robert-pace 3d-artist

five staggered figures in a stained glass panel, circa 300mm high. the image was sketched and drawn as a minimalist piece. it represents a population-microcosm. the leading defines body articulation, while colourful shade-variations complete the torso figures. the figure in the foreground bears down upon the other four in the background

another representative figure made up of geometric shapes, this time moving and maneuvering among other geometric shapes, connecting with them and as if attempting to exchange shapes with them with every move. it creates real time, social tensions and compressions as a loaded roof-truss would in an engineered context

cast concrete. the piece is sketched and drawn full size on elevation and in section. a mould is built in snugly fitting timber sections that are finished with a polished surface. after reinforcement is introduced, concrete is poured in and vibrated in order to fill up the mould and pick up the mould detail. once it is out of the mould it is hung and secured to the wall that is then made good.

a fairly dry concrete mix ratio is used. this is structurally correct as it is only supporting its own weight. it still flows well around the detail. some moisture seeps out at the butted joints resulting in texture that prevents a pristine, commercial look; it is a one off, bespoke piece. expanded metal lathe is fitted on the opening and stained glass or an outline silhouette can be attached to it and back lit. in this case the fire place is non-practical though it could be activated.

this cast in bronze, polished and lacquered to a brass like finish has a rear, convex edge outline to enable it to be mounted inside a mirror finish stainless steel concave of smaller radius. this will give a distorted image, and the distortion will depend on the angle of view. it will never be a true image of the original

as in a caricature, this face in matt, textured, silver aluminium foil picks selective features to highlight some facial characteristics at random. these are not distorted but might look so simply because they do not relate to the missing parts of the face that would otherwise keep them in balance

a scale study in ceramic for a water feature elevated above the pool bottom on legs. the legs are submerged and hidden in a pool or pond up to the fountain- platform. water is pumped up through the legs and allowed to splash inside the envelopes that are open at the top and along their serrated edge. the water in turn splashes out of the envelopes through the openings that direct the water above it and away from it like micturition

sketch of urban landscape carried out in low relief in red clay using just two bamboo clay-modelling tools. a fairly thin plaster mould is taken of the relief, the clay is then pulled out and the mould briefly cleaned with sponge and water and then soft soap release agent applied and a cast is taken. the mould is then chipped away/peeled off and the exercise is completed as a quick study while the end result still carries the terracotta bloom

a detailed, circa 450mm long model is needed for a close-up shot of a boat that is set alight and filmed and played back in slow motion, initially sailing merrily across the water, it is later ablaze. the camera pics up every detail. a team of two, focusing on attention to detail carry out the rigging, the masts and the sails. these are then added to the boat structure that involves forming planks for the hull and decking, caulking the deck and spraying. a one off model

studies for semi opaque screens in sheer silk that do not obscure the vision. the onlooker is rather vaguely conscious of what might be going on on the other side of the screen and as a result the screen is inviting the onlooker to discover what's happening beyond. this helps solve the enigma and bring about a sense of expectation. the screen connects rather than distracts. as in real life, obstruction fires curiosity and is an incentive to discover

copper sheet/s are formed in alternating tapering mounds and uniform troughs. they are then located strategically and installed to falls down the side of a hill where they can capture either rain or an induced water fall that precipitates down the hill side. water is now channelled through the ducts and drops into the counter-weighted, swinging containers. every time a cup tips, a hammer at the rear end chimes a note. this repeats continually along the edge of the plate and plays music

hand drawn working-drawing showing moving parts, set-up, installation details, inset axo of moving arm and related detail for build and assembly. weights at ends of arms to be part of a new study and will indicate frequency, depth and quality of chiming. dwg also shows running off and collection of recycled water.

the sketch drawing is here combined into one picture along with overhead views of the water feature. sketch shows timber press used to press-form the annealed metal that is later quenched and pickled. also shown are sketch studies of different profile possibilities of the swinging arms

the exercise here is to disperse light. white crepe paper is chosen and folded up and the paper tower is set up. bulbs of different power are introduced. the aim is to have light bouncing off in different directions without flooding the surrounding area. the right balance between umbra and penumbra is established. reflected light depends less on the light source than on the paper itself. so efforts are now directed towards what material to use to enclose the light

different types of paper are used and they are set up in various shapes and forms, linear and curved. the medium is allowed to hide the light source or can be made to shift and move, lower and rise or rotate just like blinds do against windows, either allowing a flow of unhindered light or else dispersing it.

the passage of light through clear mediums offers great scope for research, study and play. in this case prisms are used and set to rotate on their axis. as they catch either natural or artificial white light they break it into the full colour spectrum. used as blinds would be used at fenestration interface, they flood enclosures with dabs of colour during light hours and carry indoor light outside onto dimly lit patios after dark

working drawing for the vertical collapsible light in the following four dwgs. it shows ballasted base, in spun, burnished aluminium, bottom light reflector, top control that raises and lowers the silk tube-top, two flexible, structural stainless steel rods, two thinner stainless steel rods twisted thru 180° in a horizontal plane; their resultant torsion allows the silk head to be moved to any desired position while increasing or decreasing the crumpling in the silk sleeve for desired effect

light is directed from the base upwards from a spot-bulb fitted inside a parabolic reflector. the light catches the folds in the white, translucent silk sleeve that seems to light up itself without lighting up the surrounds making a soft-mood-light product

as a result of changing from parabolic to a cone reflector, more light is thrown onto the lower sides of the silk giving progressively less light up the silk corridor. if the ceiling above is at the correct height, a round patch of light of different intensity to a parabolic beam falls on the ceiling.

the light is supported by sturdy, but flexible stainless steel rods. a combination of ballast at the bottom and long and thin stainless steel rods gives the piece considerable flexibility. one nudge of or tug at the silk holder at the top will leave the tube swinging as the damping to the motion is minimal. a cam connection on the inside bottom to give a continuous swing motion was considered but not used. it was thought as being rather contrived, dispensing as it does with human interaction

while the light is swinging, the patch of light on the ceiling is dancing this way and that, thus increasing the play afforded by this light. a lens, a filter or a silhouette of one's choice can be added to the top opening. that will turn the dancing light patch into a dancing concentrated light, a figure or colour patch, thus adding to the play element

spot light suspended on a stainless steel vertical rod. pulleys that are attached to the top of the rod are in turn mounted on a curved horizontal track and rotated to move the light along the track. the vertical rod has a knob at the lower end. this is rotated to direct the spot light as desired.

story board. this includes pictures of maquettes juxtaposed with pictures of trials and play of moving parts that will give mobility to the spot light as well as to the mirrors used to catch and reflect the light. also, story board includes full size models in timber and metal and, importantly, exploded axo drawings of how the pulleys could travel along the track

a possible version of 1800 mm stainless steel column consisting of one sheet of stainless steel, factory bent into an eccentric 'V' on plan with a lip running down both sides for stability. the two horizontal curved tracks carrying light and mirrors are joined at the rear and are anchored to the base by a full length tension stainless steel rod, threaded both top and bottom for fine adjustment. the amount and quality of light images varies with light source and mirror positions