Tarun Kumawat | 3D & VFX Artist

📍 Based in Jaipur. Specialized in Hard-Surface Modeling & 3D Projection Mapping. Currently documenting a Major Study on transforming heritage architecture through spatial illusions.

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Hyatt Jaipur Projection Mapping Test

In this experiment, I created a projection mapping style animation based on the façade of Hyatt Regency Jaipur Mansarovar.

I focused on aligning the animation with the building structure and testing light-based effects.

The result shows how simple glow and pattern animation can create the illusion of depth and transformation.

I plan to improve this further by adding more detailed textures and motion.

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Projection Illusion Test Render

This is a test render of a projection mapping style animation created in Blender.

I focused on lighting and edge glow to create a sense of depth on a flat surface.

The effect works better in darker lighting, but I still need to improve the contrast and detail.

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Lighting Test for Projection Illusion

oday I tested lighting in Blender to create a projection mapping style effect.

I used strong contrast and dark backgrounds to see how light affects the illusion.

The result looked better in darker scenes because the glow was more visible.

I learned that lighting is very important for making the illusion feel realistic.

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Research on Jaipur Architecture

For my project, I wanted to take inspiration from local architecture in Jaipur.

Buildings like Chomu Place have very detailed patterns and symmetry, which can work well with projection mapping visuals.

I am interested in using similar shapes, windows, and design elements in my 3D scenes.

This will help me connect traditional architecture with modern digital effects.

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What is Projection Mapping?

Projection mapping is a technique used to project visuals onto surfaces like buildings, stages, or objects. It allows flat surfaces to appear 3D by using light, animation, and perspective.

It is widely used in concerts, events, and advertising to create immersive visual experiences.

I looked at work by studios like Moment Factory, which creates large-scale projection mapping shows.

This research helped me understand how I can apply similar ideas in a digital format for my project.

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Project Introduction – Projection Mapping and Architectural Illusions

This blog will document my project on 3D projection mapping and architectural illusion design.

The main idea is to explore how buildings can be visually transformed using 3D animation, light, and perspective. Instead of using real projection equipment, I will simulate projection mapping digitally.

I am also taking inspiration from the architecture of Jaipur, especially heritage structures and patterns.

Over the next few weeks, I will be posting my research, experiments, and development process.

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Trompe-L’Oeil – Human Eye & Perception

For this exercise, I explored trompe-l’oeil, which is about creating an illusion that tricks the human eye. The idea is to make something flat or simple look more real or three-dimensional than it actually is. This interested me because VFX is mostly about illusion and how the viewer perceives space.

I wanted to understand how the human eye reacts to light, shadow, and perspective, and how small changes can completely change the way we read an image.

Process

I started by looking at real examples of trompe-l’oeil in paintings and architecture, where artists use light and perspective to create fake depth. I then tried to apply the same idea in 3D.

I used Maya and Blender to experiment with simple forms. I focused more on camera angle and lighting rather than complex modeling. By changing the camera position and light direction, I could make the scene feel deeper or flatter without changing the geometry.

Challenges

One challenge was that the scene often looked very flat when the lighting was too even. It didn’t feel convincing. To fix this, I adjusted the light angle and added stronger shadows. This helped the shapes stand out and improved the illusion.

Another issue was camera placement. A small camera movement made a big difference in how the scene was perceived.

Reflection / Learning

This exercise helped me realise that realism in VFX doesn’t always come from detail, but from how the human eye reads an image. Even simple shapes can look believable if the lighting and perspective are right.

It also helped me understand how important perception is in environment design. This idea later influenced my Memory Palace in 2025 project, especially when thinking about space, scale, and atmosphere.

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“This short reel shows how the Trompe L’oeil illusion changes when the viewpoint shifts. The final image works from a fixed human-eye position, while the reel documents my testing process.”

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Lighting Tests and Atmospheric Depth

I experimented with lighting and subtle atmospheric effects to guide the viewer’s eye into the space. Brighter lighting within the interior and softer foreground shadows were used to suggest depth. These lighting decisions were made to support perception rather than realism, reinforcing the Trompe L’oeil effect.

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Human Eye Viewpoint and Camera Decisions

A key decision in this project was fixing the camera at an approximate human eye level. By locking the camera position, I was able to adjust the depth and scale of the architecture to create a Trompe L’oeil illusion. The illusion works only from this viewpoint, which reflects how human perception depends on position and perspective.

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Modelling and Environment Setup

The architectural structure was modelled in Maya with an emphasis on clean geometry and symmetry. Once the basic form was complete, the model was imported into Unreal Engine to begin testing scale and environment setup. This stage helped me understand how real-world scale and proportions influence spatial perception.

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Starting Trompe L’oeil – Initial Ideas

I began the Trompe L’oeil exercise by exploring architectural space and symmetry. My initial interest was in how depth can be suggested visually rather than built accurately. I focused on simple forms and a strong central composition to understand how the eye reads space. At this stage, the work was exploratory and focused on layout rather than detail.

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This clip shows how the illusion changes when the viewpoint shifts, revealing the constructed nature of the space and reinforcing the Trompe L’oeil concept.

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This short render clip demonstrates the Trompe L’oeil illusion in motion, maintaining a fixed human-eye viewpoint. The subtle camera movement reinforces the perception of depth and architectural space.

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Trompe L’oeil – Human Eye Perception

This project explores Trompe L’oeil through architectural space, focusing on how the human eye perceives depth and illusion. The environment was designed from a fixed eye-level viewpoint using perspective and lighting. This work reflects my learning during the 3D VFX module.

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Reader: Key Sources on Projection Mapping, Urban Media, and Advertising

1. McQuire, S. (2008). The Media City: Media, Architecture and Urban Space. Sage.

McQuire’s concept of the “media city” is central to understanding projection mapping advertising, as it frames architecture not as static background but as an active media surface. The book argues that contemporary urban experience is shaped by screens, networks, and visual infrastructures that reorganise perception and social interaction. This is particularly relevant to projection mapping, which transforms buildings into temporary screens that mediate attention and movement. While McQuire does not directly address projection mapping advertising, his analysis provides a strong theoretical foundation for examining how media technologies reconfigure public space. A limitation is that the text focuses more on civic and cultural media than on commercial spectacle, requiring extension through advertising theory. Nonetheless, it remains essential for positioning projection mapping within broader debates on urban media and spatial transformation.

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2. Debord, G. (1994). The Society of the Spectacle. Zone Books.

Debord’s theory of spectacle offers a critical framework for analysing projection mapping advertising as more than visual entertainment. He argues that spectacle is a social relationship mediated by images, where lived experience is replaced by representation. Projection mapping exemplifies this process by reorganising public attention around large-scale branded imagery, temporarily suspending everyday urban routines. Although written decades before digital projection technologies, Debord’s work remains relevant due to its focus on passive spectatorship and image-dominated social relations. However, his perspective can be overly totalising, leaving little room for audience agency or pleasure. For this research, Debord is most useful when combined with contemporary urban media studies that acknowledge both the affective appeal and ideological function of projection mapping advertising.

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3. Lefebvre, H. (1991). The Production of Space. Blackwell.

Lefebvre’s theory that space is socially produced rather than neutral is highly relevant to projection mapping advertising. His emphasis on spatial practices, representations of space, and representational spaces allows projection mapping to be analysed as an intervention that actively produces urban meaning. Projection mapping does not simply occupy space; it temporarily redefines how buildings function, how streets are navigated, and how public attention is organised. Lefebvre’s work is theoretically dense and abstract, which can make direct application challenging. However, it provides a critical lens for understanding how commercial projections contribute to the commodification of public space and reinforce power relations. This text is particularly useful for framing projection mapping as a spatial practice embedded in economic and political structures.

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4. Crary, J. (2013). 24/7: Late Capitalism and the Ends of Sleep. Verso.

Crary’s analysis of attention in late capitalism is valuable for understanding why projection mapping advertising is so effective. He argues that contemporary capitalism seeks to eliminate downtime and continuously capture attention. Projection mapping aligns with this logic by interrupting urban routines through spectacle, scale, and movement. The temporary and immersive nature of projections intensifies attention while reducing opportunities for critical reflection. Although Crary does not focus specifically on urban advertising, his critique of attention economies provides a strong framework for analysing projection mapping as a tool for managing perception. One limitation is his pessimistic tone, which can overlook moments of resistance or reinterpretation. Nevertheless, this text helps situate projection mapping within broader debates on media saturation and visual control.

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5. Zukin, S. (1995). The Cultures of Cities. Blackwell.

Zukin’s exploration of culture, power, and urban transformation is particularly relevant to projection mapping advertising and city branding. She examines how cultural strategies are used to reshape urban identities, often privileging corporate and elite interests. Projection mapping advertising fits within this framework by aligning cities with innovation, creativity, and spectacle while masking underlying inequalities. Zukin’s work highlights how visual culture contributes to the commodification of urban space, making it useful for analysing how branded projections reshape perceptions of place. While the book predates digital projection technologies, its insights into symbolic economies and urban imagery remain applicable. It encourages a critical approach to projection mapping that considers whose interests are served by spectacular urban interventions.

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6. Mitchell, D. (2003). The Right to the City: Social Justice and the Fight for Public Space. Guilford Press.

Mitchell’s work provides a critical perspective on public space as a site of struggle rather than consensus. He challenges idealised notions of public space by showing how access and visibility are regulated through power and exclusion. This is particularly relevant to projection mapping advertising, which occupies public-facing architecture but is accessible only to those with economic and institutional power. Mitchell’s emphasis on rights, governance, and exclusion helps frame projection mapping as a form of commercial intrusion rather than neutral urban enhancement. While his focus is largely on protest and homelessness, the principles he outlines can be applied to visual media practices. This text strengthens the political dimension of analysing projection mapping in public space.

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7. Mosco, V. (2009). The Political Economy of Communication. Sage.

Mosco’s political economy approach is essential for understanding the structural conditions that enable projection mapping advertising. He emphasises how communication systems are shaped by ownership, capital, and institutional power. Projection mapping requires significant financial resources, technical expertise, and regulatory approval, making it accessible primarily to corporations and authorities. Mosco’s framework helps reveal how visibility in urban space is unevenly distributed and commodified. Although the text is broad and not focused on urban media specifically, its emphasis on power and control is highly applicable. It encourages analysis beyond aesthetics, foregrounding the economic and institutional forces that shape who can project, where, and for what purpose.

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8. Miles, M. (1997). Art, Space and the City. Routledge.

Miles’ discussion of public art as a critical and social practice is useful for examining how projection mapping advertising appropriates artistic strategies. He argues that public art can challenge dominant narratives and provoke reflection within urban space. Projection mapping advertising often borrows the visual language of public art while stripping it of critical intent. This contrast helps illuminate how commercial spectacle can neutralise artistic forms for promotional purposes. While Miles focuses on art rather than advertising, his work provides a benchmark against which commercial projection mapping can be critically assessed. The text is valuable for distinguishing between cultural contribution and commercial exploitation in urban visual practices.

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9. Sobchack, V. (2004). Carnal Thoughts: Embodiment and Moving Image Culture. University of California Press.

Sobchack’s emphasis on embodied spectatorship offers a valuable lens for analysing projection mapping advertising. She argues that media experiences are corporeal, involving the body as well as the mind. Projection mapping exemplifies this by requiring spectators to physically inhabit space, look upward, stop moving, and gather collectively. This embodied engagement intensifies affect and memorability, making the advertisement more persuasive. Sobchack’s phenomenological approach complements political and spatial theories by foregrounding lived experience. While her work is not focused on urban advertising, it enriches analysis by addressing how bodies are positioned, moved, and affected by large-scale projections.

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10. Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.

Bishop’s critique of participation is useful for analyzing claims that projection mapping advertising is interactive or engaging. She challenges the assumption that participation is inherently democratic, arguing that it can mask power imbalances. Projection mapping often creates immersive experiences without offering genuine agency, positioning spectators as affective participants rather than contributors. Bishop’s work helps interrogate the limits of engagement in commercial spectacles and distinguishes between participation and consumption. Although her focus is on art practices, the theoretical insights translate effectively to advertising contexts. This source supports a critical reading of projection mapping as immersive yet tightly controlled.