3D & CGI illustration is modelled and rendered rather than drawn. Objects get real weight, characters get real surfaces, and the camera can go anywhere, including places no photographer could stand. It earns its place in a brief when you need a product shown from every angle, a character with a polished finish, or a scene that would be impossible to shoot. Two artists from the Owl roster show two very different directions the style can take. The full 3D & CGI style page lists everyone who works in it.
1
A portrait seen through screens
Tobi Frank builds scenes like a collage you could step into. A green-haired figure looks through layered translucent screens, rainbow light breaking across their face, while dense lettering fills the other half of the frame. The rendered 3D & CGI finish gives the portrait depth, but his caricature background keeps the expression loose and human. That mix suits editorial and technology briefs: features about screens, media or any subject drowning in information. It also works as a hero image for a report or campaign page, where one figure has to carry a lot of meaning on its own.
2
Characters with a glossy finish
Igor leans into the toy-box side of 3D & CGI. A woman in angular purple sunglasses reclines on a fuzzy violet chair against a powder-blue wall, every surface smooth and softly lit. The low camera angle gives a simple portrait real attitude. Because these characters are built like objects, they light well and hold up at large sizes, which makes them ideal for fashion and lifestyle campaigns, app mascots and packaging. Igor also works in character design, so one figure like this can grow into a full cast for a longer series. Brief him with a mood and a setting, and the same character will hold up across a whole campaign.
