I tried different art forms from the year 2000 and discovered the creation of 3D CG Landscapes (3D computer generated landscapes) as an interesting art form in 2009/2010.

Due to the lack of training in the artistic segment, I acquired, as far as possible, the skills for composition and expression as well as the technical knowledge in the following years. My experience in the field of photography helped me with this.

Unfortunately, I have to admit that it is very rarely a finished idea in my head that I implement. Rather, it is an idea that arises when I experiment with materials, light and landscapes and which suddenly takes on a life of its own and then wants to be visualized as an effect or emotion. Unfortunately, I'm not a writer or poet to put this process in appropriate words, but you know the feeling that "something has to come out" that previously didn't want to be named that way......

After designing the landscape (sculpting) and, if necessary, working out distinctive landmarks, I test the interplay of light, colour, shadow and landscape with different atmospheric settings and positions of the sun. At the same time, possible water surfaces are designed, with the focus here being on the structural and colored effect of the water. These basics alone need days or weeks until the desired effect is composed.

Different forms of expression of water surfaces can be seen most clearly when comparing Lost Snowman V (Coast) and Lost Snowman VI (Visitors).

The design of the landscape composition created up to this point with plants etc. now follows.

Since I do not attach any importance to the reproduction of realistic scenarios, the selection of plants is designed exclusively on the basis of the desired visual effect. If I wanted to depict reality, I would limit myself to photography.

As a final step in creating the raw landscape, lighting effects and the first materials are adjusted or developed. In this phase I often experiment with different colors, positions of the sun and camera positions. This gives me the opportunity to question what has been created so far as a whole and to examine its emotional impact and statement.

This is followed by the fine adjustment of the camera that is to record the future CGI. This is where frequent rendering (so wait...wait...) takes the most time. Once the right location for the recording has been found, the atmosphere, lights, position of the sun, materials, etc. are adjusted and checked with intermediate renders. The scene is also rendered in high quality at longer intervals. Based on these render results, materials, cloud and material structures are then further adjusted.

It is important to me that the "photo", i.e. the generated CGI, is a view of a landscape that already contains all parts of the desired effect. Thus, the post-processing of the CGI is only limited to the correction of the brightness, color temperature and contrast values. Because of this procedure, the rendered lighting effects are not influenced by manipulation and possible destruction of the beam/reflection paths, as can occur, for example, by subsequently setting up reflection/absorption surfaces/objects in the beam path, e.g. atmospheric reflections.

Between the individual steps, a work can lie in the corner unnoticed for 6-xx months. This is important to me, so that the desired effect does not only unfold in a time-controlled work for a short time, but is a well-founded depiction of a part of myself and is also permanently recognized and accepted by me as such.

The best work matures over years ....

..... until one day it decides it's done.

Harvey T. Rab , April 2022