This was my first decent raytrace, created in my sophomore year at Wellington. It's a picture of my dining table in a really pompous, posh setting. The lighting is a bit screwed up, though. The entire piece is made up of primitives (e.g., sphere, plane, cube, cylinder, etc.) except for the handle of the mug, which is a bezier patch that I imported from another modeling program. This artwork was also publshed in Raytrace! The Official POV-Ray CD-ROM by Walnut Creek in 1995.

This was an entry I made for the Central Ohio Classical Foundation art contest. The objective of the contests was to create a work of art which encouraged students to study the classics (Greek and Latin), so I made this Doric column with the books of Vergil, Homer, Sophocles, and Cicero around it. A plasma fractal was used to create the concrete-like pattern for the floor, and everything else in this image was made up of mostly primitives. This entry won first place.

This was one of my first experiments with Imagine v3.0. For a school project, I made this animation in which a letter "W" travels along a spline path and flies into the rest of my school's logo. A lens flare effect was also implemented, as was a traveling light source.

This is a work I made for drawing (yes, DRAWING) class. Each student had to make a page for a children's book, and the teacher let me render my page. The theme of the page is about a 3D character (he was supposed to look like an M&M guy) that guides the main character (who is not shown in this picture) through a virtual world. Other than simple primitives, this raytrace makes use of height fields, particles, and lattices.

This was my first raytrace using Form-Z for the Macintosh. Although it is visually simple, this raytrace is actually more complex than my previous works because it uses advanced modeling techniques such as extrusions, spins, sweeps, and wave effects.

This is a very simple raytrace I created in KPT Bryce which took me very little time to design. Bryce was so disgustingly easy to use (and so limited to merely landscaping) that I decided not to do any more work with it after this. My only real work in this entire rendering was simply the placement of camera and objects -- KPT Bryce came packaged with all the textures. What is ironic (and somewhat disturbing) is that this was the work which I have put the least amount of effort into, yet it is probably the most visually appealing rendering that I have ever made.

This was my first attempt in architectural design using Form-Z. It's a simple Greek temple; I was going to add more to it, but the computer ran out of memory.

This picture was initially a raytrace of a castle I made in Form-Z, and the image was then taken into Photoshop and experimented with by myself and my associate, Ravi Waldron. This project sparked my interest in Photoshop and led me to use Photoshop as my primary computer graphics tool for future projects.

This is the logo for a fictitious multimedia company I made. I used a variety of techniques to create this, including airbrushing, rendering, and texture filling. The background text is supposed to be subliminal.

This is another of the more visually appealing works I created in Photoshop, using airbrushing and a few filtering/rendering techniques.

This is the cover I made for my school's yearbook, The Duke. The theme was "Putting The Pieces Together", so I did this. I scanned in the backs of actual jigsaw puzzle pieces and masked-in screened text and pictures, and this was the final result.

Note: Due to the enormous size of this file and the homogeneous nature of the back cover, I have only included the front cover in the close-up image.

This is the table of contents I made for the 1996 Duke. The same concepts were used, but I feel that I was more creative in this work.

This is the new banner I made for my school newspaper, for which I am the layout designer. This work features the use of aligning text to paths (I recreated my school's logo from scratch, it was not scanned in), as well as other basic drawing features of CorelDRAW. It was essentially another experiment in creative design.

This was one of my first attempts in animation with POV v3.0, in which I experimented with the atmospheric elements of the software. This is a 24-frame animation which uses the Rayleigh scattering model to simulate a foggy area; the word "wug." was engraved into a black cube and a variably transparent screen was placed in the middle. A red spotlight, placed behind the engraved "wug.", panned through a 180-degree arc throughout the course of the animation. The interaction of its rays passing through the wug produced shafts of light, giving the animation its "hellish" appearance. The reason the animation is so low-res is because the volumetric lighting takes up a huge amount of CPU time: this simple 160x120 animation took 13 hours to render on my Pentium-133.

This is another attempt at animation using POV. The extinct volcano is made up of a height field created by an image of a wave pattern from POV itself, and the shore is actually the same height field scaled down on the y axis. The camera moves in a parabolic arc on the x-z axes, and it moves upward (along the y axis) at an exponential rate. The density of the fog is also a function of time to simulate a "wall of fog" effect. The water also ripples, although the camera is moving so fast that it is difficult to notice.

This is probably the most mathematically complex animation I have ever created. The wave was created using a Delphi program which I wrote; a height field was composed by combining the intensity of the sine function along the x axis and the cosine function along the y axis of a 200x200 bitmap. One entire period of the wave pattern was then created over 40 frames by shifting the phase of both the functions. The POV scene file therefore used a separate height field for each frame. The cube in the middle fluctuated along the y axis according to this same wave pattern, and the derivative of the two waves was calculated for each frame to determine the angle of incline of the cube on the x and z axes. A simple root-based function was used to simulate gravitational bouyancy.