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 get pleasure from expressing my inventive freedom as a 3D artist as a substitute of being caught to solely 2 dimensions.

With the ability to increase my portfolio with distinctive initiatives is actually one in every of my best passions, and I plan to proceed doing so sooner or later. I’m additionally keen about discovering my very own artwork type and transitioning regularly till I discover the one which resonates with me probably the most, the one which I actually love. With each new undertaking, I’m one step nearer to attaining this objective.

INSPIRATION

This piece is part of my “Vile Metallic” sequence, which explores a method and theme that I’ve needed to do for a very long time. The sequence depicts a world during which machines have taken over people and feed on their anguish, rage, and desperation. These conflict 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 sequence 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 likely one of the most necessary steps in making these items stand out and outline the type as a result of the first render lacks enough grime, grit, and ambiance to tell apart 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, essential lighting, and volumetric components within the scene to boost depth, vibe, and artwork path.

For this piece, I needed 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 could be simply edited later.

The modeling course of for the primary objects within the Vile Metallic sequence at all times begins with human figures in several emotional states comparable to anger, disappointment, desperation, and so forth. These feelings are very important to the primary scene.

The hard-surface type I take advantage of for this stuff is impressed by the equipment in Half Life video games, particularly Half Life: Alyx. I attempt to observe the concord of the B.M.S order of Massive, 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 by means of 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 totally UV unwrap this monstrosity, I made a decision to make use of an AO node to create mud and dust across the corners of the mannequin.

LIGHTING

I needed to attain that unreal painterly impact for the undertaking, so what I wanted wasn’t real looking lighting, however cinematic and dramatic lighting. So, I used an space mild with a beam form decreased sufficient to deal with necessary areas of the composition, such because the face and the arm. Another smaller lights additionally deal with the main points of the scene, comparable to the gang from distant.