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Francesco Perratone is an artist currently living in Italy. He worked on various projects in the video produciton, 3d graphics, VFX and IT fields in general. Now he is working as a freelancer in those fields but trying to make artist business to be his main activity. We have conducted an interview with Francesco.

Where did you learn this artistry of visual effects?
I’m a self­taught artist, from my youth I was fascinated by computer graphics, especially from 3D graphics. I started experimenting and learning on the very first software packages available on personal computers, when I was 15 or so… I remember my first experiences with LOGO language and later 3D Studio for DOS.

3d graphics evolved and changed, branching out into several fields and applications. I’m always learning new things and keeping myself updated on new developments. This is very important, to be able to experiment new things and keep a comprehensive view on the subject.

What kind of 3D graphics do you like to create?
I’ve done a lot of different things, from characters and animations for realtime applications, like videogames and medical diagnosis, to projection mappings, commercials, short animations movies, documentaries animations and music videos. I’ve found VFX to be the field where 3d graphics employs most of its aspects, it’s varied and requires different interesting approaches. Lately my works are delving into generative graphics and animations, I’m also experimenting with real time 3d and interactions. In the future things could change, of course.

What do you think are your strengths to produce artwork like 'Unstable Symmetry'?
I often like to experiment with different techniques and mix them. In “Unstable Symmetry” I wanted to “evolve” and change a little the concept of polygonal art, so I use generative graphics to keep the polygons “fluid” and shifting…. Adding some additional compositing steps to move further away. In a way it’s a step from some animated GIF I’m working on, like the series “MetaLines” and “CruxoMorph”.

I think the “strengths” of this kind of works are the original approach, merging different techniques from different applications, and of course the possibility to represent complex or multi­faceted concepts, using figurative or abstracts subjects and environments, like in “Humans”, for example.

How do you priced the limited editions of your digital works such as animations and videos? 
My watermarked works are basically free for everyone to watch and share, for some works I’ve used existing digital licensing platforms, like Sedition Art, some of these platforms have predefined pricing plans, usually depending on the number of editions and availability.

My personal approach is to make the work available to everyone, charging for very limited or personalized editions. Usually prices for limited edition animations are a few dozen of euros, but through Patreon I will release some content for as low as 1$/month.

The digital licensing and art economy are constantly evolving and changing, new interesting platforms are popping out, like Patreon, Verisart, Curensea… It’s also possible to independently release digital certificates for your digital works, thanks to blockchain­ related technologies, I think this is an important field to keep an eye on also if you’re interested in digital contracts in general, interesting things will happen!

What is so challenging about creating the work “Humans” on Sedition Art?
Probably the most challenging part was finding a way to properly convey a concept of restraint and entrapment for the main animated subject, I’ve created different revisions before finding a strong­enough visual solution.

The evolving structure itself was a bit difficult to control during some entertaining moments, but it was also fun to identify those moments and make them even more visible by showing the tridimensional shape in its everchanging complexity.

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MATERICLOOK Reviewed by JaamZIN on 9:17:00 PM Rating: 5
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