Planetoid 3d Art

In 1949, M C Escher, one of my favourite artists, produced this interlocking prisms creating what he named 'double planetoid'. This model was an attempt to reproduce the drawing in 3D and is a work-in-progress. #Art #Escher #Geometry #math #planetoid #Tessallate. Planetoid I is hand embellished with a brush gel finish, bringing a realistic painted look to Giclees. Giclees are high quality images printed directly onto the canvas from a digital plotter then stretched over frames then coated with a brush gel finish. Find any Poster, Art Print, Framed Art or Original Art at Great Prices. Planetoid I Framed.

A downloadable tool for Windows, macOS, and Linux

Planet Painter is a tool that allows you to create and edit nice little spherical planets.

• Lots of options for heightmap and color painting of planet surfaces, including procedural brushes
• Wide range of detail levels, from hundreds to millions of polygons per planet
• Stylized low poly / flat shaded look
• Terraced terrain style
• Export to 3D model, map projection and voxel formats
• Tessellated icosahedrons

icospheric@gmail.com @icospheric YouTube Channel

Download

Click download now to get access to the following files:

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Amazing program, but I am just wondering what the license is and in what ways we are allowed to use the planets we create. Are there any restrictions?

Thanks, glad to know you like it! There are no restrictions, you can use the planets in any way, they're all yours.

I am having a difficult time figuring out how to apply the generated texture to the planet FBX properly.

Hey, sorry for the delayed response, just noticed the comment. For the FBX file you don't need a texture, it has terrain colors encoded into color attribute of meshes' vertexes. What you need is a material/shader that can use those vertex colors.

Please launch a random mode too, its too interesting for templates

Really love what you've got so far. There's still a ton of features which could be added but it's incredibly easy to use.

I'll be very happy when the exporter is ready.

Awesome, this save me many time super simple to create you own planet, i have just one question, when you make low poly planets the brush effect are slow? thanks to share with us!

Thank you for making this. I was skeptical at first, but after testing it out, I nearly cried tears of joy. Your program allows me to overcome my greatest obstacle, the creation of a spherical 3D planet, that can be edited on Cinema4D.

Love the terraced style worl

could you create a flat version

Wow this is great! I have been trying to find a low poly terrain art tool and I think I have found it! As an artist and a fan of space this is just the best of both worlds for me. Thank you! Reminds me of Astroneer! ;) Also did you use Planet Painter in your hot air balloon game you're currently developing?

Thanks, glad to hear you like it! :) In that particular video with the air balloons the planet was randomly generated, but hand-made planets from Planet Painter could also be used.

thats exactly what i need :D

when does you add the function to export the planets?

Hi! Sorry, can't promise anything more specific than Blizzard-style 'when it's ready'. :) Not too much free time at the moment. Soon, I hope!

okay. well then i will make some planets and wait :D

Very, very interesting! :D Fun to mess around with. You say you're planning to add exporting to other formats. Will this include 3D formats that could be imported to 3D applications such as Blender?

Thanks! :) Yes, I have plans to add exporting to some of the popular 3D formats (such as OBJ or FBX, haven't decided yet).

Jetta Umiker ( m. 1924)AwardsKnight (1955) and Officer (1967) of theWebsiteMaurits Cornelis Escher ( Dutch pronunciation:; 17 June 1898 – 27 March 1972) was a Dutch who made, and.Despite wide popular interest, Escher was for long somewhat neglected in the art world; even in his native Netherlands; he was 70 before a retrospective exhibition was held. In the twenty-first century, he became more widely appreciated, with exhibitions across the world.His work features mathematical objects and operations including, explorations of, and,. Although Escher believed he had no mathematical ability, he interacted with the mathematicians, and, and conducted his own research into.Early in his career, he drew inspiration from, making studies of, and such as, all of which he used as details in his artworks. He traveled in Italy and Spain, sketching buildings, townscapes, architecture and the tilings of the and, and became steadily more interested in their.Escher's art became well known among scientists and mathematicians, and in popular culture, especially after it was featured by in his April 1966 in. Apart from being used in a variety of, his work has appeared on the covers of many books and albums.

He was one of the major inspirations of 's -winning 1979 book. Contents. Early lifeMaurits Cornelis Escher was born on 17 June 1898 in, the Netherlands, in a house that forms part of the today. He was the youngest son of the and his second wife, Sara Gleichman. In 1903, the family moved to, where he attended primary and secondary school until 1918.

Known to his friends and family as 'Mauk', he was a sickly child and was placed in a special school at the age of seven; he failed the second grade. Although he excelled at drawing, his grades were generally poor. He took and piano lessons until he was thirteen years old.In 1918, he went to the.

From 1919 to 1922, Escher attended the School of Architecture and Decorative Arts, learning drawing and the art of making. He briefly studied, but he failed a number of subjects (due partly to a persistent skin infection) and switched to, studying under the graphic artist. Study journeysIn 1922, an important year of his life, Escher traveled through Italy, visiting,. In the same year, he traveled through Spain, visiting,. He was impressed by the Italian countryside and, in Granada, by the of the fourteenth-century.

The intricate decorative designs of the Alhambra, based on featuring interlocking repetitive patterns in the coloured tiles or sculpted into the walls and ceilings, triggered his interest in the mathematics of and became a powerful influence on his work. Escher's painstaking study of the same Moorish tiling in the Alhambra, 1936, demonstrates his growing interest in tessellation.Escher returned to Italy and lived in from 1923 to 1935. While in Italy, Escher met Jetta Umiker – a Swiss woman, like himself attracted to Italy – whom he married in 1924. The couple settled in Rome where their first son, Giorgio (George) Arnaldo Escher, named after his grandfather, was born.

Escher and Jetta later had two more sons – Arthur and Jan.He travelled frequently, visiting (among other places) in 1926, the in 1927 and 1929, in 1928 and 1933, in 1930, the coast in 1931 and 1934, and and in 1932 and 1935. The townscapes and landscapes of these places feature prominently in his artworks. In May and June 1936, Escher travelled back to Spain, revisiting the Alhambra and spending days at a time making detailed drawings of its mosaic patterns. It was here that he became fascinated, to the point of obsession, with tessellation, explaining:It remains an extremely absorbing activity, a real mania to which I have become addicted, and from which I sometimes find it hard to tear myself away.The sketches he made in the Alhambra formed a major source for his work from that time on. He also studied the architecture of the, the Moorish mosque of Cordoba. This turned out to be the last of his long study journeys; after 1937, his artworks were created in his studio rather than in the field.

His art correspondingly changed sharply from being mainly observational, with a strong emphasis on the realistic details of things seen in nature and architecture, to being the product of his geometric analysis and his visual imagination. All the same, even his early work already shows his interest in the nature of space, the unusual, perspective, and multiple points of view. Later lifeIn 1935, the political climate in Italy (under ) became unacceptable to Escher. He had no interest in politics, finding it impossible to involve himself with any ideals other than the expressions of his own concepts through his own particular medium, but he was averse to fanaticism and hypocrisy. When his eldest son, George, was forced at the age of nine to wear a uniform in school, the family left Italy and moved to, Switzerland, where they remained for two years.The Netherlands post office had Escher design a for the 'Air Fund' in 1935, and again in 1949 he designed Netherlands stamps. These were for the 75th anniversary of the; a different design was used by and the for the same commemoration.Escher, who had been very fond of and inspired by the landscapes in Italy, was decidedly unhappy in Switzerland.

In 1937, the family moved again, to (Ukkel), a suburb of, Belgium. Forced them to move in January 1941, this time to, Netherlands, where Escher lived until 1970. Most of Escher's best-known works date from this period. The sometimes cloudy, cold, and wet weather of the Netherlands allowed him to focus intently on his work. After 1953, Escher lectured widely. A planned series of lectures in North America in 1962 was cancelled after an illness, and he stopped creating artworks for a time, but the illustrations and text for the lectures were later published as part of the book Escher on Escher.

He was awarded the Knighthood of the in 1955; he was later made an Officer in 1967.In July 1969 he finished his last work, a large woodcut with threefold called, in which snakes wind through a pattern of linked rings. These shrink to infinity toward both the center and the edge of a circle. It was exceptionally elaborate, being printed using three blocks, each rotated three times about the center of the image and precisely aligned to avoid gaps and overlaps, for a total of nine print operations for each finished print. The image encapsulates Escher's love of symmetry; of interlocking patterns; and, at the end of his life, of his approach to infinity. The care that Escher took in creating and printing this woodcut can be seen in a video recording.Escher moved to the in in 1970, an artists' retirement home in which he had his own studio.

He died in a hospital in on 27 March 1972, aged 73. He is buried at the New Cemetery in Baarn. Mathematically inspired work. Further information:Escher's work is inescapably mathematical. This has caused a disconnect between his full-on popular fame and the lack of esteem with which he has been viewed in the art world. His originality and mastery of graphic techniques are respected, but his works have been thought too intellectual and insufficiently lyrical.

Movements such as have, to a degree, reversed the art world's attitude to intellectuality and lyricism, but this did not rehabilitate Escher, because traditional critics still disliked his narrative themes and his use of perspective. However, these same qualities made his work highly attractive to the public.Escher is not the first artist to explore mathematical themes: (1503–1540) had explored spherical geometry and reflection in his 1524, depicting his own image in a curved mirror, while 's 1754 foreshadows Escher's playful exploration of errors in perspective. Another early artistic forerunner is (1720–1778), whose dark 'fantastical' prints such as The Drawbridge in his Carceri ('Prisons') sequence depict perspectives of complex architecture with many stairs and ramps, peopled by walking figures.

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Only with 20th century movements such as, and did mainstream art start to explore Escher-like ways of looking at the world with multiple simultaneous viewpoints. However, although Escher had much in common with, for example, 's surrealism, he did not make contact with any of these movements.

Further information:In his early years, Escher sketched landscapes and nature. He also sketched insects such as, and, which appeared frequently in his later work. His early love of and Italian landscapes and of nature created an interest in, which he called; this became the title of his 1958 book, complete with reproductions of a series of woodcuts based on tessellations of the plane, in which he described the systematic buildup of mathematical designs in his artworks. He wrote, ' have opened the gate leading to an extensive domain'.After his 1936 journey to the and to, where he sketched the architecture and the tessellated mosaic decorations, Escher began to explore the properties and possibilities of tessellation using geometric grids as the basis for his sketches.

He then extended these to form complex interlocking designs, for example with animals such as,. One of his first attempts at a tessellation was his pencil, India ink, and watercolour Study of Regular Division of the Plane with Reptiles (1939), constructed on a grid. The heads of the red, green, and white reptiles meet at a vertex; the tails, legs, and sides of the animals interlock exactly. It was used as the basis for his 1943 lithograph.His first study of mathematics began with papers by and by the crystallographer on plane, sent to him by his brother, a geologist.

He carefully studied the 17 canonical and created periodic tilings with 43 drawings of different types of. From this point on, he developed a mathematical approach to expressions of symmetry in his artworks using his own notation. Starting in 1937, he created woodcuts based on the 17 groups. His (1937) began a series of designs that told a story through the use of pictures. In Metamorphosis I, he transformed into regular patterns in a plane to form a human motif. He extended the approach in his piece, which is four metres long.In 1941 and 1942, Escher summarized his findings for his own artistic use in a sketchbook, which he labeled (following Haag) Regelmatige vlakverdeling in asymmetrische congruente veelhoeken ('Regular division of the plane with asymmetric congruent polygons'). The mathematician unequivocally described this notebook as recording 'a methodical investigation that can only be termed mathematical research.'

She defined the research questions he was following as(1) What are the possible shapes for a tile that can produce a regular division of the plane, that is, a tile that can fill the plane with its congruent images such that every tile is surrounded in the same manner?(2) Moreover, in what ways are the edges of such a tile related to each other by? Sculpture of a, as in Escher's 1952 work Escher often incorporated three-dimensional objects such as the such as spheres, tetrahedrons, and cubes into his works, as well as mathematical objects such as. In the print, he combined two- and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality:The flat shape irritates me—I feel like telling my objects, you are too fictitious, lying there next to each other static and frozen: do something, come off the paper and show me what you are capable of!. So I make them come out of the plane.

May finally return to the plane and disappear into their place of origin.Escher's artwork is especially well-liked by mathematicians such as and scientists such as, who enjoy his use of and distortions. For example, in, animals climb around a.The two towers of Waterfall 's impossible building are topped with compound polyhedra, one a, the other a stellated now known as. Escher had used this solid in his 1948 woodcut, which also contains all five of the and various stellated solids, representing stars; the central solid is animated by climbing through the frame as it whirls in space. Escher possessed a 6 cm and was a keen-enough amateur to have recorded observations of. Levels of realityEscher's artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. His interest in the multiple levels of reality in art is seen in works such as (1948), where two hands are shown, each drawing the other.

The critic Steven Poole commented thatIt is a neat depiction of one of Escher's enduring fascinations: the contrast between the two-dimensional flatness of a sheet of paper and the illusion of three-dimensional volume that can be created with certain marks. In Drawing Hands, space and the flat plane coexist, each born from and returning to the other, the black magic of the artistic illusion made creepily manifest. Infinity and hyperbolic geometry. 's reconstruction of the diagram of hyperbolic tiling sent by Escher to the mathematicianIn 1954, the International Congress of Mathematicians met in Amsterdam, and N. De Bruin organized a display of Escher's work at the Stedelijk Museum for the participants.

Both Roger Penrose and were deeply impressed with Escher's intuitive grasp of mathematics. Inspired by Relativity, Penrose devised his, and his father, Lionel Penrose, devised an endless staircase. Roger Penrose sent sketches of both objects to Escher, and the cycle of invention was closed when Escher then created the machine of Waterfall and the endless march of the monk-figures of Ascending and Descending.In 1957, Coxeter obtained Escher's permission to use two of his drawings in his paper 'Crystal symmetry and its generalizations'.

He sent Escher a copy of the paper; Escher recorded that Coxeter's figure of a hyperbolic tessellation 'gave me quite a shock': the infinite regular repetition of the tiles in the, growing rapidly smaller towards the edge of the circle, was precisely what he wanted to allow him to represent on a two-dimensional plane.Escher carefully studied Coxeter's figure, marking it up to analyse the successively smaller circles with which (he deduced) it had been constructed. He then constructed a diagram, which he sent to Coxeter, showing his analysis; Coxeter confirmed it was correct, but disappointed Escher with his highly technical reply. All the same, Escher persisted with, which he called 'Coxetering'. Among the results were the series of wood engravings Circle Limit I–IV. In 1959, Coxeter published his finding that these works were extraordinarily accurate: 'Escher got it absolutely right to the millimeter'. LegacyEscher's special way of thinking and rich graphics have had a continuous influence in mathematics and art, as well as.In art collectionsThe Escher is controlled by the M.C.

Escher Company, while exhibitions of his artworks are managed separately by the M.C. Escher Foundation.The primary institutional collections of original works by M.C. Escher are the in; the (Washington, DC); the (Ottawa); the (Jerusalem); and the (Nagasaki, Japan). ExhibitionsDespite wide popular interest, Escher was for a long time somewhat neglected in the art world; even in his native Netherlands, he was 70 before a retrospective exhibition was held. In the twenty-first century, major exhibitions have been held in cities across the world.

An exhibition of his work in Rio de Janeiro attracted more than 573,000 visitors in 2011; its daily visitor count of 9,677 made it the most visited museum exhibition of the year, anywhere in the world. No major exhibition of Escher's work was held in Britain until 2015, when the ran one in from June to September 2015, moving in October 2015 to the, London. The exhibition moved to Italy in 2015–2016, attracting over 500,000 visitors in Rome and Bologna, and then.

In mathematics and scienceidentifies 11 strands of mathematical and scientific research anticipated or directly inspired by Escher. These are the classification of regular tilings using the edge relationships of tiles: two-color and two-motif tilings (counterchange symmetry or antisymmetry); color symmetry (in ); metamorphosis or change; covering surfaces with symmetric patterns; Escher's algorithm (for generating patterns using decorated squares); creating tile shapes; local versus global definitions of regularity; symmetry of a tiling induced by the symmetry of a tile; orderliness not induced by symmetry groups; the filling of the central void in Escher's lithograph by H. Lenstra and B. De Smit.The -winning 1979 book by discusses the ideas of self-reference and, drawing on a wide range of artistic and scientific sources including Escher's art and the music of.The was named in Escher's honor in 1985. In popular culture. Main article:Escher's fame in popular culture grew when his work was featured by in his April 1966 in. Escher's works have appeared on many album covers including 's 1969 L the P with Ascending and Descending; 's eponymous 1969 record with Reptiles, 's 1970 In A Wild Sanctuary with Three Worlds; and 's 1970 Puzzle with House of Stairs and (inside) Curl Up.

His works have similarly been used on many book covers, including some editions of 's Flatland, which used Three Spheres; 's Meditations on a Hobby Horse with Horseman; Pamela Hall's Heads You Lose with Plane Filling 1; Patrick A. Horton's Mastering the Power of Story with Drawing Hands; et al.' S Design Patterns: Elements of Reusable Object-oriented software with Swans; and Arthur Markman's Knowledge Representation with Reptiles.

The 'World of Escher' markets, and of Escher's artworks. Both Austria and the Netherlands have issued commemorating the artist and his works. Selected works.