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 creative freedom as a 3D artist as a substitute of being caught to solely 2 dimensions.
With the ability to broaden my portfolio with distinctive tasks is actually considered one of my biggest passions, and I plan to proceed doing so sooner or later. I’m additionally captivated with discovering my very own artwork fashion and transitioning progressively till I discover the one which resonates with me essentially the most, the one which I really love. With each new mission, I’m one step nearer to reaching this purpose.
INSPIRATION
This piece is part of my “Vile Metallic” collection, which explores a method and theme that I’ve needed to do for a very long time. The collection depicts a world by which machines have taken over people and feed on their anguish, rage, and desperation. These battle 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 had 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 added passes and changes. The paint-over course of is without doubt one of the most necessary steps in making these items stand out and outline the fashion as a result of the first render lacks enough grime, grit, and environment to differentiate it from earlier artworks I’ve created.
MODELING & SETTING THE COMPOSITION
I like to start out my course of by establishing the temper for the scene, which is well achieved by together with a sky, HDRI, vital lighting, and volumetric components within the scene to reinforce depth, vibe, and artwork route.
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 modifications made to the scene might be simply edited later.
The modeling course of for the primary objects within the Vile Metallic collection at all times begins with human figures in several emotional states equivalent to anger, disappointment, desperation, and so on. These feelings are very important to the primary scene.
The hard-surface fashion 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 Large, 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 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 steel 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 grime across the corners of the mannequin.
LIGHTING
I needed to attain that unreal painterly impact for the mission, so what I wanted wasn’t sensible lighting, however cinematic and dramatic lighting. So, I used an space gentle 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 small print of the scene, equivalent to the gang from distant.
RENDERING AND PAINT-OVER
I rendered the scene with all attainable render passes exported in order that I may use them to assist with the paint-over course of.
Some results, equivalent to smoke, fog, and mud/grime particles, are higher to do within the paint-over stage as a substitute of completely in Blender.
AGONY FLOATS AIRSHIP – VILE METAL SERIES
Thanks to your time, I hope you loved studying this text and discovered one thing helpful from it.
Have a pleasant day!
In regards to the Artist
Pham Nguyen Anh Khoi, a 3D artist from Ho Chi Minh metropolis, Vietnam. He’s at present working as a contract artist
