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A high-fidelity 3D technical animation developed to showcase the KERSTEN DE 1025 discharging electrode and precise distance control system. This project translates complex industrial web-handling processes into a visually striking explainer, clearly illustrating electrostatic discharge management, sensor feedback loops, and internal data processing.
Tools Used
Cinema 4D / Blender (3D Rigging, Layout & Animation)
Redshift / Octane (High-Contrast Lighting & Realistic Rendering)
After Effects (UI Motion Graphics, VFX Glows & Final Compositing)
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POV: you're a designer but all you like to do is create delicious textures for ambitious clients ready to take a risk.
In the tech world where we're governed by minimalistic and sharp design, a new era is coming. The era of bold, colorful and textured design, where tech becomes... appealing 🍭
The real gatekeeper for textured brands is usually the product team, not the client — heavy texture tends to get traded away the moment someone raises load times or dark mode. The work that survives keeps the texture in marketing surfaces and lets the UI carry a quieter version....
here's our launch demo for Commas
back when we first started working with them, they were still known as FanBasis
we had four days to put this product demo together
right as they were moving into their new brand
it ended up being a project we were genuinely glad to be part of
especially having a hand in their marketing through that transition
the balance in designs
I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.
Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.
So I took it off the steel and put it back on a body.
RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.
The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.
Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.
Original work: https://www.metmuseum.org/art/collection/search/23939
Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal
workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.
@floraai #FLORAMuseum
this is such a unique concept!