We interview the artist about exploring the natural world with geometric forms.
By day, Timothy Reynolds is a 3D designer for a marketing firm in Milwaukee – but by night he creates geometric representations of the world that strip organic and man-made forms back to the most simple-but-still-recognisable forms possible using 3D software. The low-poly style of his work references 'God sim' video games and there's a pleasing contrast between the replicated elements of his isometric architecture (below) – like a monochrome Sim City – and the apparent randomness of his 'weathered' landscapes (above), which are almost a well-lit version of 'God-sim' games from Populous to Minecraft.
We sat down with Timothy to find out how he's developed this style, and to learn about his new project applying an asymmetrical low-poly approach to animal forms.
DA: Tell us a bit about yourself
TR: "I'm a 3D Illustrator living in Milwaukee, Wisconsin. I went to school for architecture where I fell in love with building things in 3D. I learned on SketchUp back in 2006 and moved over to Cinema 4D in 2009."
DA: What have been your biggest inspirations?
TR: "Architecture. Nature. Industrial factories are also really inspiring to me. Lucky for me, they're everywhere in the Midwest."
DA: Why did you start creating your 'Low-poly' illustrations?
TR: "Sometime in 2011 I started a self-initiated project where I would stay up late building little worlds. I was just looking to develop my own style through experimentation. I'm still working on that project as it's grown to be a couple of hundred renders now."
DA: What to you is the aesthetic appeal of low-poly CG?
TR: "Sharp edges and colourful lighting is my favourite part of the look. I love looking at beautiful, organic shapes found in nature and trying to then reinterpret them with a stripped-down, geometric approach."
DA: What's your creative process for creating low-poly-based images?
TR: "I usually start with some sort of primitive – such as a cube or plane – and then just start pushing and pulling points around. Once I'm happy with some shapes and work out a rough composition, I move on to lighting. That's always a very time-consuming process full of trial and error. Finally, after rendering I do some post-processing in Photoshop."