As an “apple” ?

My research explores the balance between spatial complexity and visual precision, questioning whether the faces of a 3D model can work like pixels in graphic design. Using an apple as my subject, I reduced its polygon count while keeping high-resolution textures. In this process, I tried to redefine UV mapping—not just as a surface texture tool, but as a structured system for organizing visual symbols.

This experiment challenges the idea that 3D modeling is only for copying real objects. When punctuation marks are mapped onto the faces, the model stops being just a shape—it becomes a way to encode visual meaning.

FIRST WEEK

First week, I chose to copy a 3D artwork by Livia De Magistris, whose organic-shaped sculptures, combining blocky bodies with quirky devices.I switched to Blender to refine details and adjust the polygon count, then returned to Nomad for coloring and UV mapping.While creating and mapping UV textures, I discovered that the clarity of the texture is closely tied to the Faces of the model. The polygon count determines the density of the UV map layout, while the pixel resolution of the texture defines the level of visual detail.During this process, I began to consider the connection between texture quality, model quality, and pixels.

SECOND WEEK

I tried to explore and redefine the relationship between faces of a 3D model and pixels. I raised a question :Can the mesh faces of a 3D model be used instead of ‘pixels’ as a visual element in graphic works?

I downloaded a high-quality apple model with a high-quality UV texture map. I got the UV layout After expanding the apple model. I simplify and rebuild the apple model by using the blender.

This is part of a series of visual experiment that I modified the UV layout of the original model. The original UV of the apple had triangular faces. I changed these faces into quads. Then, I further adjusted the order and direction of each face to make the UV layout into a square grid, making it more like pixels.

Through this process, I created ten different versions of the model, each with fewer faces than the last. I overlaid the model with a high quality texture, generating a bit of ten apples like that.

THIRD WEEK

I tried to redefine UV mapping—not just as a surface texture tool, but as a structured system for organizing visual symbols.This is one of my visual experiments. I drew an apple and used it as a symbol, attaching it to each face of the apple model. I then applied it to several other apple models with different polygon counts. By modifying the UV layout, the model gradually lost its resemblance to an apple, creating a different visual experience. This process illustrates the transition from order to disorder, evoking different perceptions.

To take this idea further, I added punctuation marks to each face of the model, basically turning it into a symbolic language. Like, a question mark (?) brings uncertainty, a period (.) signals an ending, an exclamation mark (!) creates urgency.

By adjusting the UV layout and rearranging these symbols, I transformed the apple model’s geometry into a visual language, shifting it from just a physical form to something more conceptual and symbolic. Now, the model’s faces aren’t just part of a 3D shape—they actually hold meaning or feeling or imagination.

Next, I added some scene elements to enhance the sense of space. I created a basket of apples and placed it in a low-polygon environment, creating a strange and surreal space. I didn’t apply any additional rendering effects to the model—I only modified the UV mapping. However, I found that the apples no longer looked like apples at all.

I used my previously UV-adjusted apple model for my Written Response. Since the UV faces and directions are no longer arranged in order, the text appears fragmented and distorted on the apple model.

FUTURE EXPLORATION

This research leads me to several possible directions for further exploration:
· Expanding the Symbolic System – Introducing different symbols, letters, or numbers could create a more complex linguistic structure within 3D space.

· Interactive Adaptation – What if the symbols on the model changed depending on the viewer’s perspective, generating a dynamic reading experience?

· Generative Symbol Arrangement – Using algorithms to generate symbol placement, exploring how computational logic can further develop structured yet unpredictable results.

Nice experience!

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Thanks for watching~

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