Orgelf's works. second topic.
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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.
Thank you to those who take the time to visit.
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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
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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
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This is insanely great!
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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.
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@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.
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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/fileIt 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.
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Bestiale!
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@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
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Massive work.. do you model everything in Zbrush or you do something in Sketchup (e.g masses/concept)?
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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.
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