Behind the Scenes: Agony Floats Airship

March 12, 2023 in Animation Tagged Agony, Airship, Floats, Scenes - 7 Minutes

Table of Contents

INTRODUCTION

My title 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 really certainly one of my best passions, and I plan to proceed doing so sooner or later. I’m additionally captivated with discovering my very own artwork fashion and transitioning steadily 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 attaining this objective.

INSPIRATION

This piece is part of my “Vile Steel” sequence, which explores a method and theme that I’ve wished to do for a very long time. The sequence depicts a world through which machines have taken over people and feed on their anguish, rage, and desperation. These struggle 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 had been additionally influenced by Piotr Jabłoński’s work.

PROCESS

The whole 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 among the most vital steps in making these items stand out and outline the fashion as a result of the first render lacks adequate grime, grit, and environment 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 achieved by together with a sky, HDRI, needed lighting, and volumetric parts within the scene to boost depth, vibe, and artwork route.

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

The modeling course of for the primary objects within the Vile Steel sequence at all times begins with human figures in several emotional states comparable 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 these items 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 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 by means of completely 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 wished to attain that unreal painterly impact for the undertaking, so what I wanted wasn’t practical lighting, however cinematic and dramatic lighting. So, I used an space gentle with a beam form lowered sufficient to deal with vital areas of the composition, such because the face and the arm. Another smaller lights additionally deal with the small print of the scene, comparable to the group from distant.

RENDERING AND PAINT-OVER

I rendered the scene with all doable render passes exported in order that I may use them to assist with the paint-over course of.

Some results, comparable to smoke, fog, and dirt/dust particles, are higher to do within the paint-over stage as a substitute of completely in Blender.