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I took a break from developing Framer Templates over the past month and decided to invest more time in learning Motion Graphics and 3D Visualization.
I’m still in the learning phase, and I expect it will take a couple of months of consistent practice before I feel fully confident with these new skills.
Attached is a recent practice project I created while following a course by Bodhi (TheBlenderRenderer). I’m already comfortable with 3D modeling and working with materials, but this project gave me an opportunity to explore something new: setting up a 5-point lighting system instead of the more traditional 3-point lighting approach.
I’m also learning After Effects alongside Blender, and I’m finding that a lot of the concepts are transferable. However, compared to the Graph Editor in After Effects, Blender’s Graph Editor will take some additional time and practice to become comfortable with.
I’m happy that this new learning journey has already begun. Over the coming months, I’ll be sharing my progress as I experiment with different forms of 3D visualization in Blender, while also creating practice projects around SaaS promotional videos in After Effects.
Still learning, still experimenting, and looking forward to seeing where this journey takes me.
nice work
Thanks @Sandaruwani D
The improvement is definitely showing
Thanks @Salome Lawal 😊
Nice work
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We are working with a deep tech aerospace company and these are jet compression engine rendered entirely handmade. No AI was used in designing the model
Pure artisanal craftsmanship right there! The precision on those turbine blades and thermal housing highlights the immense power of true manual 3D modeling in Blender. Nothing matches human attention to mechanical accuracy in deep tech!
Built a 3D model viewer inside @Rive .
Not a plugin, not an embed — an actual glTF renderer running on @Rive 's GPU Canvas, written in Luau and WGSL, living inside the .riv file.
Drop in a .glb and it loads, lights, animates and orbits. Every control is a data-bound property, so the whole scene is drivable from a state machine, a timeline, or app code. Nothing is hardcoded to one model.
What's in it:
• glTF parsing written from scratch — Luau has no JSON library, so the decoder is hand-rolled
• PBR shading (Cook-Torrance GGX) with key/fill/rim lighting
• Skeletal skinning, 128-joint palette
• Rigid node animation with full keyframe interpolation
• Orbit camera with per-axis locks
• Auto-fit, so any model frames correctly regardless of authored scale
• ~40 data-bound properties: camera, transform, material, animation
Most of it was built by driving the Rive editor over its MCP server with Claude Code — scripted, not clicked.
Runtime support is nearly there. GPU Canvas landed in the web runtime last week. A couple of scripting APIs still need to follow before this can ship to a live site.
Here is the Github Repo for Instructions: https://lnkd.in/dAMXQJBR
the 3D viewer is so cool. nice work!
THE SWEEPER'S LOOP — a #FLORAMuseum submission
ORIGINAL WORK: One sketch from an album titled Painting, by Shibata Zeshin (Japanese, 1807–1891), Meiji period, 19th-century Japan. Housed at The Metropolitan Museum of Art, accession number 52.160.3a–q — an album of seventeen watercolor sketches on paper, mounted on natural silk, image area 11 x 14 in. (27.9 x 35.6 cm). Held in the Museum's Asian Art department, credited as a Purchase, Gifts, Bequests, and Funds from various donors, by exchange, 1952. Classified under Paintings.
WHAT DREW ME IN: An elderly man caught mid-stride, bent low, sweeping the ground with a bundled twig broom. His face is drawn with just a few wrinkled lines — a furrowed brow, a hollow cheek, a short beard — yet it carries the full weight of a lifetime of quiet, repetitive labor. The background is almost nothing: aged beige paper, empty space, just the man, his broom, and a small scatter of leaves at his feet. A red artist's seal marks the corner. It's Zeshin's economy of line that stopped me — how much life he gets from how little ink.
WHAT I MADE: I couldn't stop wondering what happened right after this frame. Did he finish? Did the wind undo his work the moment he was done? So I built an 8-frame looping animation that keeps Zeshin's exact palette, brushwork, and restraint — the man sweeps, gathers the leaves, wipes his brow in relief... and then a gust of ink-line wind scatters everything right back where it started. He sighs, and begins again. A single sketch turned into an eternal, gently comic loop of labor that never quite ends.
WHY: Zeshin's sketch already holds a whole story in one still gesture. I just wanted to give that gesture time — to see the sweep before and after the moment he chose to capture, and to find the small, human joke hiding in it: the work of sweeping is never really finished.
Built on FLORA. Inspired by The Met's public archive.
@floraai #FLORAMuseum
Project https://app.flora.ai/view/js7f6v9tp6150kk7wmaeg2sfb18drna4
Original https://metmuseum.org/art/collection/search/57329
This is really nice