For foliage, I used the "Wave" modifier and for the water, I created my own shader influenced by dynamic paint. This gave a graphic look to the result that I aimed for.īetween the basic blending modes I influenced the shadow and ambient occlusion passes with cryptomattes and color corrections to add color and mood to them.Īnimations were driven by armature rigs in Blender. For example, Shadow was set to 75% and Ambient Occlusion was set to 20% opacity. The way my compositing pipe works is by adding on different passes on top of the color with various opacities. įor compositors, it’s like playing with your AOVs to get new results. The AOVs I used were: Color, Ambient Occlusion, Shadow, Emission, and Cryptomattes. Instead of Nuke which I usually use, I worked directly in Blender’s compositor which made the process very streamlined. The kind of complicated part was the compositing pipeline. The lights influence the shadow pass and only their position impacts the result. That's why practicing and making different things can help you improve your modeling skills.Īs an example of something that isn't purely art, this post showcases 20 different ways to create moving Lego contraptions.įor things like grass, roof tiles, and vines, to speed up the process I used Geometry Nodes and modifiers like "Array" to scatter objects as a base which I spend time refining in Blender. If I've made a similar shape before, then I can recall the knowledge gained from that experience and try to improve on it. My mind defaults to figuring out how to hit a shape in the quickest and best-looking way possible. If you model enough in a lifetime, you become very fast and intuitive at it. To be honest, the only trick I have is setting my y-axis shortcut to "C". It helps you understand what you’re making. When you import an extremely detailed concept into Blender, you can see a lot but you might miss a detail or two if you’re not careful. When it came to the details, it was really hard to see them. I started with the big shapes and worked our way down to the smaller ones. In Blender, it was the standard approach. My workflow began in Maya but as I learned more about Blender, its selection tools, and its wonderful hotkeys I migrated the scene over. From there on, I was inspired to continue this pipeline and improve the quality of the work that followed it. I started a small project group called "D.R.E.W." which let me practice painting, lighting, and compositing, where I got a brief understanding of how Fortiche achieved Arcane. She answered a part of the question I've always been fascinated by: "How can you take 3D and make it feel 2D?"ĭuring my film studies, I saw a teaser trailer for Arcane six months after its release and I wanted to make something that looked like it and understand how they made it. The stylized part was inspired by Ashleigh Warner after I took her CGMA Course "Creating Stylized Game Assets". I got into 3D art after trudging through various different art paths like animating, compositing, and filmmaking in animation which I still like to do as a hobby to practice writing and make projects that aren’t still images. Hiya! I’m Brian Nguyen, a stylized 3D Artist, a person who loves fantasy and cute, weird, wild, and wonderful things.
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