<<<<<Write about the lighting process here>>>>>
We also were due to receive feedback today on our projects in progress, and knowing this would be the case before entering the lesson it had truly dawned on me how far behind I was as a result of the personal difficulties I’d been trying and failing to work in spite of. As usual, though, I felt more capable after speaking to Serra about the directions my work could potentially take. Having lived in London for all of a week I’d recently explored some of the city centre, taking particular note of the changing shop displays in preparation for Christmas – a somewhat dull family tradition was checking out the Harrods and Fortnum display windows in the lead up to Christmas for their ingenuity. As a fashion illustration graduate I’m generally inspired by and interested in branding and corporate visual merchandising, and the application of 3D digital animation to these areas of industry, so I’m deciding to move my research and initial ideas in this direction.
A Dior Winter jewellery display in Harrods I particularly liked, London, November 2024
Caroline James (2023) DUTTY JUICEFINAL. 29 June. Available at: Youtube https://www.youtube.com/watch?v=AsPnqOLO6HQ&t=7s (Accessed: 06/11/2024).
I was shown this previous student’s work because she similarly chose to produce animated work relevant to advertising and product design. I actually love it and felt inspired by it, she created a product to be cheeky and silly, produced a fun animated feature of that product which manages to be funny, ironic and frivolous while still showcasing impressive conceptual, 3D technical and animation skills. As an LCF graduate, committing to a project like this which features product design and animation seems much more doable to me in terms of the practical undertaking, and such a project appeals to me more as someone who thinks in terms of product portfolios more than character design.
The two images above are from a 2024 campaign by Gentle Monster, a Korean eyewear brand known for their unique and intensely creative takeover of spaces for the sake of visual merchandising and setting a scene to surround their collections for pop-up sales. By entirely taking over the sales space, Gentle Monster’s innovative merchandising team invite their clients to step into their creative vision and share the inspiration behind their design ideas – it’s a more immersive version of visual merchandising, making a sensory experience of browsing the new collection.
The above three images are also from Gentle Monster’s website but depict their 2022 pop-up display commemorating their collaboration with K-pop group BlackPink’s Jennie – intended to recreate an imaginary, beautiful village scene. This example in particular stood out to me because not only is it similarly immersive like the earlier example of Gentle Monster’s work listed, but because of the level of detail and the way this scene particularly lends itself to animation – it’s easy to imagine what could be done with a 3D scene like this.
References
Caroline James (2023) DUTTY JUICEFINAL. 29 June. Available at: Youtube https://www.youtube.com/watch?v=AsPnqOLO6HQ&t=7s (Accessed: 06/11/2024).
Gentle Monster. (2022) 24 Jentle Garden: Gentle Monster X Jennie. Available at: https://www.gentlemonster.com/int/stories/jentle-garden/popup (Accessed: 06/11/2024).
Gentle Monster. (2024) 24 Collection Jelly Pop-Up. Available at: https://www.gentlemonster.com/int/stories/2024collection-popup?srsltid=AfmBOorZ_Bic3pC_HcrFf7xX4msw0doHtbRBaWWPVOi_34xo1sIeujyZ (Accessed: 06/11/2024).
Serra Ozdemir (2024) ‘3D Computer Animation Fundamentals: Week 7, Dynamic Lighting in UE’ [Lecture]. PU002332: 3D Computer Animation Fundamentals. London College of Communication, University of the Arts London. 6 November.