Behind the Scenes: Agony Floats Airship

Table of Contents

INTRODUCTION

My identify is Pham Nguyen Anh Khoi, I name myself Gebalt, and I’m a 24-year-old 3D artist from Ho Chi Minh Metropolis, Vietnam. I used to be previously a graphic designer, however I now take pleasure in expressing my inventive freedom as a 3D artist as a substitute of being caught to solely 2 dimensions.

Having the ability to broaden my portfolio with distinctive tasks is actually considered one of my best passions, and I plan to proceed doing so sooner or later. I’m additionally obsessed with discovering my very own artwork model and transitioning step by step till I discover the one which resonates with me essentially the most, the one which I actually love. With each new undertaking, I’m one step nearer to reaching this purpose.

INSPIRATION

This piece is part of my “Vile Metallic” collection, which explores a mode and theme that I’ve wished to do for a very long time. The collection depicts a world during which machines have taken over people and feed on their anguish, rage, and desperation. These warfare machines have taken on the looks of these they’ve devoured, and the world they’ve created is now shrouded in a dreadful cloud.

Most of my inspiration for this collection got here from the Half Life 2 Beta idea artwork, and the lighting and composition have been additionally influenced by Piotr Jabłoński’s work.

PROCESS

Your complete piece was created and rendered in Blender, with a number of layers of paint-over added later in Photoshop. The feel was made in Quixel Mixer and closely painted over in Photoshop for extra passes and changes. The paint-over course of is among the most vital steps in making these items stand out and outline the model as a result of the first render lacks ample grime, grit, and ambiance to differentiate it from earlier artworks I’ve created.

MODELING & SETTING THE COMPOSITION

I like to begin my course of by establishing the temper for the scene, which is definitely completed by together with a sky, HDRI, crucial lighting, and volumetric parts within the scene to reinforce depth, vibe, and artwork course.

For this piece, I wished to render the airship from a dramatic angle from the bottom, and the gang within the foreground provides to that impact. Any adjustments made to the scene might be simply edited later.

The modeling course of for the primary objects within the Vile Metallic collection all the time begins with human figures in several emotional states similar to anger, disappointment, desperation, and so on. These feelings are important to the primary scene.

The hard-surface model I exploit for these items is impressed by the equipment in Half Life video games, particularly Half Life: Alyx. I attempt to comply with the concord of the B.M.S order of Huge, Medium, Small shapes. This creates a way of complexity whereas additionally permitting the primary form and type of the mannequin to be observable, avoiding confusion and chaoticness in overly detailed fashions.

TEXTURING

The textures used for the entire ship are fairly minimal. I solely reuse a single rusty and gritty texture that I made and put it via totally different nodes to change its search for any space the place secondary and tertiary materials is utilized. That is to maintain it near the idea of a full metallic military.

Since I don’t plan to completely UV unwrap this monstrosity, I made a decision to make use of an AO node to create mud and filth across the corners of the mannequin.

LIGHTING

I wished to realize that unreal painterly impact for the undertaking, so what I wanted wasn’t life like lighting, however cinematic and dramatic lighting. So, I used an space gentle with a beam form lowered sufficient to give attention to vital areas of the composition, such because the face and the arm. Another smaller lights additionally give attention to the main points of the scene, similar to the gang from distant.