Here you start with base surfaces, creating a handful of descriptive surfaces that show where you want to go with the design.
In an analogue process, the next step would be using clay to work on its surfaces. However, doing this means losing or covering previous data. You can only guesstimate or resort to your memory to account for that data. By contrast, flyingshapes preserves data integrity during surfacing. All you need to do is grab an end point and modify the entire surface. You never leave the chosen visualization settings, so you stay within the same visual communication space.
Once you’ve created a rough surface model, you fine-tune it based on things like light reflections. At this point, we’re entering a world of volume where scale is paramount. flyingshapes facilitates that vision, since it allows you to see realistic light simulations to better understand surface and shape.
With this tool, you can also zoom in or out to judge distance and scale. This prevents a common trap in modeling: getting lost in the scale you’re working on. As a designer, you need the ability to zoom out to keep track of primary lines and ensure the base architecture is right before you can move into other details.
This point is more important than it seems at first sight. You no longer need to figure out how to move in space. Instead, with flyingshapes you learn to move space itself. This is a powerful conceptual shift that evidences the shortcomings of the analogue design process.
The differences don’t end there. In the traditional process, design teams often struggle to decide how far to go with surfacing. With flyingshapes, you can let go of unnecessary complexity and of the constant need to judge how far is too far and whether good is good enough. Instead, you gain the ability to make a very fast assessment and know exactly when a model can be handed to tooling.