Freelancers using Blender in MajadahondaFreelancers using Blender in Majadahonda
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Alexander Cillan's avatar
Alexander Cillan
Spain
UI/UX, Branding & Motion Graphics for Startups and Creators.
$25k+
Earned
8x
Hired
5.0
Rating
57
Followers
UI/UX, Branding & Motion Graphics for Startups and Creators.
Cover image for 3D Branding and Product Animation for Poppin
3D Branding and Product Animation for Poppin
11
80
Cover image for Luxury Watch Branding and Website Design & for TimepieceFNF
Luxury Watch Branding and Website Design & for TimepieceFNF
3
26
Cover image for UI/UX Redesign and Product Animation for ChromaAI
UI/UX Redesign and Product Animation for ChromaAI
11
65
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Blender(1)
Alejandro Lechón's avatar
Alejandro Lechón
Madrid, Spain
3D artist / Illustrator
36
Followers
3D artist / Illustrator
Cover image for Huge announcement! This Saturday we
Huge announcement! This Saturday we will be at the premiere of our latest production! Dinki Donki: Odisea en la Luna our 3D animated FULLDOME movie. This is such a sweet moment, this project has been gigantic and we are so proud of it. Huge thanks to everyone involved! There you go! Come and watch it at Planetario de Madrid!
0
123
Cover image for VAMPYR 3D Character Design Project
VAMPYR 3D Character Design Project
0
16
Cover image for Wyvern Sculpting Project
Wyvern Sculpting Project
0
20
Cover image for Its finally ready! Wings, claws and teeth... the Wyvern has ...
Its finally ready! Wings, claws and teeth... the Wyvern has arrived. I used shapelab vr for sculpting and Blender for rendering. I have to say, I really love this one. I hope you like it! https://www.instagram.com/p/DQD-4IgjLh8/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== #3D #humanart #noai #openforwork!
5
156
Blender(13)
Marcela Ottilia's avatar
Marcela Ottilia
Madrid, Spain
Creative Director | Pitch Decks • Brand Presentations
New to Contra
Creative Director | Pitch Decks • Brand Presentations
Cover image for El Loco Amor — Building
El Loco Amor — Building a Visual Universe for Gen Z Dating TV Expanding the Format The creative work grew from within the format itself. I developed new games, situations and content opportunities, thinking about what could happen inside each space and how the environment itself could generate storytelling rather than simply decorate it. The different areas became more than functional corners. Each one was designed with its own purpose, energy and potential role in the narrative: spaces to meet, flirt, talk, play, reveal information, create tension, capture memories or generate short-form social content. Building the Visual World From that strategic foundation, I developed the visual direction. The universe combined Neo-Memphis, Retro Pop, Boho-Urban and Art Pop, transforming the set into an emotional gallery-meets-pop home: colourful, excessive, playful and designed to be instantly recognisable and shareable. Neon, tactile textures, handwritten messages, hearts, photography, vegetation, saturated colour and expressive objects became part of the format's language—not simply decoration. One Idea Across Every Touchpoint The graphic identity followed the same principle. It needed to be modular and expressive, capable of moving naturally between television screens, vertical video, social media and physical applications. The creative rule was controlled chaos: layering, movement, romantic-pop symbols and visual elements entering the frame almost as if they belonged to an app interface. The Result The result was a proposal in which format development, games, set design, visual identity and social content all came from one creative idea. The goal was never simply to build a set around a television programme. It was to explore what creative direction could add to the format itself: more world, more situations, more storytelling and more possibilities for content. I received an idea. I stepped inside it, challenged it and expanded it into a complete creative universe.
0
20
Cover image for Objects & Editions — From
Objects & Editions — From Story to Object Concept Development, Product Design & Material Exploration What if an everyday object could carry a complete story? Objects & Editions began as an exploration of how emotion, memory and human experience could be translated into sculptural, functional objects. Rather than designing isolated pieces, I developed each collection as a complete visual and sensory world—defined by its narrative, forms, colours, textures, materials and central symbolic object. The challenge was to move from an abstract emotional concept to a coherent family of physical objects. Every vase, tray, bowl, candle holder or table piece needed to feel connected to the same origin while remaining functional, reproducible and visually distinctive. I created a story-led product design system in which the narrative came first. Each collection was developed through: — concept and emotional territory; — shape and functional exploration; — colour, texture and material language; — hero-object development; — cold porcelain master prototypes; — mould-making studies; — casting and finishing tests. The objective was not to decorate an object, but to give form to an idea.
1
1
53
Cover image for CULMIA — From Empty Space
CULMIA — From Empty Space to Home Visual Concept & Art Direction for a Branded Stage Experience How do you turn the emotional journey of building a home into a physical and visual experience? Culmia needed a visual concept capable of expressing more than architecture. The project had to communicate transition, construction, change and, ultimately, the emotional meaning of creating a home. The challenge was to translate an abstract brand idea into a stage environment that could evolve alongside the performance. The space needed to feel poetic rather than literal, support movement and projection, and transform through different narrative states without losing its visual unity. The stage was conceived as a layered, evolving space. Translucent fabrics, projected architectural imagery, cardboard boxes, bricks and domestic objects represented the different emotional stages of creating a home: uncertainty, construction and finally belonging. The architecture was not presented as something static. It became a living environment shaped by movement, light and human presence. The set did not simply represent a home. It showed the process of becoming one. 1. Transition Layers of translucent fabric created depth and ambiguity. Projected architecture appeared and disappeared as the performers moved through the space, suggesting change, memory and possibility. 2. Construction Boxes, bricks and an unfinished scenic fragment transformed the platform into a space under construction. The dancers interacted physically with the materials, turning the act of building into part of the performance. 3. Home The final environment became calmer, warmer and more inhabited. A sofa, domestic lighting and everyday imagery replaced the temporary construction elements. The stage stopped being a space to cross and became a place to stay. Creative Direction Art Direction Visual Concept Development Set Design Visual Storytelling Scenic Narrative Moodboard & Previsualization Materials and Prop Selection I developed the visual concept, scenic narrative and art direction, defining how the same stage could evolve through different emotional and physical states. I translated the central idea into spatial composition, materials, projections, scenic objects and visual references, creating a clear proposal for production and performance. The final proposal transformed the idea of housing into an emotional visual journey. Through a modular scenic system, the environment moved from uncertainty to construction and finally to the warmth of an inhabited home. The project demonstrates how art direction and visual storytelling can make an intangible brand message visible, physical and emotionally understandable. CULMIA From Empty Space to Home Visual Concept & Art Direction
1
45
Cover image for Opticalia España — Destino Paraíso
Opticalia España — Destino Paraíso
0
2
Blender(4)
Jose Vivas's avatar
Jose Vivas
Spain
Multidisciplinary designer turning ideas into visual stories
New to Contra
Multidisciplinary designer turning ideas into visual stories
Cover image for From screen to object: what
From screen to object: what should Flourland become next? I’ve been developing Flourland since 2020, exploring this world through illustration, animation, paintings, murals, and stickers. Now I’m working on bringing the same family of characters into physical products. The sculptural pieces shown here are still prototypes. I’m currently sanding, filling, correcting imperfections, and gradually preparing them for their final finish. At the same time, I’m visualizing how the characters could work together on a first T-shirt—the image shown is an early product mockup. I’m now deciding which direction to prioritize: A small, limited edition of sculptural objects or the first Flourland T-shirt? Which would you most want to own first, and why? I’d especially value feedback on which format feels more distinctive, collectible, and capable of introducing Flourland to new people.
3
61
Cover image for Artros
Artros
0
0
Cover image for Blender sculpting experiment
Blender sculpting experiment
0
3
Cover image for The cristal age… 41
The cristal age… 41
0
2
Blender(4)
Victor Lucas's avatar
Victor Lucas
Spain
CG, VFX & Motion for Products and Spaces
9
Followers
CG, VFX & Motion for Products and Spaces
Cover image for Construction Timeline Video Presentation
Construction Timeline Video Presentation
0
4
Cover image for 3D Visuals for Urban Housing
3D Visuals for Urban Housing
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3
Cover image for Electric Mountain Bike Design & Assembly
Electric Mountain Bike Design & Assembly
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1
Cover image for Realistic 3D Shock Absorber Simulation
Realistic 3D Shock Absorber Simulation
0
3
Blender(6)
Raphsomar .'s avatar
Raphsomar .
Madrid, Spain
Filmmaker
Filmmaker
Cover image for Automobili Lamborghini's first residential project in
Automobili Lamborghini's first residential project in Stock Photo, Real Film and 3d renders. Europe.Every camera move was hand keyed using Bezier curves to ensure a 'weighted' feel. We avoided the robotic, linear movement often seen in basic 3D tours, opting instead for damped momentum—mimicking a heavy cinema crane or a professional Steadicam rig.
0
196
Cover image for With the world at a
With the world at a standstill due to the COVID-19 pandemic, real-life filming was an impossibility. We had to rethink our approach, turning to the power of pure, studio-based 3D rendering. This film is not just a showcase of a groundbreaking motor yacht; it's a testament to human creativity and technological prowess in the face of adversity. Every frame, every ripple on the water, and every sleek line of the yacht was painstakingly crafted in a 3D studio, without the use of AI. This allowed us to achieve a level of detail and artistic control that would have been impossible in a traditional shoot, perfectly capturing the spirit of Lamborghini's "Beyond the Limits" philosophy.
0
242
Cover image for Testing Seedance 2.0 on recent
Testing Seedance 2.0 on recent visual work. Strong physics, clean removals, and a surprisingly natural response to minimal camera direction. Built from a simple prompt structure, refined in DaVinci Resolve, and shaped through composition and timing. Constantly exploring new tools to push cinematic language forward.
4
240
Cover image for Visual Grandeur. Treated every room
Visual Grandeur. Treated every room as a set, utilizing slow-burn pans and rack-focus techniques to guide the viewer’s eye toward the bespoke craftsmanship. By shooting in LOG profile, I achieved a wide dynamic range that mimics the texture and 'creaminess' of a 35mm film print, ensuring that the shadows are deep and the highlights are sophisticated, not blown out.
0
216
Blender(2)