FMP2equalsLouiseWalker

When I decided to make the model of Selene it was a pretty high expectation for myself as it would be a first of mine to make something that complicated and realistic. It was suggested to me to use mud box to help myself with the human model part but I found that to be cheating in a way as I wanted to learn how to do it all myself.

I faced quite a few problems during the making of the model like my laptop constantly crashing and making restart what I was doing, slowing the overall process down a lot. Then there was the issue with not knowing where things were as before this project I had never used Blender before. What also slowed me down was that I was trying to follow the tutorial almost exactly which lead me to rewatch certain steps over and over again but eventually I got what I need done and was able to have the finished project.

The making of the poster allowed me to learn how to use add ons which let me take the realism from 0 - 100 and I'm glad I chose to learn Blender for this project as everything I need was easy to learn how to do in this software.

Polykleitos was the premier sculptor of the human form, celebrated for transforming the way artists depicted the body. While his contemporary Phidias focused on the divine majesty of gods, Polykleitos sought to define the "ideal" man through a rigorous, mathematical approach. He famously authored a treatise called the Canon, which argued that beauty is not subjective but is derived from the perfect harmonic proportions of all body parts to one another. He was the first to formalise these ratios, creating a standard of physical perfection that influenced Western art for centuries.

His most revolutionary technical contribution was the perfection of contrapposto. This "counter-pose" where a figure shifts its weight onto one leg while the other remains relaxed—allowed statues to look dynamic and lifelike for the first time. Before Polykleitos, statues often appeared stiff and symmetrical; his work introduced a natural "S-curve" to the spine and a tilt to the hips and shoulders, capturing a sense of potential movement and psychological depth that had never been seen before.

Phidias (c. 480–430 BC) was a Greek sculptor, painter, and architect widely considered one of the greatest artists of the Classical period. As the artistic director for the building program of Pericles in Athens, he was responsible for the monumental sculptural decorations of the Acropolis, including the Parthenon. He is best known for creating two of the most famous statues of antiquity: the Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World and the colossal chryselephantine (gold and ivory) Athena Parthenos.

Phidias is considered one of the most significant figures in Western art history because he redefined how the ancient world visualized the divine. As the artistic leader of Pericles' massive building program in Athens, he essentially shaped the visual identity of the "Golden Age" of Greece.

Originator of the High Classical Style: Critics from Britannica and The Collector credit him with initiating the idealized Classical style that moved away from the stiff, archaic forms of the past. He perfected the human form to represent a "noble simplicity" and introduced the "Phidian style" of wet drapery, where fabric appears to cling to and flow around the body.

His colossal statues were so majestic that they became the "canon" for how deities should look. Ancient writers noted that his Statue of Zeus was so powerful it was said he had either visited Olympus himself or the gods had revealed their true forms to him.

The poster for the live action beauty and the beast is dominated by cool blues and teals similar to my poster which evoke magical, wintery atmosphere. This cold background makes the gold writing and Belle's dress pop.

The composition is centered on a large, intimate profile of Belle and the Beast facing one another. Their large scale creates a sense of romantic scale that towers over the supporting cast. The secondary characters are clustered in the lower half, framed by the grand architecture of the castle gate, which acts as a "window" into their world. The placement of the enchanted rose near Belle’s face acts as a delicate secondary focal point, drawing your eye to the film's central mystery.

Here is the official theatricals final ensemble one sheet for The Lord of the Rings: The Two Towers. The poster features a stacked, floating head line up centered on Aragorn. Highlighting the main characters and cast of the film.

The colour scheme of this poster is filled with warm golden tons that give the image a mythical or ancient feel. The amber and bronze shades aren't just for style, they represent the fires of Isengard and the volcanic glow of Mordor. They also create a sense of heat and impending war. The warmth is balance by high contrast shadows and the luminous white halo of the moon.

Aragorn serves as the central heroic anchor, while the other characters are stacked vertically to show their relative importance to the plot. The two physical towers act as dark pillars on either side, physically framing the heroes to create a feeling of being trapped or surrounded by the enemy. The giant moon in the upper third acts as a massive backlight, ensuring that Frodo and Gandalf stand out clearly at the top of the hierarchy.

Michelangelo is not actually an ancient Greek sculptor. He lived in Italy during the Renaissance, which happened thousands of years later. The actual title for the best Greek sculptors belongs to ancient masters like Phidias and Polykleitos. However, art experts often compare Michelangelo to them because he mastered their style perfectly.

When Michelangelo was a young artist, he actually forged ancient art. He carved a marble statue of Cupid and made it look old by burying it in dirt. A wealthy man bought it because he thought it was a real, ancient Greek artifact. Michelangelo was so good at the Greek style that he successfully tricked art experts.

Later in his life, Michelangelo watched workers dig up a famous ancient Greek statue called Laocoön and His Sons. This ancient masterpiece had twisted bodies and intense muscles. Michelangelo studied it closely. He immediately used that dramatic Greek style to make his own sculptures look more powerful and alive.

Ian Hubert is a famous filmmaker and 3D artist who is loved for making high-quality sci-fi movies on a low budget. He lives in the United States and is best known for creating the popular Dynamo Dream web series. He also worked as a visual effects artist on the famous Hollywood movie Star Wars: Episode IX - The Rise of Skywalker.

Ian is special because he created a very fast way to build digital worlds. He uses a free 3D software called Blender and takes quick photos of real-world buildings, trash, and cables. Then, he projects those photos onto simple 3D shapes to create massive, realistic sci-fi cities in just a few minutes. He is a master at adding small details like digital steam, flying cars, and background crowds to make his fictional worlds feel alive and lived-in.

Jama Jurabaev is a famous movie artist who helps design the look of major Hollywood films. He was born in Tajikistan but now lives and works in London. He has worked with huge movie studios like Marvel and Lucasfilm. You can see his amazing designs and alien worlds in popular movies and shows like The Mandalorian, Star Wars, Ready Player One, and Avengers.

Jama is special because he loves to use new technology to make art. Instead of just painting on a computer, he uses Virtual Reality (VR) headsets to sculpt and build giant 3D cities and creatures. He originally studied engineering, which helps him understand how to make fictional spaceships and buildings look real. His artwork always feels alive because he is a master at using light, shadow, and color to tell a story.

Tomas Sackmann is a passionate 3D character and asset artist who is currently working as a senior creature modeler at DNEG Vancouver.

Tomas Sackmann is a highly successful 3D character artist and creative leader who works on major Hollywood films and AAA video games. He recently served as the Head of CGI at Tencent Singapore, leading teams for massive upcoming game titles like Path of Exile 2 and Dune. Before taking on leadership roles, he worked as a senior artist at world-renowned visual effects studios like DNEG and Digital Domain. His high-quality digital characters and creatures can be seen in major global hits, including Netflix's Stranger Things 4 and Marvel's Black Panther: Wakanda Forever.

What obvious is that his 3D work in incredibly realistic like his model of Cillian Murphy in Oppenheimer. When I first saw it I thought he just got a picture of the scene, that's how real it looks and its genuinely impressive how he made every bit pop. He even made water sit within his eyes.

His other work shows that he can create multiple styles like semi realism with his symbolic piece that represent his cousin who is on the autism spectrum and had help with connecting with his bike strengthening the bond between his cousin and uncle as they rode together.

He made this model in Maya, sculpted in mud box, textured in substance.

Sackmann's work stands out because he combines artistic photorealism with structural realism, a skill he developed while studying industrial design in Argentina. He is an expert in creating highly realistic human faces, detailed alien creatures, and complex digital costumes using advanced 3D software like ZBrush and Maya. His impressive technical skill has made him a well-known figure in the digital art community, earning him spotlight features in major industry publications and design blogs.

Beyond his studio work, Sackmann dedicates his time to teaching and mentoring the next generation of digital artists. As a graduate of the elite Think Tank Training Centre, he regularly creates advanced online tutorials covering complex topics like digital hair grooming and realistic skin texturing. He also frequently speaks on industry podcasts and participates in virtual panels to help aspiring artists break into the competitive world of gaming and VFX.

This poster for Percy Jackson & the Olympians: The Lightning Thief. It shows Percy standing in water which emphasizes his identity with Poseidon. He's also holding a glowing bolt of lightning that represents Zeus's stolen master bolt, the central conflict of the story.

The poster uses a range of deep, cool blues and white to highlight depth and pressure and the blues mimic the abyssal zone of the ocean, suggesting immense weight and power of Poseidon's realm. Also evoking both the sea and the electrical energy of lighting.

The poster uses a "heroic" composition that centers Percy between the sea and the sky, creating a vertical bridge between the mortal and divine worlds. By positioning the camera at a low angle and showing him from the back, the design makes the character appear more powerful and mysterious, inviting the viewer to experience the scale of the storm alongside him. The jagged diagonal of the lightning bolt creates a sense of explosive energy, while the horizontal New York City skyline anchors the mythological action in a modern, real-world setting.

Praxiteles of Athens, the son of Cephisodotus the Elder, was the most renowned of the Attic sculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue.

He brought statues being sculpted away from the ''Heroic'' style of the high classical period. Before him, Statues were designed to look like distant powerful gods. Praxiteles made them look like approachable, living humans.

Before Praxiteles, statues used a balanced contrapposto where the figure looked solid and stable. He pushed the hips out significantly to one side and in doing so create a fluid s shape through the body. This created an calm atmosphere since they were casually leaning against a support rather than standing at attention.

He also humanized the divine because his biggest change was the Aphrodite of Knidos. By depicting a goddess completely nude and caught in a private moment (preparing for a bath), he shifted the focus from divine power to human sensuality.

Gurmukh Bhasin is an architectural designer turned DIGITAL 3D CONCEPT ARTIST, who currently hails from Los Angeles. His addiction to adventure and all that is creative, was fostered at a young age -- boarding school in India, architecture school in Arizona, and skateboarding through the streets of Barcelona, by way of graduate school at the Southern California Institute of Architecture [sciARC]. Gurmukh's work draws significantly from his life experiences, and provides a constant source of inspiration as he continues to explore the seemingly untapped intersections between reality and imagination.

While immersing himself in the professional realm of architecture for many years, Gurmukh discovered that his true passion lied in digital art and design. Essentially, a self-taught digital artist, his method and aesthetic is unique in that it draws from his background in architectural design. Using tools such as Maya and other 3D modeling systems early on in his design development process, Gurmukh is constantly examining new ways to merge traditional and contemporary digital art techniques when creating surreal and often times un-earthly environments, architecture, vehicles, and props.

A self-proclaimed "eternal student," Gurmukh sees great potential in the future of digital art and design. He hopes that his undying curiosity and enthusiasm to seek out what lies beyond the bounds of his current expertise will ensure that he gets an opportunity to play a significant role in the realm of digital art and design.

The Veiled Vestal is an 1847 sculpture by Raffaelle Monti. It was commissioned by William cavendish, 6th Duke of Devonshire during an 1846 trip of Naples. It's a representation of a Vestal Virgin, the priestesses of the ancient Roman goddess Vesta. The subject was popular at this time due to the then recent discovery of the House of the Vestals in Pompeii. The depiction of translucent fabrics was popular at the time and Monti was requested to use the technique in this sculpture. Monti completed the sculpture in April 1847 and it was afterwards displayed at Cavendish's West London Chiswick House.

It was commissioned on the 18th October 1846 after having visited Monti's studio a week earlier. Cavendish gave Monti a £60 deposit (equivalent to £6048 today) for the work. Cavendish requested a depiction to be made of marble of a veieled woman. Such sculptures, imitating translucent fabrics, were popular at the time and Cavendish's close friend, the sculptor Antonio Canova, was a particular admirer of Giuseppe Sanmartino's 1753 veield christ.

The met Gala, formally known as the costume institute benefit is an annual fundraising gala for the metropolitan museum of arts costume institute in New York city. Its held on the first Monday of may and it renowned as 'fashions biggest night'. Featuring a star-studded red carpet where celebrities wear elaborate, them driven haute couture.

Guests can't just buy their way in. You must be an approved guests by the host Anna Wintour who's Vogues editor-in-chief. The celebrities that do get approved don't pay, instead big fashion brands like Prada or Gucci buy a table and ''invite'' celebrities to be their guests.

It's widely reported that Wintour must approve every guests final look, often referred to as the ''Anna Wintour Okay''. Although, Wintour herself has clarified that while she doesn't technically approve every thread, many guests and designers seek her advice to ensure they fit the nights high standards and theme.

The 2026 Met Gala, whose theme was "Costume Art", which spark loads of creative outfits as celebrities referenced different well known paintings, statues or other forms of media that can be classed as an artform.

What caught my eye this year is Heidi Klum's outfit. Heidi Klum herself is already well known for outstanding, extraordinary Halloween costumes that take fantasy and make it real. This time people are saying that she couldn't wait for Halloween before she broke the costume out.

She walked in front of the cameras in a full transformation. Inspired by Veiled Vestal she was covered in the ''wet'' drapery that fall over Greek statues.

I did find this years theme to be fascinating as it allowed everyone to see how people could embody art figuratively and literally. Of course some people where more on theme than others like Emma chamberlain who arrived first on the red carpet wearing a custom, hand painted Mugler gown. The dress was designed by Miguel Castro Freitas and took 40 hours to paint by artist Anna Deller-Yee.

Sabrina Carpenter served as a member of the host committee and delivered a standout performance alongside Stevie Nicks. For the "Fashion is Art" theme, she wore a custom Christian Dior gown constructed from literal film strips of the 1954 film Sabrina. The dress itself was a piece of film history. It featured over 200 handstitched frames of 35mm celluloid footage starring Audrey Hepburn.

I've notice that when the focal point of the poster is an object and sometimes people the title is very often at the bottom which validates my decision even more than my own personal opinion.

This iconic poster for the 2008 film Cloverfield is a masterclass in minimalist, high-impact movie marketing. By featuring a decapitated Statue of Liberty overlooking a smoke-filled Manhattan skyline, the image immediately communicates a sense of massive scale and localized catastrophe without ever showing the threat itself. The grainy, low-angle perspective perfectly mirrors the movie's found-footage style, making the viewer feel like a terrified bystander witnessing the destruction firsthand.

The marketing strategy behind this poster was famously built on mystery and viral intrigue. Before the film's title was even widely known, the haunting tagline "Some thing has found us" and the bold release date "01-18-08" were used to spark intense online speculation. By separating the word "something" into two parts, the creators subtly hinted that the antagonist was an unknown, monstrous entity rather than a human threat or a natural disaster, fueling the "mystery box" approach that producer J.J. Abrams is known for.

Raphael Rau, widely known as Silverwing VFX, is a master of digital hyperrealism who bridges the gap between technical precision and organic beauty. When discussing his work, you should highlight his commitment to "the beauty of imperfection." While many 3D artists aim for sterile, perfect renders, Rau purposefully integrates physical flaws like dust, scratches, and lens distortions. He often cites the quiet, observant nature of Studio Ghibli films as an inspiration, focusing on mundane, everyday objects and rendering them with such tactile detail that they evoke a sense of nostalgia and weight.

Unlike artists who rely on pre-made asset libraries, Rau often models his geometry from scratch using subdivision surfaces or CAD tools. This "analog" approach to digital craft ensures that every bevel and texture feels intentional, resulting in a render that looks less like a computer-generated image and more like a high-end macro photograph.

Its incredibly impressive how real he gets his work like the image below looks like an actual photo but its a model in 3D. His work is extremely inspiring and I tried to reach as much realism as I could for the final poster.