Behind the Scenes: Structure and Ink


Hello, people! I am Angela Marchesani from Italy, a instructor with a level in structure, a area that sparked my ardour for creativity and digital innovation.

My CGI journey started at college, the place I had the chance to immerse myself in a variety of graphic and design software program—from Autocad to Rhinoceros, by Twinmotion and all the way in which to the pillars of the Adobe suite like Photoshop, Illustrator, and After Results, to not point out Cinema 4D. This path allowed me to dedicate my thesis to the historic and philosophical features of digital illustration in structure, a area that evokes me each day.

Over the last years of my college training, within the Architectural Communication course, I had the chance to experiment with movement graphics utilized to architectural video projection mapping. This expertise, first as a pupil after which as a tutor, not solely enriched my technical information but in addition marked a elementary bridge in the direction of the skilled world, permitting me to work on a broader stage by digital artwork projected onto actual architectures.

I began utilizing Blender in 2016. In the present day, after a break from 3D, I’ve rediscovered this extraordinary software program with renewed enthusiasm, which has allowed me to additional increase my expertise and discover new artistic frontiers. In the present day, I outline myself as an ‘architectural visualiser’ and ‘3D illustrator,’ with an unstoppable ardour for movement graphics.


The inspiration comes from the intersection between European modular structure and Eron’s vibrant artwork, combining 3D and 2D digital strategies in a artistic train that challenges the boundaries of architectural illustration.

Modules as a artistic alphabet

The undertaking’s start line was making a sample of modules for a facade impressed by the modular architectures that stand out within the pages of trade magazines. Earlier than immersing myself within the design, I arrange a Pinterest board to gather photos that would function a visible reference vocabulary. This assortment of shapes, constructions, and patterns catalysed my creativity, guiding me by conceiving a facade that was not solely useful but in addition narrative.

The temper: city life at sundown

The concept behind the undertaking was to seize the essence of city life, with a selected deal with the hours of sundown, when town is tinged with heat colors, and life flows calmly, on foot or by bike, in city parks. This second of the day, when the sunshine creates contrasts and lengthy shadows, affords a wealthy pure palette of inspiration to signify dynamic scenes of each day life, a complete motion.

Ink: the affect of Eron

To deliver this state of affairs to life, I used to be impressed by the work of Eron, notably his portray “Portray 24822” (spray paint on canvas, 100 x 120 cm, 2022), an ideal expression of his capacity to mix photorealism with stylised figures. Eron’s artwork, seen on his website, performs with perceptions and blurs the boundaries between actuality and illustration, profoundly influencing the way in which I selected to signify individuals in my city scene: not with meticulous particulars, however with ink blots that seize the essence of motion and life.

A dialogue between shapes and colors

This undertaking represents a steady dialogue between the precision of structure and the expressiveness of artwork, between the rigidity of modules and the fluidity of ink. It’s an exploration that provides a brand new perspective on the potential of digital modelling to inform advanced and vibrant city tales.

Exploring New Inventive Boundaries

This undertaking demonstrates how digital artwork, by the fusion of numerous inspirations, can innovate architectural visualisation and concrete design. Artwork evolves, providing new views on cities and inhabitants and stimulating creators and observers to think about totally different realities.


The technical specs of my setup:

  • PC laptop computer Dell XPS 15
  • Processor: Intel® Core(TM) i7-770HQ @2.8GHz
  • Ram: 16 GB
  • Graphics card: Nvidia Geforce RTX 3060 related externally with Thunderbolt 3 port
  • Softwares: Blender 4 and Cycles – Affinity designer

I used Blender for modelling and rendering and Affinity Designer to attract the ink figures.


In Blender, I modelled the assorted architectural modules of the constructing individually. This strategy allowed me nice flexibility, facilitating experimentation with totally different compositions till I discovered the right one.

Subsequently, I organized the 2 buildings in a line, inserting a lined assembly place between them, an space that I wished to operate as an city inexperienced lung and a gathering level between the constructions. Regardless of my needs, I needed to scale back my expectations as a consequence of {hardware} limitations that didn’t enable me to insert too many polygons within the scene. With out the usage of explicit optimisations, I prioritised the pure objects positioned within the foreground.

The digital mise-en-scène

As soon as the composition was outlined, the following step was to place the cameras and determine the scenes. This allowed me to seize essentially the most expressive angles and outline the undertaking’s narrative standpoint. With the environment created, I might deliver the context to life, inserting the buildings into a bigger city setting that enhances their presence and interplay with the encircling area.

To additional enrich the scene, I used the BagaPie addon and the BagaStreet assets for city furnishings, populating the encircling areas with parts that add realism and element to the undertaking. The grass cowl can be created with the Bagapie addon, however it’s not appropriate with digital camera culling and requires a number of steps to optimise it (utilizing totally different weight maps for every digital camera).

Free tip: I had the simplest and optimised outcomes with Gscatter for one more work.

Lighting and supplies

Lighting performs an necessary function in each scene. For the bodily sky, I used Blender’s Sky Texture node, enriched with different noise nodes blended to create a convincing cloud impact. 

For the supplies of the objects, I selected to make use of the Principled BSDF node, which affords a variety of choices for the required realism.

Digital ink and concrete life

Lastly, the ink materials was created in Affinity Designer, the place I drew the totally different actors of the scene with a graphic pill. These figures had been then imported into Blender as “Picture as Aircraft,” strategically positioned within the scene and rendered to deliver the setting to life.

Combining digital illustration with 3D modelling in a unified workflow has reworked my workflow, paving the way in which for visible storytelling past easy graphic illustration. Making a scene that not solely displays the essence of city life however by a extremely private and distinctive lens has elevated my curiosity to experiment fearlessly and continuously search new methods to deliver my inventive visions to life.

RENDER: Structure and Ink

I hope that the account of this artistic course of can function a beacon for different artists within the area of CGI, encouraging them to discover, innovate, and, above all, to inform their very own distinctive tales by digital artwork. Thanks for studying!

In regards to the Artist                       

Angela Marchesani is a instructor and an architect from Italy. She offers with architectural visualisation and 3D illustrations, and is enthusiastic about movement graphics.