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3D艺术:28个令人惊叹的例子

3D art: Ramen
+$(Image credit: Laura Keuk)

掌握3D艺术绝非易事,但这些令人难以置信的例子表明,如果你愿意付出时间和精力,那么可能会有什么。在3D中工作为图像添加了额外的深度和逼真度,这些图像很难在2D中捕获。如果您正在漫长的道路上积累自己的技能,请查看这些艺术作品,以激励和指导您。我们还与艺术家交流,了解他们的工作流程和设计过程。

这些图像背后的艺术家使用了一系列不同的工具 - 看看我们的指南最好的3D建模软件找出每个人做的事情(这里包括一系列免费工具,如果你刚开始的话,这是理想的选择)。

单击每个图像右上角的图标以查看其全尺寸。

+$01. Ramen

+$(Image credit: Laura Keuk)

+$This appetising image provided 3D student+$Laura Keuk+$with an opportunity to use shading and lighting to create a dreamy and peaceful atmosphere. She used Blender’s cloth simulation for the noodles, doing one noodle and then duplicating it, before simulating them just like clothing.

+$“I used displacement for the oil,” she continues. “I spread the onion springs using a particle simulation with three different instanced meshes and shaders. I played with the scale and rotation to add more randomness to the elements.”

+$Keuk is inspired to create images like this by the ins and outs of daily life: “I love to watch all the simple things surrounding me and understand what makes it beautiful. It can just be a leaf on the ground, the way flower petals are arranged, the way light bounces off a piece of sugar, or just a cat walking.”

+$Food is a symbol of sharing, gathering and happiness in Keuk’s family, and she wanted to portray this in her Ramen image. As Keuk puts it: “The feeling I had when I was younger, the feelings food gave me, and a bit of a magical sensation, where the spectator could see that beauty can be from each thing surrounding us.”

+$02. The Golden Skull

+$(Image credit: Hirokazu Yokohara)

+$To create this haunting image, CG director, art director and environment artist+$Hirokazu Yokohara+$used a variety of notable techniques. MECH/FY - Procedural hard surfaces for Blender 2.8 were used to help create the finer details of the mech. “In addition, I tried using the real-time renderer EEVEE experimentally,” adds Yokohara. The grass was made using Blender add-on Graswald.

+$The image took about five days to complete and provided Yokohara with an opportunity to learn and experiment within Blender. He continues: “Thanks to real-time renderer EEVEE, I was able to finish the work quickly because I could proceed with modelling, layout and lighting while watching the final quality image.”

+$Yokohara’s main tool is Cinema 4D, which he finds intuitive and easy to use. “Since I am a CG generalist,” he adds, “I study various tools and workflows daily and try to output them as art.”

+$Previously Yokohara has worked on various CG projects related to movies, from photorealistic characters to more stylised characters and environmental design. “All these things inspire me,” he continues, “from artwork to everyday trivial events. The latest technology is also a huge source of inspiration.”

+$03. God Pan

+$(Image credit: Baolong Zhang)

+$The biggest challenge that professional 3D artist+$Baolong Zhang+$faced on this project was creating the character’s photorealistic hair. “He’s got very curly hair that required a lot of attention,” explains Zhang. “I used ZBrush FiberMesh to create the main volume of hair, then the smaller hairs were hand-placed. The shorter facial furs were created with XGen in Maya.”

+$Throughout the project Zhang was inspired by the photography of Cristian Baitg Schreiweis, and he particularly enjoyed searching for further references. “I started searching for more references like Greek statues and paintings,” he says. “It’s fun to put these together in 3D, especially with Unreal Engine 4.” Elsewhere he finds inspiration in nature and classic art.

+$Finding an interesting subject is crucial to getting a good start on a project, according to Zhang: “I try to have a good idea of what it’s going to look like. As I’m not a concept artist, I don’t really have a final concept, but I have a lot of reference to follow.”

+$04. Game Buildings

+$(Image credit: Gustavo Henrique)

+$This project from art director and motion designer+$Gustavo Henrique+$is a simple yet effective 3D design. “All constructions were modelled in a very simple way,” Henrique explains. “Most of my designs are simple but full of details,” he continues. “I always try to work with geometric shapes and most of my models are made from a cube. I use the Bevel tool to leave the edges of the objects rounded and create the feeling that it’s something fluffy.”

+$After modelling the scene, Henrique gets to work on the render settings using Octane Render. “The first step is to work on the camera settings. I get a bit of perspective using a 150mm focal length. I also increase the aperture of the lens to achieve a blur and give it the feel of a miniature.”

+$Henrique gets inspiration from the feedback he receives from fellow artists:
+$“What inspires me most is to see people say that they are inspired by my projects. The feeling is incredible and the desire to keep on inspiring other people only increases. I believe recognition is very valuable to artists.”

+$05. Seahorse in the corals

这个令人惊叹的逼真形象采用了CG通才Nika Maisuradze只需一周即可完成。 “我一直想在水下场景中工作,”Maisuradze解释道。 “我很惊讶地发现创造一个现实似乎是如此挑战的逼真的水下生物,可以轻松愉快地完成。”

然而,该项目并非没有挑战,Maisuradze解释说:“从技术角度来看,最大的挑战是阴影。我只是画了我需要的纹理的主要方面,而不是绘制我所需要的纹理的主要方面:主要的基色,小的水平细节,马的每个部分的面具,鼻子,身体,尾巴和这些微小的蓝点。我没有重新绘制纹理,而只是在着色过程中使用这些细节纹理进行调整。对于这些项目,这个工作流程更加健壮。“

+$06. Dear Fabricio

“我花了大约三天半的时间来创作从概念到最终产品的整个作品,”自由职业导演,CG主管和3D艺术家说道。佩德罗康蒂。这个可爱的形象是他妻子怀上儿子的礼物。这些雕塑是基于他们的超声波照片和Conti童年时代的一只小毛绒猴子。

Conti拥有13年的行业经验,可以从这样的个人项目中吸取经验:“我经营了一家名为Techno Image的公司七年,”他透露道。最近,他曾在迪士尼的Moana工作,目前担任梦工厂,环球影城和Aardman等公司的自由职业者。

“我花了更多的时间来考虑颜色,布局和构图,而不是花哨的3D技术与这个图像,”康蒂解释说。 “我觉得我应该回到设计原则,更多地了解传统技术,如摄影,设计和格式塔理论。如果您了解艺术的这些方面,您将找到一种方法,使其在3D中工作。“

+$07. There’s a Pulse!

“我喜欢在ZBrush进行实验,”概念艺术家和漫画书着色说Neeraj Menon。 “奇妙的设计师是我正在玩的新东西。我做了很多数字绘画,所以这两个软件都可以用来获得最初的想法。“

“虽然我的大部分时间都被用于雕刻底层模型,但我认为最重要的部分是在Marvelous Designer中创造布料,”他解释道。 “实际设计很简单,只是一块布。真正的挑战是把它恰到好处,隐藏某些部分并展示其他部分。“

尽管有时候是挑战,梅农坚持认为这种体验非常愉快。他总结道:“最有趣的部分来自材料和渲染阶段。一旦布料的半透明度得到应用,我在脑海中看到的东西真的变成了现实。一切都到位了。“

+$08. On the Road to Nowhere

这个疯狂可爱的小外星怪物飞行员是由他创造的穆罕默德查宁在Blender中,在Cycles中渲染之前。 Chahin说,当谈到3D艺术时,他最受故事启发。

“作为艺术家,我们的工作就是以更直观的方式讲述这些故事,”他说。 “毕竟,所有的艺术家都是故事讲述者。”想象一下这个可爱的小动物在他的橙色飞机飞行时可能会遇到什么,这当然很有趣。

+$09. The Forest

当照明艺术家Joannie Leblanc创造了这个美丽的林地场景,她知道有效利用灯光产生她想要的心情是多么重要。

“照明不只是关于光线和阴影,”她解释道。 “你需要考虑人们在艺术中注重什么来吸引他们的注意力。对比度,深度,色彩和节奏将有助于眼睛像流动一样在你的画面中移动,让观众沉浸在你的世界中。”

+$10. Somerset Isle

Somerset Isle是一个使用虚幻引擎渲染的实时环境。 “作品和外观很大程度上基于Chong FeiGiap(Running Snail Studio)的惊人概念作品,”环境艺术家解释道Tomer Meltser他的形象,“虽然环境中的许多设计和结构理念(船只,建筑)都是基于Chew Jetty(马来西亚)和其他这种性质的海滨城镇的形象。”

+$11. Aghori Portrait

这很难相信AldoMartínezCalzadilla使用ZBrush,Maya和Mari创作的3D艺术作品Aghori Portrait只花了两周时间才完成。 “我尽可能快地工作,”他解释道。 “根据我的经验,灵感的时刻不会持续太长时间,因此我尝试尽可能高效地完成创建图像的过程。”

建模和雕刻的细致基础是他最喜欢的项目部分。 “我知道,为了做好Aghori的工作,形式和解剖学必须是好的和准确的参考,”他透露。

+$12. PKTS_09

PKTS是一个抽象的,科幻和当代3D艺术系列,来自自由艺术总监,概念和3D艺术家Eugene Golovanchuk,也被称为Skeeva。像这样的个人项目总是从最小和最简单的实验中发展而来。

“将简单的形状和颜色结合起来,看看你是否对你将会看到的东西有内在的感觉。如果它有效,那么你可以将想法发展成更完整的形式。 Cinema 4D是我的主要3D软件。我通常将视口用作空白画布,将不同的轮廓和纹理组合成一个组合,以查看对象在场景中的感受,“他解释说。

当谈到实现他的作品光滑和时尚的外观时,Golovanchuk有一些简单的建议:“诀窍是首先尝试设置纹理和光照,所以它看起来或多或少像最终的渲染。然后你可以继续调整模型和纹理。大多数人会说这是错误的,这个过程应该是循序渐进的。你知道吗?不要听别人说,只要做你的感受。“

+$13. Slug Race

这可能是一个异想天开的场景,但Slug Race在现实中非常紧密。巴西3D艺术家Fabricio Moraes和他的合作者Guilherme Formenti使用Agisoft PhotoScan从数码照片生成3D空间数据。

“摄影测量技术是我一直想尝试的技术。所以我扫描了许多树木,岩石和地面以获得更逼真的方法,”莫拉斯说。

该对使用3ds Max和ZBrush进行建模和照明,使用V-Ray进行渲染,使用Nuke进行合成。 “我通常使用Photoshop来制作最终影像,”莫拉斯说,“但这次我试试Nuke。我对它的强大程度感到惊讶。”

+$14. Dark Forest

雅各布·贾沃拉超现实的黑暗森林场景,其发光的门口与自然场景形成对比,完美地总结了艺术家的折衷主义和古怪的兴趣。 “我大多受到混沌理论,性选择和各种宗教活动等奇怪现象的启发,”他解释道。

不同寻常的是Javora,这个场景是纯粹的3D构图,不涉及2D技术。 “有些人在不改变的情况下使用相同的工具和工作流程,”他说。 “我总是试图做一些额外的事情,以保持我的创作精神,并享受工作。”

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