Art| @FilipHodas Designs 3D-Fossil Figures Of Renown Cartoon Characters

Filip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D Illustration

Filip Hodas is a Prague-based 3D illustrator has crafted a new range of skulls inspired by a short-list of childhood coveted cartoon characters prepared for display. The fossil enthusiast meshes his passion for CG in this project. Hodas designs each skull via a 3D program in the silhouette of renown animation names like Minnie Mouse, Goofy, Sponge Bob and more.

The 3D drafted designs are realistic with color pops on the characters accessories while displayed in-front of colorful backgrounds. The detailed accessories are notably placed to make each piece instantly recognizable. he series features a fossilized Goofy, called Canis Goofus, wearing a shabby version of his rumpled green hat, Minnie Mouse, or Mus Minnius, sporting her iconic red polka-dot bow, and Tweety Bird, called Canaria Tweetea, surrounded by yellow feathers. Other characters included in the series are SpongeBob, Popeye, and Scrooge.

Hodas explained in a statement:

The main goal of this series was to get better at sculpting and to experiment with Zbrush to Substance Painter workflow, … For each skull, I tried to adjust and improve the workflow which resulted in quite visible differences between the first (Canis Goofus) and last in the series (Anas Scroogius).

Take A Closer Look At Filip Hodas’ Cartoon Fossil Series Below!

Filip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D Illustration
Filip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D IllustrationFilip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D IllustrationFilip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D IllustrationFilip Hodas Cartoon Fossil Skull Series Canis Goofus Anas Scroogius Spongia Bobae Homo Popoculis Mus Minnius Canaria Tweetea CG 3D Illustration

Automotive| @CZingerVehicles Crafts 3-D Printed, 1250 BHP Hypercar

Czinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American Developed

California-hinged Czinger unveil a 21C, an all-new hybrid hypercar that has been made using 3D printing technology. New age technology curating new age cars was the simplistic goal for Czinger.

Czinger has used 3D printing to craft almost everything that underpins the car, from its chassis to the suspension wishbones, front crash structure, windscreen surround and even the dashboard. This revolutionary technique is combined with cost-effective carbon fiber tubing and aluminum that together makes for a hypercar with a true 1:1 weight-to-power ratio, as well as a very strong structure. The 21C comes equipped with a hybrid engine — 937 BHP from the 2.88-liter twin-turbo V8 that redlines at 11,000 RPM, and two hybrid components that give the 21C a total of 1,250 BHP at the wheels. Performance figures are equally impressive, with a claimed 0-60 MPH time of just 1.9 seconds and from naught to 248 MPH and back to naught in just 29 seconds.

 Czinger is reportedly building just 80 units — divided between 25 track and 55 road iterations — which will cost from $1.7m USD each. Find out more about the 3D-printed hypercar on Czinger’s website.

Take A In-depth Look At The New 3D Printed Hypercar by Czinger Below!

Czinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American Developed
Czinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American DevelopedCzinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American DevelopedCzinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American DevelopedCzinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American DevelopedCzinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American DevelopedCzinger 21C Hybrid Hypercar 3D Printed Supercar Announcement News Revealed New Figures 1250 BHP Twin Turbo V8 Power American Developed

Art|Porcelain & Ceramic Artwork by Katherine Morling

• As art enthusiast all art mediums develop their individual characteristics that become profound to a fan of the arts. One medium that has been dealt with in many ways is ceramics and porcelain but artist Katherine Morling has set an new tone for what can be done. Morling began her career making glazed majolica, but was not happy with that: in that manner, embedded in tradition, she did not see herself as an artist. In 2007, at the Royal College of Art, MA Glass and Ceramics, she discovered how she wanted to work: drawing became important.

Her work changed completely when she started with her black-and-white pieces, sometimes life-size. These pieces begin as sketches which she translates into 3D. She calls herself a three-dimensional person: she wants to walk around things and observe them from all sides. First she makes small models, in order to puzzle out how the finished piece should look; then she sketches the details on patches of clay. The objects remain unglazed because she likes the uncertainty that that evokes: people are not accustomed to unglazed white clay (although this may be more so in England than in the Netherlands). The viewers want to touch it, to feel if it is perhaps paper. It gives an extra dimension to the objects. With black she delineates contours and adds idiosyncratic graphic details.

My work can be described as 3 dimensional drawings, in the medium of ceramics. Each piece, on the surface, an inanimate object, has been given layers of emotion and embedded with stories, which are open for interpretation in the viewer’s mind. When put together, the pieces combine to make a tableau staging the still lives of everyday objects. The life size pieces and the unexpectedness of the scale create a slightly surreal experience as you walk through this strange environment. I work very instinctively, one piece leads to the next, I try not to pin down what I am doing or even why. I have to trust and believe that I can communicate through this medium. My searching is never complete; each piece is a journey for answers that are only hinted at, with more questions.

– Katherine Morling