Rick Griffin was an American artist and one of the leading designers of psychedelic posters in the 1960s. He was closely identified with the surfing subculture, and his work was ubiquitous on film posters, album covers, and underground comic strips.

In this collaboration, I assisted SF based artist Jud Bergeron on a commemorative sculpture to celebrate Griffin’s achievements with his iconic flying eyeball.

The images below are the results of that collaborative process, approved by the Griffin estate.

ZBrush Model

  • Each part digitally sculpted and formed together seamlessly.

  • Each feather was unique and required meticulous placement. After feathers were in place, the entire wing was curved using a bend modifier.

  • The cobra helix began as lofted shapes along a corkscrew path.

  • A single skull was modeled, duplicated, and carefully placed to avoid intersection.

  • Skull pile viewed top down.

  • The iris patterns were traced from Griffin’s original drawing. The image was converted to a height map and etched into the 3d mesh.

  • The mask was extruded from an outline and then primitive shapes were to used as boolean cutters to make the eyes and mouth.

  • To assist Bergeron in translating the 2D illustration into a 3D model, I interpreted Griffin’s Sound-Proof Eyeball poster, including the complex intertwined dual helix cobras, in 3D software.

    Using splines and high-resolution sculpted geometry, I created a 3D model. That model was 3D printed and used as a foundation for Bergeron to sculpt upon.

Keyshot Renders

  • PBR or Physically based rendering simulates real world materials and reflectivity.

  • PBR material tests help evaluate how different materials surfaces reflect light under different conditions.

  • High Dynamic Range Image ( HDRI ) lighting tests on simulated red clay can help evaluate details.

  • Ray tracing and Ambient Occlusion calculation on the full 360° form help evaluate self shadowing.

  • Previewing lighting and materials at the digital stage helps eliminate guesswork from the process.

    Corrections and adjustments can be made quickly at this stage by swapping global illumination HDR images.

3D Print Assembly

  • Closeup of snake helix

  • Assembled printed parts

  • Back view

  • The 3D model was then sent as a .STL file to a foundry to print the parts. The printed 3D parts were assembled as a physical model for Bergeron to hand sculpt further details.

    Next, Bergeron created a mold from his clay sculpture to use in the Lost-wax Casting process.

Bronze Sculpture

  • Color patina closeup. Credit J.Bergeron

  • Full color patina. Credit J.Bergeron

  • Color patina base. Credit J.Bergeron

  • CLoseup. Credit J.Bergeron

  • Engraved signature. Credit J.Bergeron

  • The final Bergeron bronze sculpture here.

    Once a mold is made, Bergeron casts numerous duplicates and applies unique patina finishes.