet glass and a faint grid stand between the visitor and the archive held behind them.

*01.08*C08 COMMAND DECK Concept eight. A single luminous globe of points floating in a void, coordinates printed in the corners.

*01.09*C09 ARTERIAL Concept nine. A black gallery wall with one red rule under the line about hanging work in darkness.

*01.10*C10 VIOLET TERMINAL Concept ten. Documentation styling with a live code sample opening a whole private album in a single call.

*01.11*C11 TRADING TERMINAL Concept eleven. A frosted blue chart plotting frames released against events, read like a market data screen.

*01.12*C12 COCKPIT TWILIGHT Concept twelve. A warm dusk gradient behind the studio wordmark, set very large across the whole frame.

*01.13*C13 STICKER POP Concept thirteen. Inflatable pastel shapes on pale blue paper, the brightest and least formal of the sixteen.

*01.14*C14 WARM MARBLE Concept fourteen. Editorial layout on warm marble, with a soft blurred plate standing in for a photograph.

*01.15*C15 BROADSHEET GREEN Concept fifteen. Newspaper typography in a pale green room, one phrase picked out in highlighter green.

*01.16*C16 TYPE FOUNDRY Concept sixteen. Brutalist type at dusk with a loading readout listing frames, events, albums and access defaults.

*01.17*CONTACT SHEET Built after the recording pass so all sixteen posters could be checked side by side in one look.

02 The camera hero, render and tune HOME PAGE / THREE DIMENSIONAL HERO 22 images

Two routes to the same hero. Blender clips rendered frame by frame first, then a live scene driven by the scroll, tuned against sliders until the numbers were locked.

Rendered Scrubbed Locked

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*02.01*BLENDER, MESH IN EDIT MODE Edit mode on the body and lens, showing how dense the bought mesh is before any of it was cut apart.

*02.02*BLENDER, SHADED AT FRAME 90 The same shot shaded and textured at frame ninety, three rigs carrying the bodies with motion blur switched on.

*02.03*FLY IN, LANDSCAPE Five camera bodies arrive from off screen, tumble, slow hard and settle into a floating arrangement.

*02.04*FLY IN, PORTRAIT The same flight laid out taller, so a phone held upright never crops the outer cameras away.

*02.05*EXPLODED ASSEMBLY The lens cut into six rings, four glass elements modelled from scratch, twelve screws leaving along their own axes.

*02.06*FLY IN, SUPERSEDED The first render, later replaced. Fast moving edges tore under motion blur, so the whole clip was redone.

*02.07*MOBILE POSTER Shown instead of the animation on phones. Measured too dark against the page, so it still reads as empty.

*02.08*TUNING RIG CONTROLS Sliders for presence, pin length, spin and idle float, with a live frame rate reading underneath.

*02.09*BACKGROUND, SITE VALUE Tested against the near black the page actually uses, to see whether the bodies stay readable at all.

*02.10*BACKGROUND, CHARCOAL The same arrangement on a lighter wall, checking how much separation the bodies keep when the room brightens.

*02.11*BACKGROUND, MID GREY On mid grey the cameras read easily, which pointed at page contrast rather than the lighting being wrong.

*02.12*EXPOSURE, LOWEST The dimmest of four exposure steps, looking for the point where the shape stops being legible.

*02.13*EXPOSURE, MIDDLE Middle exposure. The lens barrels and the red ring separate cleanly without the bodies turning flat grey.

*02.14*EXPOSURE, FULL Full exposure. Too bright for the page, but useful as the top end of the range being judged.

*02.15*LOW KEY, VARIANT A First low key lighting pass, keeping most of the body in shadow and letting one edge carry it.

*02.16*LOW KEY, VARIANT C Third pass, and the version that reads best on black without ever looking lit from the front.

*02.17*COMPOSITION, EARLY The arrangement early in the flight, bodies still spread wide and turning towards their final angles.

*02.18*COMPOSITION, MIDDLE Halfway through. The group has drawn in and the largest body is close to where it stops.

*02.19*COMPOSITION, SETTLED The settled frame the visitor actually holds on, which is what the composition was judged against.

*02.20*RIM LIGHT, OFF No rim light. The bodies lose their outline against a dark page and merge with the background.

*02.21*RIM LIGHT, SOFT A soft rim. Just enough to draw an edge without adding a highlight that looks stuck on.

*02.22*RIM LIGHT, MEDIUM A stronger rim. Cleaner separation, at the cost of looking more like a product shot than a page.

03 Source material and the live page MODELS, TEXTURE MAPS, SHIPPED RESULT 20 images

What the hero was actually built from. Manual diagrams read for the lens parts, photogrammetry texture sets measured before choosing a model, and the finished section on the live site.

Measured Mapped Shipped

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*03.01*LIVE, WITH COPY BLOCK The hero on the home page with the copy block on the left, vertically centred over the animation.

*03.02*LIVE, SETTLED Further into the scroll. The cameras settle upper right and the caption names the body along the bottom.

*03.03*CANON DIFFUSE MAP The colour map for the Canon body, flattened out. Every dial, badge and the red ring live here.

*03.04*CANON NORMAL MAP Surface detail stored as colour. This is what gives the grip its texture without adding any geometry.

*03.05*CANON GLOSSINESS MAP Where the body is shiny and where it is matte, which decides how the light behaves on it.

*03.06*CANON HEIGHT MAP Fine relief, mostly unused in the end. Kept because it was the fuller of the two texture folders.

*03.07*CANON SPECULAR MAP Almost empty. A useful check that the model shipped a real texture set rather than a token one.

*03.08*CANON OPACITY MAP Nearly all solid, with one soft cut out. The reason the model needed no transparency work at all.

*03.09*SHIPPED COLOUR MAP The same colour map cut down to the size that actually ships to a visitor, at forty five kilobytes.

*03.10*SHIPPED DETAIL MAP The detail map as shipped. The largest single texture the page downloads, and worth every kilobyte.

*03.11*NIKKOR LENS SCAN TEXTURE A four thousand pixel scan of the separate lens. Detailed, and never used once the Canon was chosen.

*03.12*NIKON Z6 SCAN TEXTURE The rejected model, a fifty eight megabyte colour scan with the lighting already baked into it.

*03.13*THE REFERENCE PRODUCT SHOT The Nikon body and lens as a plain product photograph, the flat clean look the hero was aiming at.

*03.14*MANUAL, FULL PARTS PAGE The lens manual page numbering every ring, switch and cap. Read to work out what could be taken apart.

*03.15*MANUAL, PARTS OVERVIEW A wider view of the same page. The hood, both caps and the mount all called out separately.

*03.16*MANUAL, HOOD FITTING How the hood mounts and locks. Useful for knowing which pieces rotate rather than pull straight off.

*03.17*MANUAL, HOOD REMOVAL The reverse of the same move, which is where the direction of each exploded part came from.

*03.18*MANUAL, ZOOM TRAVEL How far the barrel extends and retracts. This is what the six ring cut had to respect.

*03.19*MANUAL, FOCAL SCALE The focal length scale, showing which positions are usable. A small detail that told the barrel apart.

*03.20*MANUAL, FULL PAGE The whole page with its instructions, kept as the source rather than only the cropped diagrams.

04 Reference and abandoned paths WHAT SET THE BRIEF, WHAT DID NOT SURVIVE 18 images

Generated stills that set the exploded camera direction, and the early concept grids from the first recording pass that the sixteen chosen windows replaced.

Explored Rejected Kept

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*04.01*FLAT LAY, FRONT ON Body and lens straight on, sensor open. The cleanest read of the two pieces the hero would use.

*04.02*FLAT LAY, ANGLED The same pair turned slightly. Enough perspective to show depth without losing the flat product feel.

*04.03*EXPLODED, GREY A The image that set the brief. Body opened out with the lens elements stepping away along one axis.

*04.04*EXPLODED, GREY B A second pass with the rear screen swung out, which is why the shipped explode separates the back.

*04.05*EXPLODED, CUT OUT The same explode with the background removed, used to judge how it would sit on a dark page.

*04.06*PAIR ON GREY Body and lens on a grey wall with a soft floor shadow. The lighting the Blender scene copied.

*04.07*PAIR, THREE QUARTER A three quarter view on a darker wall. Closest of the set to how the hero eventually lit up.

*04.08*PAIR, STUDIO GREY Studio lighting, tighter shadow. Kept as the reference for how hard the key light should read.

*04.09*PAIR, CUT OUT Background removed, ready to drop onto any colour. Used for quick composition tests before any modelling began.

*04.10*PAIR, HIGH CONTRAST CUT OUT A harder edged cut out of the same pair, useful for checking silhouette rather than surface detail.

*04.11*EARLY GRID, FIRST SWEEP The first sweep of page concepts, dozens at thumbnail size, before anything was chosen or named.

*04.12*EARLY GRID, SECOND SWEEP More of the same sweep. Warmer palettes appear here, and two of them survived into the final sixteen.

*04.13*EARLY GRID, THIRD SWEEP A mixed sweep with pale cards among the dark. Most were dropped for reading like a generic software page.

*04.14*EARLY GRID, FOURTH SWEEP A denser set with more imagery. This is where the dark gallery direction started to win.

*04.15*EARLY GRID, FIFTH SWEEP The last of the dark sweeps, and the closest of the grids to the set that finally shipped.

04.16EARLY GRID, OTHER BRAND A Concepts generated against a different brand entirely, kept only as evidence of how the pipeline behaved.

04.17EARLY GRID, OTHER BRAND B More of the same. Bright green and boxed layouts, nothing that suited a private photograph archive.

04.18EARLY GRID, OTHER BRAND C The last grid. Photograph led layouts that were closer in spirit, but wrong in tone for the studio.

Outside the browser

3D Designing

25 Blender projects from the studio archive, sorted into 6 boards by what each one was testing. 125 frames in total: finished renders, wireframe passes, and the panels that show how the scene was actually put together.

25 projects 6 boards 125 frames Modelled and rendered here

01 Things falling apart on purpose BLENDER / RIGID BODY AND FLUID 4 projects

Four scenes built on Blender's solvers rather than on keyframes. Stacked geometry, fractured sculpture, bricks and guided fluid, each one set up, baked, then framed at the moment the simulation reads clearest.

Solved Baked Shattered

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B01.01BALL DROPPING

349 cubes stacked in columns and dropped onto a chrome ball with the rigid body solver. Tested collision shapes, mass and substep tuning.

351 objects · 349 active rigid bodies · 100 frames · HDRI world

BALL DROPPING, SCENE CAMERA, FRAME 45 — *01.1*SCENE CAMERA, FRAME 45

BALL DROPPING, SOLID SHADING, MID COLLAPSE — *01.2*SOLID SHADING, MID COLLAPSE

BALL DROPPING, WIREFRAME OVERLAY — *01.3*WIREFRAME OVERLAY

BALL DROPPING, RIGID BODY SETTINGS — *01.4*RIGID BODY SETTINGS

BALL DROPPING, CAMERA TRACK AND TIMELINE — *01.5*CAMERA TRACK AND TIMELINE

B01.02RHINO RIGID BODY

A rhino sculpture cell fractured into 299 rigid bodies with separate inside and outside materials, dispersing across 150 frames.

307 objects · 299 active rigid bodies · 747,950 verts · frames 350 to 500

RHINO RIGID BODY, FRAME 350, CELLS AT THE PEDESTAL — *02.1*FRAME 350, CELLS AT THE PEDESTAL

RHINO RIGID BODY, FRAME 480, SOURCE SCULPTURE — *02.2*FRAME 480, SOURCE SCULPTURE

RHINO RIGID BODY, CELL FIELD, SOLID SHADING — *02.3*CELL FIELD, SOLID SHADING

RHINO RIGID BODY, WIREFRAME OVERLAY — *02.4*WIREFRAME OVERLAY

RHINO RIGID BODY, PER CELL RIGID BODY SETTINGS — *02.5*PER CELL RIGID BODY SETTINGS

B01.03BRICK SIMULATION

109 rigid body bricks scatter off a plate at 60fps. Wood and metal PBR sets with normal and displacement maps drive the surfaces.

114 objects · 109 active rigid bodies · 60 fps · 2 PBR texture sets

BRICK SIMULATION, SCENE CAMERA, FRAME 406 — *03.1*SCENE CAMERA, FRAME 406

BRICK SIMULATION, BRICKS LEAVING THE PLATE — *03.2*BRICKS LEAVING THE PLATE

BRICK SIMULATION, WIREFRAME OVERLAY — *03.3*WIREFRAME OVERLAY

BRICK SIMULATION, LOW ANGLE PASS — *03.4*LOW ANGLE PASS

BRICK SIMULATION, WOOD AND METAL NODE TREES — *03.5*WOOD AND METAL NODE TREES

B01.04BALLS

Balls run along curve paths with clamp-to constraints while skin and fluid modifiers build the trails. Tested path animation against modifier stacks.

7 objects · 3 fluid, 2 skin, 1 curve modifier · 720 frames

BALLS, MATERIAL PREVIEW — *04.1*MATERIAL PREVIEW

BALLS, SOLID SHADING — *04.2*SOLID SHADING

BALLS, WIREFRAME OVERLAY — *04.3*WIREFRAME OVERLAY

BALLS, FLUID MODIFIER PANEL — *04.4*FLUID MODIFIER PANEL

BALLS, PATH KEYS IN THE DOPE SHEET — *04.5*PATH KEYS IN THE DOPE SHEET

02 Surfaces that answer back BLENDER / CLOTH AND DEFORMATION 4 projects

Cloth, cached deformation and modifier driven twisting. The work here is in the control layer: which vertices are pinned, what drives them, and how a stack of modifiers holds its shape while it moves.

Pinned Cached Twisted

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B02.01CLOTH SIM 2

Cloth pinned by a vertex group that a weight proximity modifier rewrites as an empty moves. Pin control without keyframing single vertices.

1 cloth object · 704 verts · 2 vertex groups · 250 frames

CLOTH SIM 2, MATERIAL PREVIEW — *01.1*MATERIAL PREVIEW

CLOTH SIM 2, SOLID SHADING — *01.2*SOLID SHADING

CLOTH SIM 2, WIREFRAME OVERLAY — *01.3*WIREFRAME OVERLAY

CLOTH SIM 2, CLOTH SOLVER SETTINGS — *01.4*CLOTH SOLVER SETTINGS

CLOTH SIM 2, WEIGHT PROXIMITY INTO CLOTH — *01.5*WEIGHT PROXIMITY INTO CLOTH

B02.02CLOTH SKELE

A segmented tube deformed by twelve mesh cache modifiers reading baked sequences, with subdivision on top. Cached deformation instead of live solving.

22 objects · 12 mesh cache modifiers · 21 subdivision · 38 vertex groups

CLOTH SKELE, SOLID SHADING, FRAME 116 — *02.1*SOLID SHADING, FRAME 116

CLOTH SKELE, LOW ANGLE PASS — *02.2*LOW ANGLE PASS

CLOTH SKELE, WIREFRAME OVERLAY — *02.3*WIREFRAME OVERLAY

CLOTH SKELE, SCENE CAMERA — *02.4*SCENE CAMERA

CLOTH SKELE, MESH CACHE MODIFIER STACK — *02.5*MESH CACHE MODIFIER STACK

B02.03SATISFYING SQUARE

Bevelled plates arrayed and twisted by a rotator empty, finished with a layer weight iridescent shader. A short loop from one modifier stack.

6 objects · array and bevel · layer weight shader · 419 frames

SATISFYING SQUARE, SCENE CAMERA, FRAME 189 — *03.1*SCENE CAMERA, FRAME 189

SATISFYING SQUARE, STACK IN SOLID SHADING — *03.2*STACK IN SOLID SHADING

SATISFYING SQUARE, WIREFRAME OVERLAY — *03.3*WIREFRAME OVERLAY

SATISFYING SQUARE, PLATE EDGE DETAIL — *03.4*PLATE EDGE DETAIL

SATISFYING SQUARE, ARRAY AND BEVEL PANEL — *03.5*ARRAY AND BEVEL PANEL

B02.04TWISTIES

A plane twisted into stacked ribbons by geometry nodes with simple deform and displace, lit as a bright product loop.

10 objects · geometry nodes, simple deform, displace · 320 frames

TWISTIES, SCENE CAMERA, FRAME 144 — *04.1*SCENE CAMERA, FRAME 144

TWISTIES, SOLID SHADING — *04.3*SOLID SHADING

TWISTIES, WIREFRAME OVERLAY — *04.4*WIREFRAME OVERLAY

TWISTIES, GEOMETRY NODE TREE — *04.5*GEOMETRY NODE TREE

03 Everything built from nodes BLENDER / SHADING AND MATERIALS 5 projects

Five material studies with almost no image textures between them. Interference colour, anisotropic metal, glass and liquid chrome, each one assembled from noise, gradients and ramps and judged against a studio HDRI.

Layered Sampled Lit

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B03.01NACRE SHADER

One sphere, one node group. Layered interference colour built from scratch to read as nacre, judged against an 8K studio HDRI.

1 object · 2 node groups · 8K HDRI · 482 verts

NACRE SHADER, HDRI LIT, FULL SPHERE — *01.1*HDRI LIT, FULL SPHERE

NACRE SHADER, SURFACE CLOSE UP — *01.2*SURFACE CLOSE UP

NACRE SHADER, STUDIO LIGHT PREVIEW — *01.3*STUDIO LIGHT PREVIEW

NACRE SHADER, WIREFRAME OVERLAY — *01.4*WIREFRAME OVERLAY

NACRE SHADER, NACRE NODE GROUP — *01.5*NACRE NODE GROUP

B03.02LIQUID METAL SUIT

1.24 million verts under a procedural liquid metal shader: noise into bump and normal maps, remapped through colour ramps, lit by HDRI.

21 objects · 1,240,466 verts · 13 materials · 4 cameras

LIQUID METAL SUIT, SCENE CAMERA, FRAME 1045 — *02.1*SCENE CAMERA, FRAME 1045

LIQUID METAL SUIT, SECOND CAMERA — *02.2*SECOND CAMERA

LIQUID METAL SUIT, THIRD CAMERA — *02.3*THIRD CAMERA

LIQUID METAL SUIT, CHEST PLATE DETAIL — *02.4*CHEST PLATE DETAIL

LIQUID METAL SUIT, METAL SHADER NODE TREE — *02.5*METAL SHADER NODE TREE

B03.03BALL TEXTURE

One sphere, no image textures. Magic, noise, voronoi and wave nodes feed an anisotropic shader with displacement. A procedural texturing exercise.

4 objects · 4 materials · procedural only · 1000 frame range

BALL TEXTURE, SCENE CAMERA, FRAME 450 — *03.1*SCENE CAMERA, FRAME 450

BALL TEXTURE, SURFACE CLOSE UP — *03.2*SURFACE CLOSE UP

BALL TEXTURE, SOLID SHADING — *03.3*SOLID SHADING

BALL TEXTURE, WIREFRAME OVERLAY — *03.4*WIREFRAME OVERLAY

BALL TEXTURE, PROCEDURAL NODE TREE — *03.5*PROCEDURAL NODE TREE

B03.04CRYSTALS

Glass streak shells built from simple deform and curve modifiers, coloured by a gradient into a colour ramp. Refraction and layered transparency.

11 objects · 3 simple deform, 3 curve modifiers · 3 cameras

CRYSTALS, SCENE CAMERA, FRAME 113 — *04.1*SCENE CAMERA, FRAME 113

CRYSTALS, STREAK DETAIL — *04.2*STREAK DETAIL

CRYSTALS, SOLID SHADING — *04.3*SOLID SHADING

CRYSTALS, WIREFRAME OVERLAY — *04.4*WIREFRAME OVERLAY

CRYSTALS, GLASS AND GRADIENT NODES — *04.5*GLASS AND GRADIENT NODES

B03.053D VECTOR ASSETS

An SVG logo imported as eleven curves, extruded and given glass shaders under one emission strip. A vector to 3D workflow.

15 objects · 11 SVG curves · 14 materials · glass shaders

3D VECTOR ASSETS, SCENE CAMERA — *05.1*SCENE CAMERA

3D VECTOR ASSETS, LAYER DETAIL — *05.2*LAYER DETAIL

3D VECTOR ASSETS, SOLID SHADING — *05.3*SOLID SHADING

3D VECTOR ASSETS, WIREFRAME OVERLAY — *05.4*WIREFRAME OVERLAY

3D VECTOR ASSETS, IMPORTED CURVE DATA — *05.5*IMPORTED CURVE DATA

04 Panel lines and clean silhouettes BLENDER / HARD SURFACE MODELLING 3 projects

Vehicles and mechanical parts built from blueprint references. Mirror, array, solidify and bevel carry most of the geometry, so the test is whether the shape still reads correctly from every angle and in wireframe.

Mirrored Arrayed Bevelled

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B04.01TANK BLEND

A Tiger tank modelled from blueprint photographs across 32 objects using mirror, array, solidify and bevel. Hard surface accuracy was the point.

36 objects · 56,667 verts · mirror, array, solidify, bevel

TANK BLEND, FRONT THREE QUARTER — *01.1*FRONT THREE QUARTER

01.2SIDE PROFILE

TANK BLEND, TURRET DETAIL — *01.3*TURRET DETAIL

TANK BLEND, WIREFRAME OVERLAY — *01.4*WIREFRAME OVERLAY

TANK BLEND, MODIFIER STACK — *01.5*MODIFIER STACK

B04.02CAR AND CAMERA

A Bugatti Chiron built with mirror, array and subdivision, then dressed in 43 materials: anisotropic metals, glass and emission lights.

47 objects · 43 materials · 62,171 verts · 18 subdivision modifiers

CAR AND CAMERA, FRONT THREE QUARTER — *02.1*FRONT THREE QUARTER

CAR AND CAMERA, SCENE CAMERA, BONNET — *02.2*SCENE CAMERA, BONNET

CAR AND CAMERA, REAR THREE QUARTER — *02.3*REAR THREE QUARTER

CAR AND CAMERA, WIREFRAME OVERLAY — *02.4*WIREFRAME OVERLAY

CAR AND CAMERA, MATERIAL NODE TREE — *02.5*MATERIAL NODE TREE

B04.03STAND

A folded sheet stand of 334 verts with four flat colour materials. A small hard surface exercise in silhouette and thickness.

1 object · 334 verts · 4 materials

STAND, MATERIAL PREVIEW — *03.1*MATERIAL PREVIEW

STAND, SOLID SHADING — *03.2*SOLID SHADING

STAND, WIREFRAME OVERLAY — *03.4*WIREFRAME OVERLAY

STAND, MATERIAL PANEL — *03.5*MATERIAL PANEL

05 Geometry that builds itself BLENDER / PROCEDURAL AND GEOMETRY NODES 4 projects

Node trees doing the modelling. An armour that spreads across a body, a lattice grown from a single cube, and a field of 226 tiles, all driven by node graphs or by one keyed controller instead of hand placement.

Instanced Scattered Driven

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B05.01NANOMESH SUIT

884 objects. Hex scale armour builds itself across a human body through geometry node groups named Self-Construct and Scales, shot from four cameras.

884 objects · 7 node groups · 10 geometry nodes modifiers · 4 cameras

NANOMESH SUIT, SOLID SHADING, ARMOUR IN PLACE — *01.1*SOLID SHADING, ARMOUR IN PLACE

NANOMESH SUIT, LEG CAMERA, SCALES SPREADING — *01.2*LEG CAMERA, SCALES SPREADING

NANOMESH SUIT, CHEST CAMERA — *01.3*CHEST CAMERA

NANOMESH SUIT, SCALE DETAIL — *01.4*SCALE DETAIL

NANOMESH SUIT, SELF-CONSTRUCT NODE TREE — *01.5*SELF-CONSTRUCT NODE TREE

B05.02CUBE ANIMATION

A cube lattice grown by two geometry node trees and driven by a keyframed empty. First test of node instancing over manual duplication.

8 objects · 2 geometry node trees · 500 frames

CUBE ANIMATION, SCENE CAMERA, FRAME 225 — *02.1*SCENE CAMERA, FRAME 225

CUBE ANIMATION, LATTICE IN SOLID SHADING — *02.2*LATTICE IN SOLID SHADING

CUBE ANIMATION, CORNER DETAIL — *02.3*CORNER DETAIL

CUBE ANIMATION, WIREFRAME OVERLAY — *02.4*WIREFRAME OVERLAY

CUBE ANIMATION, GEOMETRY NODE TREE — *02.5*GEOMETRY NODE TREE

B05.03HEXAGONAL BACKGROUND

226 hexagonal tiles laid as a field, each carrying a glass and emission shader mixed through a gradient. A background plate build.

227 objects · 226 tiles · glass and emission mix

HEXAGONAL BACKGROUND, SCENE CAMERA — *03.1*SCENE CAMERA

HEXAGONAL BACKGROUND, TILE DETAIL — *03.2*TILE DETAIL

HEXAGONAL BACKGROUND, SOLID SHADING — *03.3*SOLID SHADING

HEXAGONAL BACKGROUND, WIREFRAME OVERLAY — *03.4*WIREFRAME OVERLAY

HEXAGONAL BACKGROUND, EMISSION AND GRADIENT NODES — *03.5*EMISSION AND GRADIENT NODES

B05.04HEXAGONAL BACKGROUND, ANIMATED

The same 226 tiles with every one keyframed, rising and turning through a 140 frame pass. Animating a large object count by hand.

227 objects · 226 keyed objects · frames 100 to 240

HEXAGONAL BACKGROUND, ANIMATED, SCENE CAMERA, FRAME 163 — *04.1*SCENE CAMERA, FRAME 163

HEXAGONAL BACKGROUND, ANIMATED, FRAME 170 — *04.2*FRAME 170

HEXAGONAL BACKGROUND, ANIMATED, FRAME 110 — *04.3*FRAME 110

HEXAGONAL BACKGROUND, ANIMATED, WIREFRAME OVERLAY — *04.4*WIREFRAME OVERLAY

HEXAGONAL BACKGROUND, ANIMATED, 226 KEYED OBJECTS IN THE DOPE SHEET — *04.5*226 KEYED OBJECTS IN THE DOPE SHEET

06 Full scenes, camera in hand BLENDER / SCENE, LIGHT AND ANIMATION 5 projects

Complete shots rather than single objects. Volumetric light, neon strips, studio backdrops and camera moves on paths, with the heaviest file here running 577 objects and just under three million vertices.

Framed Graded Timed

Open the whole board