Brooklyn, New York
http://www.davidsumnerdesign.com
“I am a stage designer, painter, and former scenic artist by trade. After studying stage design with the late Howard Bay at Brandeis, I left school and flip-flopped a bit between nightclub designer and charge scenic artist at Boston’s Huntington Theatre. In 1983, I left Boston for New York and created David Sumner Design. Today, some twenty years later, the DSD portfolio includes designs for three Olympic games, a respectable track record of Broadway and European musicals, a bit of dance and television work, a short stint teaching 3D at Rhode Island School of Design, and numerous exhibits and corporate shows for many of the Fortune 500 elite.
Through the years, my traditional painting and stage design training of airbrush, paintbrush and pencil proved to be a great foundation when working with form•Z and other 3D applications. I am a painter first. Most of my work these days involves designing, modeling and rendering large spaces composed of countless objects, not dissimilar from a treatment on a movie set. However, unlike the film world, stage work usually means rendering the entire world in one pass. Sure, much of the modeling is fairly straightforward, but the power of form•Z really shines when tackling those complicated forms such as realistic upholstered furniture, tensile buildings, and draped fabric. Every show is different and modeling challenges pop up all the time. Every day is a new day.
http://www.davidsumnerdesign.com
“I am a stage designer, painter, and former scenic artist by trade. After studying stage design with the late Howard Bay at Brandeis, I left school and flip-flopped a bit between nightclub designer and charge scenic artist at Boston’s Huntington Theatre. In 1983, I left Boston for New York and created David Sumner Design. Today, some twenty years later, the DSD portfolio includes designs for three Olympic games, a respectable track record of Broadway and European musicals, a bit of dance and television work, a short stint teaching 3D at Rhode Island School of Design, and numerous exhibits and corporate shows for many of the Fortune 500 elite.
Through the years, my traditional painting and stage design training of airbrush, paintbrush and pencil proved to be a great foundation when working with form•Z and other 3D applications. I am a painter first. Most of my work these days involves designing, modeling and rendering large spaces composed of countless objects, not dissimilar from a treatment on a movie set. However, unlike the film world, stage work usually means rendering the entire world in one pass. Sure, much of the modeling is fairly straightforward, but the power of form•Z really shines when tackling those complicated forms such as realistic upholstered furniture, tensile buildings, and draped fabric. Every show is different and modeling challenges pop up all the time. Every day is a new day.
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