Orgelf's works. second topic.

orgelf

Cathedral pit, third proposal.
The statue of the devil is based on one of my favorite animals, the praying mantis shrimp. The characters opposite are lost souls. In the scenography, the heads move, the beams are holograms. They symbolize a corrupt look at everything.
These scenes are deliberately simple. During the visit, this pit will be added to all the rest of the cathedral, more would be too much.
I placed profile images by cutting the scene so that we could better visualize the whole.

orgelf

Fourth proposal for the cathedral pit. a three-headed devils (a parody of the Trinity) asleep in a lake of fire.
The legs are from a 3d scan.
The heads were sculpted with Nomad/Ipad.
No use of sketchup here....but it is part of the big project.
please tell me if I should remove this post.

Bigger on these links

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orgelf

Last proposal for the cathedral pit of my version of Notre Dame de Paris. I think the theme of this one is about evil within the church.
The devil (pride) is a hydra composed of three hands with six fingers, It is found in a carriage pulled by six monks representing six sins (avarice, envy, anger, lust, gluttony, laziness).
The raven in the front of the vehicle is an inversion of the dove of the Holy Spirit.

Both faces were sculpted with Nomad/Ipad.
The raven head and clothes are uploaded 3D models.

You can download the images in large format at this link
https://www.mediafire.com/file/nd3jjtlt03if410/04Fosse.zip/file.

pilou

La chute d'Icare!
Ah les images ont changé!

pilou

Ils ont des bonnes têtes les hommes de mains! :°
C'est fait avec quoi les bijoux ?

orgelf

Jewels are made with procreate, inkscape, zbrush and blender.

I will finalize my personal project on Notre-Dame de Paris tomorrow with the release of the interior images. A project I have been working on for nearly five years.

I took this opportunity to rework the exterior renders to make them clearer and more readable: increased brightness, square formats allowing more verticality in the framing, and a shift to a 35 mm focal length to introduce a subtle wide-angle effect and include more architectural elements.

The gargoyles, statues, and figures that may evoke toys — or, more broadly, a world connected to childhood — questioned me for a long time. I felt that it worked visually, without immediately understanding why.

I eventually found the answer: this is a place dedicated to a Mother and her Child. In a sense, there are toys everywhere.

The images can be downloaded in high resolution (approximately 5,500 pixels) via this link

Mike Amos

Thanks mate, a good antidote to the news.

orgelf

@Mike amos . Glad to be helpfull. Yes, dark times from the dark clowns. I would prefer not to check the news everyday but what happens is too insane . I feel like I have to prepare for something.

Today, I am presenting the interior of the cathedral in daylight.

The floor has a key distinctive feature: it can become transparent. During the day, it remains opaque and is decorated with colorful patterns that, once again, recall the world of childhood. At night, it turns transparent, revealing the pit below, illuminated from beneath. This day/night alternation is an integral part of the project.

For the interior layout, I developed several concepts for the holy water font, the pulpit, the altar, and the columns. I then selected one proposal for each element and integrated them coherently into the nave.

In the final image, the element hanging from the ceiling is the seahorse tail of Saint Geneviève. At the very back of the cathedral, the reliquary of the Virgin can be seen.

You may download bigger sizes pictures ( about 4000 p) here

orgelf

Notre-Dame Interior — Night.
The floor has become transparent. The light comes from the pit below — more precisely, from the sea of light in which the three-headed devil rests.

You can download the images in high resolution via the following link: https://www.mediafire.com/file/crlhdyuogtyfkgu/NotreDAmeIntNit.zip/file

orgelf

After five years of work, my personal reinterpretation of Notre-Dame de Paris is now complete.

The website has been fully updated, with all exterior and interior sections, in both daylight and night versions.

https://notredame2.weebly.com

Thank you to those who take the time to visit.

orgelf

text by IA from my ideas.

FAMINE — Horseman I

Here are the final 3D renders of Famine, along with AI-generated illustrations.
The bodies are generated with MakeHuman, then reworked in Nomad or ZBrush.
The heads are sculpted. Food around Famine's head and roses are 3dscans .

Famine

No feet.
No hands.
She cannot search for food, nor grasp it, nor bring it to her mouth.
Total impotence. Only Hunger remains.

Her body has no digestive system: only a vast vertical mouth, occupying almost the entire height of her torso. A mouth with no release.

Around her neck, a necklace made of diamond teeth. Useless teeth. Luxury does not nourish.

Her headdress is composed of food. Permanent obsession. She thinks only about eating — yet can never do so.

Traditionally, Famine holds a scale. Here, she bites it to deceive her hunger.
The plates of the scale become false breasts.
She has no breasts.
She does not feed.
She cannot nourish.

The project also engages with fashion and haute couture: fascination with extreme thinness, the aestheticization of anorexia, the glorification of emptiness.

The apple licking her feet mocks her. It tickles her, reminding her of what she cannot reach.
It is the Apple of Eden.
She cannot eat it.

Her cape is a tablecloth, held in place by cutlery stabbed into her own body.
After prolonged starvation, the body consumes itself: first fat, then muscle.
The table is set on her.
Famine’s body becomes her own meal.

The Starving

Anorexic mannequin-like figures.
They seek ultimate beauty and glory — symbolized by a halo.
But the halo is shaped like a hanger: they are nothing but supports.

They starve themselves to become famous.
A navel piercing shaped like a star — “star” born from an empty stomach.

The Carriage

A pumpkin, like Cinderella — a fairy tale turned nightmare.
Covered with roses: flower of appearance and glamour, but also edible.

At the front, a dragon’s head.
It does not breathe fire.
It spits acid.
Digestive fluids.

Famine is not only deprivation.
It is obsession with lack.
Sterile luxury.
A body that devours itself.

bigger sizes here https://www.mediafire.com/file/3lhhzns2pbqe4jg/Famine.zip/file

orgelf

Pestilence, horseman of the Apocalypse.

Here, he does not ride: he abandons himself. Lying on the back of a gigantic praying mantis shrimp, he advances with an almost disturbing nonchalance. His appearance is reminiscent of a clown — but a clown emptied of all joy, who has become a vector of corruption.

In his hand, a cup that he spills on the world. What it contains does not destroy immediately: it infiltrates, it alters, it transforms slowly. A silent, almost aesthetic contamination, where the living topples over without even realizing it.

His mount, hybrid and predatory, extends this logic. It is not a simple animal, but a cold, precise presence, like a disease that observes before acting.

The first three images were generated by AI, as a phase of research and emergence. The next ones are 3D renderings made with Blender, SketchUp, ZBrush, and Nomad, where the character takes on a more tangible form.

Pestilence does not announce the end. It is what begins before.

You can download the images in large size here https://www.mediafire.com/file/iph5r4qjb02caa3/Pestilence.zip/file

panixia

This is insanely great!

Mike Amos

In a world where leaders and the news warp the mind, coming here and soothing the soul is an act of pure logic.

Carpe diem.

orgelf

@panixia thanks a lot, really glad you appreciate it !!

@mike-amos Bad news arrive like clouds of locusts these days . It's cool if my art enlights a little bit your days.

orgelf

The Final of the horseman War.
AI text from our discussions.
The first images were made by AI from 3d renders.

You can download all the images in large size at this link
https://www.mediafire.com/file/2g97qt0mbzzyu5u/War.zip/file

It is not a machine in the classic sense, but an autonomous infernal armor, powered directly by Hell.
The body retains a massive humanoid silhouette (about 60 meters, or about fifteen floors), organized around a central point: the belly. This replaces the torso and takes the form of a pregnant belly with the function of a turret armed with cannons.
At the back, the shell houses a giant snake, a hybrid entity that serves as both a weapon and a feeding system. It can go out to attack, but its main function is more radical: to feed the armor with infernal lava.

At the end of its tail is a drill point. It does not "symbolize" a connection to Hell: it actually descends into it. The snake pierces the ground, reaches Hell, draws the lava, and then regurgitates it into the upper opening of the shell.

This lava then circulates throughout the armor. The visible red areas correspond to the places where the material is heated from the inside, brought to incandescent by this continuous flow.

The armor redistributes this energy to the hands, replaced by open gargoyle heads. They expel lava in the form of jets, like living flamethrowers.

In the "refill" phase, when the tail is anchored deeply, the system becomes almost fixed: the snake pumps continuously and transforms into a stable destruction platform, capable of flooding its environment with hellfire.

The helmet, deliberately non-incandescent, stands out from the rest: it is not crossed by lava. It introduces a cold, controlled zone, in opposition to the overheated body.
The legs end in hooves, a direct reference to the goat, an animal traditionally associated with the devil. It is a clear reminder of the infernal origin of the whole.

Modeled with Blender, Nomad (iPad), SketchUp, and ZBrush.

panixia

Bestiale!

orgelf

@panixia Yes as war itself.

Image 1 larger on this link https://zupimages.net/up/26/18/cu6v.jpg

Here is my representation of the Horseman of the Apocalypse: Death.

The image is deliberately in black and white. Colour belongs to the living. Here, everything is already fading. The smoky environment is not a setting but a zone of indeterminacy: the moment of passage. Death does not last. Unlike the other three horsemen — famine, pestilence and war — which are inscribed in time, Death is a point. A tipping point. And yet, it is the most powerful.

The rider himself remains enigmatic. Flayed, without an identifiable head, he may not be Death, but only its vector. We think we see Death approaching, but we never really know it.

Beneath the horse winds another presence: an umbilical cord attached to a skull. This creature, both organic and macabre, could be the real Death. It evokes a continuity between birth and disappearance, like an uninterrupted flow rather than an isolated event.

This idea originated in a visit to the Poggi Museum in Bologna. In the room of the flayed, the anatomy exposed in its brutality served as a direct reference for the body of the rider. In the next room, representations of uterus and foetuses, as well as a glass object depicting a pregnant uterus resting on truncated legs, triggered another lead: that of death as a reverse birth. This item became the base of the rider's helmet. The legs have been removed to keep only the essential shape, transformed into a closed helmet.

The saddle has been voluntarily removed. I ruled out the option of a decorated saddle, too legible, and that of a shroud-type fabric, too expected. Instead, a simple hollow in the frame. This accentuates the strangeness and transforms the horse into a support, almost an object.

The horse itself is treated minimally. Its tail disappears into the shadows — the past — to suggest that Death has been present from the beginning. Her head is partially engulfed in darkness: it is not known where she is going, or who will be hit next.

Above the rider, a cone of light cuts through the scene. It can be interpreted as a divine presence. If God exists in this image, he is perhaps the only one who knows what Death really is and what his purposes are.

The horseman's weapon extends this logic. The scythe was modeled from an AI-generated image according to my instructions and then reworked. An unexpected symbol has appeared on its blade: an on/off pictogram. I kept it and merged it with the letter Omega to create a sign specific to this entity. This symbol condenses a complete cycle from left to right: pregnancy, birth, life, death (in its luminous phase), decomposition, and then recomposition into another system.

On the technical side, the skeleton was downloaded and then reworked in Blender and ZBrush. The horse was modeled in SketchUp from an AI-generated database and then refined in ZBrush and Blender. The scythe follows a similar process, between assisted generation and manual reconstruction.

The whole does not seek to tell a scene, but to set up a system. Death is not a spectacular event, but a discreet, inevitable mechanism already at work.

Images of the references at the end.

AI text

keyScythe

references

panixia

Massive work.. do you model everything in Zbrush or you do something in Sketchup (e.g masses/concept)?

orgelf

Hi , thanks panixia

Even though I don't make sketchup models to place as is in my 3d project, I often prefer to make my base volume in sketchup and then transform it into zbrush, blender or nomad for Ipad.

For this particular project I made my basic volumes in Sketchup for the horse and the scythe.
For the horse I then increased the number of faces with the zbrush dynamershand then softened some parts with sculpt.

For the scythe, ditto, I made the base in sketchup and then changed the shape subtly with box modeling manipulation via proportional editing.