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Artists

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Artists

Idil Dursun

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Jesse: How do you bring your background as an architect into your 3D art?

Idil Dursun: My architectural education was the first time that I used 3D software. I learned to start to think like a designer, to design a whole city on a huge scale. It pushed me to think about the circulation, the actual human life in these spaces. So when I started doing environment and concept art, I unconsciously used my learnings. Even though it’s these futuristic buildings and environments, there are actual humans living in them.

I also gained so much perspective and vision throughout my education. Less on the technical side—I hated the physics part—but learning about color theory in technical drawings, I started to get the fundamentals of art. I really still have so much to learn. Architectural education was good for realizing how to design when you're building cities on a big scale.

J: What is your inspiration for your gritty cyberpunk scenes? Why do you feel drawn to create dystopian worlds?

ID: My inspiration is, of course, movies like Blade Runner, like Doom, and shows like Love, Death and Robots, they’ve all inspired me a lot. Also great artists like Annibale Siconolfi, Raphael Lacoste, Dangiuz, Syd Mead, Paul Chadeisson. When I was in high school and in university, I would follow these guys on Instagram, and I was blown away by their posts. I felt like, “Okay, how do they do this?” Because back then I didn’t know how to use any kind of 3D software.

I've always been interested in art. When I was a child, I would sketch portraits and landscapes. When I was in high school, I started playing this video game called World of Warcraft. It's not really about cyberpunk art, but when I was playing that game, I was so drawn into environments and the artistry in it. These artists were building huge worlds, and people were actually living in them. It was fascinating for me. So I started combining all these different ideas. There’s something so moody about cyberpunk worlds, I often wondered how it would actually be to live in them, to look up and instead of seeing the sky you just see buildings and bridges and smog. It would probably be super depressing in one way, but still fascinating and surreal.

J: What is the value of dystopias in art and design? What can they teach us about the moment we’re in?

ID: What I do in my own artworks, I take a current problem in the world and then I exaggerate it in my concept art. Overpopulation is the main subject that I use, it plays out in each and every one of my worlds. With overpopulation there’s a lack of resources because we don’t take care of our world. Like many other artists working with dystopian cyberpunk art, it makes us see the possible future—mostly in an exaggerated way. But it could be real, this glimpse of the future, if we don’t take care of our planet. So I see dystopia as a way to use current problems or possible future problems, use those as subjects, and then take it to another level to draw attention to them in an unexpected way.

J: Do you think that architectural visualizations and worldbuilding in 3D will impact how spaces and buildings are designed in the physical world?

ID: Yeah, definitely. One of my artworks, Highgardens of NYC, is part of the TIMEpieces collection. We were asked to think about the next 100 years, and how something will be 100 years from now. My partner for the project was Drifter Shoots, an amazing photographer. His task was to photograph the New York City of today, and my task was to take New York and imagine how it would look 100 years from now. New York is already a super crowded city, so I imagined a future where there’s no space left on the ground.

In that setting, it would probably be all of these huge skyscrapers on top of huge dystopian buildings, and look pretty otherworldly. When you construct all of these vertical buildings, and when they are so high, like too high, then you need vegetation on them as well. So I used vegetation on the facades of those buildings. There’s a beauty to it, but it’s also a practical solution, because if we’re overpopulated and we need to go vertical, there will be new architectural problems to address. Who knows if overpopulation will become such a big problem, or if they’ll solve it that way if it is, but I think it’s possible that a future architect could look back on past speculative work like this as a reference and build on those ideas.

J: What role does Substance play in your work

ID: My environmental works are mostly in Photoshop, actually. What I do is create a very basic scene in 3DS Max, and then I take it to Photoshop, and I love to photobash and paint. When I use those really slick textures in 3D, I generally lose them in the process.

I’m using Substance Painter on a new project that I'm working on, where I’m making cloth and finer materials. I'm trying to learn as much as I can. I love to take the pen in my hand and just draw, and Substance is great for that, you can be so creative with it. This project I’m working on right now is a Victorian royals project, and I wanted to try doing the clothes. I’m responsible for the materials, it’s a lot of fun.

Idil Dursun Adobe Substance 3D Flow

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RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
IBLDiffuseFactor
IBLSpecularFactor
Environement
EnvironementDiffuse
lightColor
lightPosition
emissiveColor
lightPower
FogColor
FogDensity
Alpha
Debug
OverwriteEnvIBL
EnvIBL
fov
rightCameraPosition
rightLookAtPosition
leftCameraPosition
leftLookAtPosition
mainCameraPosition
mainLookAtPosition
dragDamping
animationSpeed
Pause
time_scale
scroll_damping
scroll_speed
scroll_speed_mobile
reflectionOpacity
easterDesktopPosition
easterDesktopRotation
easterDesktopScale
easterMobilePosition
easterMobileRotation
easterMobileScale
TransitionOverlayColor
BloomOpacity
NoiseOpacity
Gamma
Exposure
Contrast
Saturation
ChromaticAberations
Vignette
VignetteColor
VignetteStrength
Fov
BloomTint
Threshold
Blur
Overdrive
Similarity
albedoColor
IBL
NormalScale
MetalicFactor
RoughnessFactor
EmissiveColor
EmissivePower
OcclusionFactor
SheenColor
SheenOpacity
SheenDepth
Alpha
Tint
TintOpacity
Exposure
Contrast
Saturation
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Tint
TintOpacity
NormalScale
Exposure
Contrast
Saturation
SheenColor
SheenOpacity
SheenDepth
Scene
status

presets


name