February 3, 2023

INTRODUCTION

Hello! I’m Adrian Bik, an 18-year-old residing in Cracow, Poland.

I’ve been learning Blender on my own for round 4 and a half years now. I’ve been taking part in video video games since my childhood and all the time questioned how these digital areas had been created. Sooner or later I stumbled upon Blender and I keep in mind being completely blown away by what was doable to do at house, even with my sluggish laptop computer. I began watching tutorials on YouTube (Blender Guru, CG Geek, and CG Enhance helped me lots) and since then, my progress has been sluggish however regular.

Now, I’m in the course of my senior 12 months of highschool. I need to main in pc science, however my dream is to work within the sport/VFX business some day.

INSPIRATION

I used to be initially impressed throughout a stroll within the woods, which jogged my memory of outdated Czechoslovak animated films that now really feel very nostalgic to me. Jiří Trnka made a film known as “Špaliček” displaying a number of the Czech traditions over the course of a whole 12 months in a really lovely approach.

I actually appreciated that and needed to create a render that reveals a few of our Polish custom, whereas retaining a little bit of that signature look.

CONCEPT

As all the time, I began by gathering references for all the mission.

I watched the film “Špaliček” to get a really feel for the lighting, environment, and magnificence earlier than gathering some photos and organizing all of it in PureRef (It’s the primary program I take advantage of for maintaining monitor of my concepts and maintaining the look constant throughout work.)

I additionally made an idea which was a few fast iterations with a pencil to assist in setting of the right composition and temper.

THE CHARACTER

First I began sculpting. I sculpted the primary physique type with Blender, blocking out the final form and making the puppet appear like it’s filled with cotton.

Then I rapidly rigged the character with the assistance of Blender’s built-in Metarig add-on. This allowed me to animate him bending into the ultimate pose. This step could be required later, as this was how I needed to realize life like folds and creases within the clothes.

To make his outfit, I used Marvelous Designer and constructed a fabric simulation. I assigned totally different stiffnesses to all the equipment.

With all the things in place, I simulated the fabric whereas the mannequin was setting into his place:

Marvelous Designer additionally allowed me to rapidly add life like buttons and stitches. It gave me UV maps for the clothes as nicely.

Lastly, I modeled a fast sword and was prepared to start out the texturing.

TEXTURING

The character was textured in Adobe Substance 3D Painter. I divided the mannequin into 4 totally different texture units—the physique, head, garments, and the sword.

I used to be utilizing PBR (Bodily Primarily based Rendering), so I wanted to organize 5 totally different texture maps: Albedo/Base Colour, Roughness, Metallic, Regular, and Peak. The decision was 4K.

I took a few totally different cloth supplies from Quixel Megascans as the bottom for each piece of clothes. I additionally used Substance’s built-in turbines for the stylized wooden and metal.

This seemed too clear, so I broke it up a bit by including put on and scratches to each a part of the mannequin. This was performed through the use of a mixture of generated masks and hand portray with a graphics pill.

To me, it nonetheless seemed too good, so I painted in additional mud and dust splashes whereas nonetheless being cautious to not add an excessive amount of or to use it in unrealistic locations.

Lastly, I gave the puppet its face.

The complete course of, however animated:

Listed below are all the opposite textures:

HAIR SYSTEMS

Lastly, to complete the character off, I added his hair. For me, this was a pleasant alternative to check out Blender’s new hair curve system. It has lately been reworked to permit simpler strand placement, clump administration, and customarily made creation of hair and fur for characters lots less complicated. To familiarize myself with it, I adopted Noggi’s nice tutorial on this subject:

Regardless that the contemporary instruments made the method lots simpler, I used to be nonetheless combating shaping many hair curves (skilled CG hair artists, you could have my respect), however I’m positive it’ll get simpler with follow.

Moreover, I’ve utilized a number of extra typical particle methods to the garments to provide them a softer, fuzzier look.

THE ENVIRONMENT

Creating the atmosphere was a problem of its personal.

The forest ground is a subdivided aircraft that I displaced utilizing varied noise textures combined collectively for a extra irregular look. The fabric consists of three major layers—first mud, then useless leaves, and eventually grass.

For the vegetation on this mission (and the cliff face), I used property from Quixel Megascans. To distribute them, geometry nodes proved extremely helpful. After developing with the best setup, I might simply paint spots on a weight map. It managed the bush density, basically permitting me to “paint in” greenery like Bob Ross. Geo-nodes additionally took care of scattering tiny particles like sticks throughout the digicam.

The geo-node tree is proven over right here:

Objects just like the bushes and fern have been positioned manually, and the bushes had been modeled on my own with Maxime Herpin’s Modular Trees add-on. It permits for the procedural creation of bushes, virtually like Speedtree however free and inside Blender.

I did discover that it’s reasonably restricted when it comes to doable tree sorts and stability although. The complete course of is damaged down:

THE FLOWER

There’s nothing notably fascinating about the best way the flower is modeled. Nevertheless, I feel that its materials deserves a point out on this article. The flower has two elements with two distinct supplies—a translucent hole shell and a smaller, emissive model of it on the within.

The outer materials vaguely resembles glass. It’s a subsurface scattering base that we’re in a position to see-through, due to a transmission shader combined into it.

LIGHTING

Many of the lighting within the scene is coming from an enormous picture of the background, set as much as fill the entire view (impressed by the LED greenscreen improvements within the movie business). I additionally brightened up the shadows a bit utilizing an HDRi set to a tiny brightness worth. That is meant to make the shadows look extra life like as they’re by no means fully black in actual life—there’s all the time a little bit of background noise.

To deliver the lighting up a notch, I added a few gentle sources in strategic places. They had been supposed to drag the viewer’s consideration into the best place and likewise to maintain the scene trying life like.

For instance, there’s a white gentle positioned close to the forest’s edge that provides extra moonlight scattering on the bushes that was fully lacking earlier than.

FERN FLOWER

And there you could have it!

Thanks for studying this text and I hope that you have realized one thing new.

Concerning the Artist

Adrian Bik, an aspiring 3D artist who’s making artwork in his free time. He’s at the moment in search of alternatives within the skilled area.