She’s a highly knowledgeable 3D pen art community member who shares her doodling tips freely. Connie’s design approach turns fantasy into reality. You’ve no doubt seen some of her incredible Doodles on our Instagram. In addition to the content she posts on her Instagram, she’s also shared some incredibly detailed and helpful tutorials on her YouTube channel that explore creative tips and tricks to test out with a 3D pen.

This week we’ve partnered with Connie to reimagine the Pisces symbol from an artist’s perspective. Learn how she designed the piece and explore her 3D pen art tips and tricks!

Finding Creative Freedom

As Connie explains it, designing in 3D offers her artistic freedom. She can create anything she can dream up. And, if she’s working on a project and doesn’t care for something or is struggling to get the exact look she wants, she finds the filament is easy to heat and remove to remold.

“Creating in 3D gives me infinite freedom. There’s just no limit,” said Connie. “You can draw lines into thin air if you like drawing, you can design pieces flat and assemble them if you’re into modeling and architecture, you can mix techniques, you can bend the filament pieces with hot air, you can smudge the filament with your pen’s nozzle, or you can bake and melt it into sheets. The creative possibilities are endless.”

Connie also likes to see where the process takes her. While designing, she never knows what might happen. So she takes every opportunity to try a new idea or test a new technique.

“I look forward to seeing where the experience will take me, and what I’ll discover next,” said Connie. “I love to delve into small things, try not to overlook things, and create pieces that give my audience many things to discover.”

Pisces Design Inspiration

Connie doesn’t follow zodiac signs closely, but she enjoys reading her horoscope from time to time. She’s an Aries and enjoys reading about the traits related to her sign to see if any match her personality, and some do.

“When I began working on the pisces piece, I looked up the astronomical sign and when I saw it was a fish I immediately had something colorful in mind,” said Connie. “I envisioned a fish with long fins, to show the floating, waving, weightlessness of those animals. I imagined them swimming in the air just like they do under water.”

Connie thought about using a coy or betta fish. When she was younger, she had a betta fish and was already familiar with it. Bettas also have long fins and come in a wide variety of colors. Connie knew she had a winner!

Aspiring Doodlers Take Note

Connie is a phenomenal 3D artist whose techniques and creativity inspire a community of Doodlers. Her suggestions for anyone looking to gain skills with a 3D pen are pretty simple.

“Work with the 3D pen. Seriously, if you browse my Instagram, I posted one of my first creations there, said Connie. “It was a clumsy little birdie, made with the first 3Doodler 3D pen. I was so extremely proud of it that day.”

Connie explains that working with hot filament and getting a feel for a 3D pen can be daunting. But, the more you work with it, the less afraid you will be about what could go wrong and the more intrigued you become to see what more you can do. She recommends starting small by picking something simple or something you can try to recreate.

“It’s really important to use the 3D pen,” said Connie. “The more you use it, the more comfortable you are with its shape in your hand, the way it functions, the filament and different filaments. You’ll gradually find the technique that suits you best.”

Once you become comfortable with the pen, Connie recommends trying the nozzle set. She used it for this project to create the fins and scales. Next, she attached the scales by melting them onto the body with the hot pen tip.

“For these fish, I used the angled nozzle to draw those ultra-thin, almost see-through fins, and the shiny scales,” said Connie. “The nozzle set is a great way to spice up your projects, if you find yourself looking for something new!”

As far as what to expect next from Connie, she’s happiest when experimenting and learning something new. In addition, she enjoys creating hyper-realistic pieces, like giant butterflies, and makes a nice piece of fan art now and then.

“Currently, I am working on detailed, monochrome pieces,” said Connie. “I’m mixing plants with animal traits and supersizing small things. My artistic style is always evolving as I learn new things.”

The post Artist Spotlight: Cornelia Kuglmeier first appeared on 3Doodler.

3Doodler took inspiration from the wintry weather and the long history of icy architecture to create a stunning 3D ice castle. See where we found our inspiration and design an ice castle with our latest stencil!

Ice-Inspired Architecture

Ice castles and palaces have popped up in all sorts of cold-weather locations around the world, from Montreal to Switzerland and even St. Paul.

Montreal has a long history of ice castle creations. Before modern technology, people cut ice blocks from the frozen St. Lawrence river. Montreal’s first ice palace was designed for the Winter Carnival of 1884. In addition to the ice palace, the Winter Carnival featured snowshoe races, toboggan slides, and sleigh rides.

Seeking to attract tourists and following Montreals’ lead, organizers in St. Paul, Minnesota, built an ice castle in 1885. In fact, the city has created 37 ice palaces of all different shapes and sizes to date. Today, the ice palaces appear less frequently. In fact, they are often organized to coincide with significant events, like the Super Bowl in 2018. The city of St. Paul features a video explaining how the project came together with a stunning result.

The Jungfraujoch Ice Palace penguin sculptures.

Designing an Ice Castle in 3D

The 3Doodler team took inspiration from traditional ice castles created with blocks of ice and more modern interpretations, like the ice palace from Disney’s Frozen. The 3Doodler ice castle stencil offers a series of easily made shapes. You can create a small or large castle by attaching the pieces together.

In the 3Doodler version, we used four large sides, two medium sides, and two small sides. Attaching these shapes together, we created alternating sides for the ice castle. If you wanted to create a larger castle, you could continue to make the side shapes to build out the castle design. Follow the process step-by-step in the ice castle tutorial.

The post A Winter Wonderland: 3D Ice Castle first appeared on 3Doodler.

As we head into a new year, 3Doodler will look to collaborate with artists, educators, and entrepreneurs to explore ways we elevate creativity. But, of course, it’s also important to inspire new creators. With that in mind, we’ll share accessible stencils, tutorials, and more to support budding artists.

Let’s take a quick look back to revisit the projects and artists who inspired you the most. Plus, we’ll share a quick project to jump-start creativity in 2023.

Dina Velikovskaya

Dina also shared a behind-the-scenes look at creating the film using a 3D pen. First, all the characters were created using a 2d digital drawn animation technique and then outlined with a 3D pen. The result was sets of flat filament figures. Next, the director filmed the figures frame by frame in a stop-motion set, along with wire objects.

Rick Martinez

Rick continues to push the boundaries of art and technology with his creative use of materials. Keep an eye out for a 3Doodler collaboration with Rick later this month!

Cornelia Kuglmeier

See more of Connie’s helpful tips and tutorials on her YouTube channel, where she shares loads of doodling advice.

Edwin Ramirez

Spark Creativity in 2023

Now that you’ve seen a small sample of our vibrant community, we invite you to make this your year of 3D creativity. Get started by creating a custom work of art for home using our go-to phrase. What will you create?

Get the Stencil

The post Celebrating Creators, Makers, Artists first appeared on 3Doodler.

For two Korean artists, the 3Doodler provided a new way to express themselves through their art.

“If I could have anything in the world, I’d want to stand and walk on my own two feet and dance,” says Kim Hyung-hee. The 47-year-old painter was paralyzed in a traffic accident, and knows just how important art and creative expression can be in aiding in recovery and mental health.

Kim now works as a clinical art therapist, and discovered the 3Doodler as a new way to bring dimension and life into her artwork.

“I drew a three-dimensional flower on canvas,” she says, recalling her first Doodle. “In contrast with common drawing and painting, I can draw everything in new ways, and it’s new to be able to draw in three-dimensional ways.”

Hyung-hee has had private exhibitions of her work, as well as showcased how the 3Doodler can be used as a creative therapeutic aide in festivals and and shows around Korea.

“There are so various and beautiful colors in 3Doodler filaments,” Hyung-hee says, “and I can draw everything in three dimensions and unique ways.”

Weon Jea-hyun is a 27-year-old artist who specializes in kinetic sculpture, focused on combining movement with art.

Jea-hyun was instantly drawn to the 3Doodler and the new possibilities a 3D printing pen could offer.

“The first thing I tried Doodling was my name. It was very strange but awesome that my handwriting was realized into 3D immediately,” Jea-hyun recalls.

As an extension of work from an 2013 solo exhibition titled Observation, Jea-hyun used the 3Doodler to create a layered piece meant to showcase a shift in perspectives.

“People observe each other’s daily life. Someone can observe me, and I also can observe someone,” Jea-hyun explains. “Someone’s routine can be interesting for the other, and this metaphorical change of viewpoints can be a mechanism which assigns variability and interest to routine life.”

Jea-hyun’s own cat was the source of inspiration and the piece shows a layered crowd of attentive felines staring out at the viewer.

“In this work, cats can be interpreted as the projection of people,” Jea-hyun explains. “They observe others—the viewers—but also the viewers observe them—the cats.”

The post How Two Artists Shared a New Point of View first appeared on 3Doodler.

A student at Hongik University, Jeong-Sub studies woodworking and furniture design. But artistry and design is all about innovation, and for Jeong-Sub’s latest project it was time to look beyond traditional construction materials.

Demonstrating the strength of a Doodled truss structure

“While experimenting with different tools and materials during the starting process, I turned my eyes to 3D printing,” Jeong-Sub says. In order to make 3D-printed furniture a reality, it was important to consider the strength and durability of 3D printing filaments like PLA and ABS.

While using a 3D printer was a possibility, there was something more appealing to the hand-made nature of using the 3Doodler. “Unlike previous 3D printers which require a complex method and high cost, the 3Doodler allows users to draw in 3-dimensions while keeping the same basic process of an FDM 3D printer with ejected molten filament,” explains Jeong-Sub. “The 3Doodler uses the latest technology, but it can apply a wide range of human creativity.”

With a concept in place and new technology to make it a reality, the next task was to create the intricate structure which would successfully serve as functional furniture.

While most Doodled structures are created with standard horizontal and vertical lines, creating furniture required something different. “After judging that the thickness and the length of the filament would not support the weight of an average man, I experimented with various forms of structure,” says Jeong-Sub.

After rigorous testing, Jeong-Sub finally found a solution. “I used a truss structure, which can support the most force,” he reveals. “By ejecting the molten filament and connecting them one by one, the work was produced.”

“Assuming the ability to sit, I first formed a structure which supports the weight of a person,” Jeong-Sub explains. “After judging that it can support the force, I tried to pursue the natural and composite texture of connected filaments, creating a more coincidental impression.”

The result was a full-sized chair and design masterpiece which Jeong-Sub appropriately named “Connect”. The finished piece took two full months to complete, with a total of 450 meters (almost 1,500 feet) of connected filament.

Jeong-Sub continues to explore how hand-drawn 3D forms made with the 3Doodler can be elevated to sculptural interior design pieces. His latest works follow the same concept as his Connect chair. He is currently putting the finishing touches on a pendant light and an electroformation, where Jeong-Sub created an underlying structure modeled with the 3Doodler which was then electroformed and covered with copper.

All of his work reflects Jeong-Sub’s own take on modern life. “This piece ‘Connect’ visualizes in detail the figure of modern people living with connections,” Jeong-Sub explains, “as well as focusing on showing the effect of coincidence when each connection creates a structure with more complexity and variations.”

The post Creating Connections with Shim Jeong-Sub first appeared on 3Doodler.

The Sagrada Challenge

“I like big challenges,” says Cornelia Kuglmeier. A school teacher from Germany, Cornelia has worked with 3Doodler on incredible artistic pieces in the past. But earlier this year, Cornelia completed her largest and most detailed project to date: a scale model of the Sagrada Familia.

Laying out the facade

Designed by Spanish architect Antoni Gaudi (1852-1926), the Sagrada broke ground in Barcelona in 1882 and remains unfinished to this day. In addition to the immense complexity of the building, the completion of the Sagrada was made even more difficult with Gaudi’s sudden death, after which his notes were lost for many years and then later partially destroyed by anarchists in 1936.

To recreate the Sagrada, Cornelia researched Gaudi’s design plans extensively as preparation for creating her model with the 3Doodler.

“I’m a big planner. I just don’t Doodle without a clue on how to begin and how to move on from each point,” Cornelia says. “So I first did some very long and some very detailed research. Then I made myself stencils where I counted on heights and relations on the different parts, and even drew in some decorations to see how much space it would take.”

Immense Complexity

“Gaudi had a very unique idea of building and architecture,” Cornelia explains. “You basically have the outer structure of a Gothic church in the Sagrada Familia, but the sustaining structure on the inside is completely different from what we know of the Gothic epoch.”

Gaudi's hanging chain model

To add to the complexity, nearly every aspect of Gaudi’s architectural design was new and unheard of. “He designed the curved towers by building what he called a ‘hanging model’,” Cornelia says, describing how Gaudi hung ropes weighed down with sand bags to create curved lines for the shapes of the towers. “Their shape, modelled on parabolas, was Gaudì’s way of creating self-supporting structures that would overcome the faults of Gothic architecture.”

Innovative aesthetic twists also provided special challenges to the original builders. “The most difficult part of construction on the real Sagrada was the sustaining structure in the naves holding the roofs and towers,” she says. “Gaudi wanted the pillars inside the church to be shaped like trees with branches, supporting the arches and symbolizing the leafy roof of a forest. Such a system of pillars and arches had never been built before.”

Unwavering Perfectionism

Gaudi’s genius and innovation meant a slow construction process. “I think one of the reasons it is not finished now is because the technique was very different and they had to go step by step to invent it,” Cornelia says. “And it’s huge. It’s meant to be the tallest Christian church when it’s finished.”

But Gaudi was never in a rush to see the Sagrada Familia completed. “It was obvious back then that he would not live to see his project finished,” explains Cornelia. “But when they told him that, and asked if he wanted to simplify some things or stick to knowledge they had already about architecture, he said he wouldn’t change anything because his client had all the time to wait, and wasn’t in a hurry. He meant God of course.”

144 Years in the Making

While the Sagrada Familia is planned to be completed in 2026 (144 years after it first broke ground), Cornelia’s Doodled model took only four months – although with its own unique challenges.

The first major challenge was researching the plans of Gaudi’s original design so the model could stay as close to his vision as possible. “The original ground plot and floor plan was essential,” she says. “Without it, assembling and planning would not have been possible. The main structure is a so-called “latin cross”, the church itself is some sort of modified Gothic style. As those are very strictly planned, the original ground plot studies were very helpful.”

But other parts of the design plans were more difficult to research.

Constructing the Facades

The finished Sagrada will have three detailed façades depicting different chapters from the life of Christ. Cornelia wanted to include as much detail on each façade as possible. “This was complicated though, as only one façade is fully built, the Nativity Façade,” she says. “I could not find a photo of the fully built Passion Façade, so I had to stick to models, which are sometimes slightly simplified.”

“The Glory Façade was completely built after model views. What made my work so difficult was that there are actually at least two models; one very colourful, highly decorated model, supposed to be made by Gaudi himself, but only available in very small picture sizes; and one white, rather even and slick 3D-printed model.”

assiduous attention to detail

Staying True to Gaudi’s Vision

Sagrada Pre-assembly

Cornelia decided to rely as much as possible on Gaudi’s own model. “I chose to use green for the turrets in the Glory Façade instead of brown, as the model made by Gaudí himself showed the turrets in green,” she says. “I tried very hard to give every façade as much decoration as possible to give it its typical look; I also tried to put as much decoration as possible onto the towers, but this was limited with both, as the figures were so tiny. All in all I had to simplify some areas, and reduce others. Some things I had to invent, like the decoration of the apse – it’s not built yet, and there was no picture to be found that depicted it big enough.”

1,050 Strands, and Countless Hours

Working up to 10 hours a day, and eventually using 1,050 strands of filament, Cornelia’s Sagrada Familia model began to take shape.

“I didn’t count how many times I wanted to throw it against a wall,” Cornelia admits. Even when working with stencils and detailed research, mistakes can still happen, and with a project as precise as the Sagrada Familia, even a millimetre difference could throw off proportions and make assembly difficult.

“I Doodled all the parts first, put together the towers, the facades and the church naves and then started assembling from the middle – Christ’s tower – in each direction,” Cornelia says. “Having them all at the right height, sitting straight and at the right angles was very difficult; besides, as organic forms meet geometric forms, putting the pieces together was not always easy, or the form itself grew so edgy that my hand with the pen almost didn’t fit in.”

And sometimes Cornelia had to get creative to make sure the church came together properly. when assembling the towers, she found space too tight to Doodle from the outside, and the structure was too delicate to lay it on its side without risking damage. “So when I had to assemble this part, I gently pushed it half over the edge of my table – just enough so it wouldn’t fall down – and I kneeled under it and Doodled the whole thing upside down, like Michelangelo painting his Sistine Chapel,” she says. “It didn’t take me as long as Michelangelo though, and I didn’t go blind,” she adds, laughing.

Oven-baked windows

The Devil is in the Detail

For Cornelia, the most important part of her Doodled model was making sure to include as much decorative detail as she could, even when it came to creating the angels on the facade. “It wouldn’t have that impact if it was just plain or only had bits and blobs,” she says. “That was the most delicate work. I was sitting there and forming the hot filament with pincers to make them even thinner or make some sort of gap between the head and body to keep them as small as possible but visible.”

“I also oven-baked the windows, trying to give them their real colors, making them smooth and shiny in contrast to the brown and rough appearance of the church’s walls,” she says.

Despite the frustration and hours of dedication to both research and construction, Cornelia says that once the pieces began to come together she felt the whole ordeal was worth it. “I wanted to finish it. It was a big challenge, and I like big challenges,” she says. “I saw it growing, and it was not in vain.”

The Finished Sagrada Familia 3Doodle

The post Gaudi’s Sagrada Familia with Cornelia Kuglmeier first appeared on 3Doodler.

Grace Du Prez

Grace Du Prez is not new to Doodling. “I first started using the 3Doodler about 3 years ago when I was commissioned by Maplin Electronics to make a hat for Ladies Day at Ascot,” she says. “I then got in touch with 3Doodler directly and made a few pieces including jewellery, a vase and some lampshades.”

But her latest project was bigger and more complex than anything Grace – or anyone else – had ever done before.

Grace was contacted about an ambitious new idea – to use a 3D pen to create an entire car. The project would be to Doodle a full-size Nissan Qashqai. “I was really excited as nothing had ever been made this size before and it sounded like a really fun project.”

Based in London, Grace assembled a team of 11 artists and designers from the UK, and students from Kingston University. But before they could begin, they needed a plan.

“The initial conversations were mainly about feasibility and trying to estimate how long it would take,” says Grace. “We then had to plan all the logistics of how to make it and what the design would be.”

Stitching It Together

With multiple artists, there were many different visions and ideas to consider, and different elements that had to be decided. “In the beginning planning stages, we discussed how it could be made and what the surface might look like. There were lots of meetings to discuss the different options,” Grace explains. “The whole planning took a couple of months.”

When it came time to start constructing the car, Grace showed the team how to use the 3Doodler. As Grace teaches regular workshops for how to use the pen, she was able to get the team Doodling quickly.

But when 11 artists are working on the same project, everyone needs to be on the same page. “Everyone had a slightly different style of Doodling – just like everyone’s handwriting is different,” Grace explains. “So to keep it consistent across the whole car we would get everyone to swap places every so often.”

And it was crucial to have open lines of communication throughout the project. “At the start of every day we would all have a chat and make a plan for which bits we were going to do,” Grace says. “We started off getting all the key lines, which were quite thick to give a bit of structure and support and also highlighted the design features of the Qashqai. Then we could start filling in the bigger areas with more of a web-like surface.”

No one had ever before attempted making a structure of this size using a 3D pen. “That was the biggest challenge for me; as it had never been done before, there was a little element of the unknown,” says Grace. “But that just added to the excitement of it.”

And Grace and her team were prepared for the challenge. “I was always confident as we had planned it really well and thought of every eventuality,” she says.

Working 800 hours over 17 days, and using over 8,000 strands of PLA and ABS filament, this massive-scale project moved from concept to reality. “Seeing the final video for the first time, I was so proud of the team and how hard everybody had worked,” Grace says. “Seeing the Doodled car next to the real life Qashqai really shows what an amazing achievement it all was.”

The completed Doodled Qashqai is being transported to the Brand Innovation Centre in Barcelona, where it will be on display to the public.

“Working on the Qashqai in a team and creating something large scale as a group was a great experience,” says Grace. “I feel like now we have done this anything is possible so I’m looking forward to what the future has in store!”

The post A Qashqai Creation with Grace Du Prez first appeared on 3Doodler.

Every day at 3Doodler we get members from our Community posting or sending us the incredible artwork they have created. Whether on our Instagram, Twitter, or Facebook feed, or sent directly to us, we love seeing the creativity in our Community.

This week, we’re featuring Tanner Lamm, a longshoreman from Everett, Washington.

Tanner Lamm

“About four years ago, I got rid of my TV and became quite the YouTube nut,” says Tanner. “While on YouTube, I came across a video using the original 3Doodler. I instantly fell in love with the tool and needed to have it.”

The 35-year-old longshoreman from Everett, Washington donated to the 3Doodler Kickstarter campaign to get his first 3Doodler pen. “After messing around with the pen a little, I got straight to work and loved it.”

As with any new art medium, the 3Doodler took some getting used to. “I think I started with a few stick figures to get the flow down, then I made a small tree – which kinda fell apart,” Tanner admits.

But once he got the hang of things, Tanner’s imagination and his artwork took off. “I see inspiration everywhere and have more ideas than filament strands to use,” he says.

From wriggling octopi inspired by his work as a longshoreman, to geometric trees emerging from intricate skulls, Tanner has used his 3Doodler pens as an outlet for his creativity and imagination. “I love to Doodle because it allows me to pull my drawings off the page and into the real world,” he says.

“My favorite Doodle so far is my Hang Glider Island,” he says. “It’s a big purple tree on a floating island with tiny wooden platforms for tiny hang gliders. It also has bigger hang gliders that fly around the island on fishing string.”

Hang Glider Island

“My inspiration was my love for drawing trees and my old paragliding days,” Tanner says. “It took me about 20 hours to make, and I used about 75 strands of filament.”

Tanner says that when Doodling, it’s what’s inside that counts. “The best tip I can give is to make sure to pay attention to the inside structure of your Doodles,” he explains. Using a 3D pen is similar to 3D printing in this regard. “The bigger your Doodle, the more important structure becomes.”

As he continues to expand his creative work, Tanner plans to bring his Doodles to the next level with mechanical moving parts. “I want to see about getting some Doodles to move through wind power and cranks,” he says.

“The 3Doodler has been great for me,” he says. “I’ve used it no differently then if I were using a pencil. It feels like I’ve pulled my drawings right off the paper and then have the option to make them into so much more.”

The post Getting Creative with Tanner Lamm first appeared on 3Doodler.

“The first thing I Doodled was my name on paper,” KIMONE says. But using the 3Doodler was different than other media she had used in the past. “Those words were written badly and I felt pretty awkward,” she admits.

But feelings and emotions, especially those related to insecurity, are what KIMONE’s artwork is all about. Her series “HIDE” was inspired by her experience in therapy.

“During therapy sessions, I looked at myself through the person sitting in front of me,” she says. “The enclosed area where I had the sessions was not a space for me to be comfortable in, but instead put me under pressure.”

Even though the therapy sessions were meant to encourage openness, KIMONE says that for her it made her want to cover up even more. “Every moment, I tried to hide,” she says.

With the 3Doodler and branching out into 3-dimensional art, KIMONE’s artwork turned from hiding to expressing. “I have been working on the natural human body and very basic human emotions,” she says. “I wanted to express the extended concept of a human face that shows abstract feelings and emotions.”

Using the 3Doodler allowed KIMONE to explore new avenues in her artwork. “Doodling enables me to represent all kinds of abstract images,” she explains. “And Doodling has a special virtue in that you can use mixed medium and vary from 2D to 3D.”

Now KIMONE plans to continue using the 3Doodler for bigger projects. “I would like to express the human body in more detail,” she says. “I look forward to creating structural sculpture by using parts of the human body.”

KIMONE says she recommends using Overhead Projector film paper for Doodling. “It’s good for practicing one’s writing and also the letters can be separated into pieces more easily,” she says.

KIMONE says her 3Doodled face was the most intense work she has done with exploring the human form in 3D. She worked on her sculpture for 10 days, working five to eight hours each day. “It is a great pleasure for an artist to feel emotion easily through their work,” she says. “This artwork made me feel this.”

The post Showing What’s Hidden with KIMONE first appeared on 3Doodler.

This same instinct is what initially piqued his interest in our original Kickstarter campaign. After backing the world’s first 3D printing pen, Yudi explored new and innovative uses for the 3Doodler, using multiple pens to produce incredibly creative and detailed sculptures.

Yudi spends 30 hours on average for each piece

At 61 years old, Yudi has had a lifetime of creative experience to prepare him for new and emerging creative technologies.

“I’ve been an artist for as long as I can recall,” he says. “For most of that time I worked with ball point drawings or sculpture using wood, soft stone, or clay. The 3Doodler is a natural drawing tool for me, it allows me to both draw and sculpt, transitioning into using it was an intuitive motion.”

Seated Couple

Yudi’s sculptures take on average 30 hours to complete, but more complicated figures can take much longer. “‘Seated Couple’ actually took almost 60 hours in total,” Yudi says. “This is the reasoning behind having multiple pens, it allows me to switch them out during longer sessions without losing momentum.”

While Yudi’s sculptures look like they come straight from his fantastic imagination, each one requires careful planning. “I build each project from many different parts which are then fused together,” he explains. “These parts are often made up of series of rings which are combined to create a wireframe of the intended character.”

And even with advance planning, Yudi says there’s always unexpected twists in the creative process. “More often than not, things don’t always go as I planned and I need to break, bend and twist before getting the forms correct,” he says. “For instance, ‘The Jump’ was done by breaking the figure many different times in order to achieve the sense of movement in the final product.”

The Jump

Yudi’s personal artistic style wasn’t always the same – it evolved over years of creative expression. “I became comfortable with my technique mostly through experimentation and persistence,” he says. “You need to have a lot of patience, but even the learning process is fun and ultimately rewarding.”

Yudi Martin's Crown Tower Trilogy

The post Shaping the Surreal with Yudi Marton first appeared on 3Doodler.