3D World - - The Callery - tfolk­ers.art­sta­tion.com

Thorsten Folk­ers and his brother are in the midst of cre­at­ing their own in­die sci-fi rac­ing game, en­ti­tled DRAG, launch­ing on Steam this year. While Folk­ers works on the art, his brother acts as en­gine de­vel­oper and pro­gram­mer, as well as the cre­ator of the pair’s pro­pri­etary game en­gine, Orontes En­gine. This par­tic­u­lar level took Folk­ers a year to cre­ate.

“The struc­ture is com­pletely mod­u­lar,” he ex­plains, “the rea­son for this ap­proach is a very high tex­ture res­o­lu­tion on the metal sup­port, de­spite its size. The whole struc­ture is placed along a spline us­ing path de­form and a cus­tom script to avoid any tilt­ing. We also de­vel­oped a fifth static shadow cas­cade span­ning the en­tire

level. This al­lows us to ren­der shad­ows in real time for the com­plete view dis­tance, which is about two kilo­me­tres.”

Hard-sur­face mod­el­ling and work­ing on his own sci-fi de­signs are among Folk­ers’ favourite things when it comes to 3D mod­el­ling. “Any­thing from ve­hi­cles to ma­chines or even me­gas­truc­tures,” he adds, “I would love to do ro­bot-like char­ac­ters in the future as well.” When it comes to in­spi­ra­tion, he of­ten turns to the work of retro-fu­tur­is­tic artist Si­mon Stålen­hag, as well as films like cy­ber­punk anime Ghost In The Shell.

ARTIST Ana Men­des SOFT­WARE Zbrush, Blen­der

Free­lance 2D and 3D char­ac­ter artist Ana Men­des spent a week, on and off, work­ing on this cool char­ac­ter de­sign. Men­des be­gan learn­ing 3D in 2013, start­ing to work pro­fes­sion­ally around 2014, pri­mar­ily cre­at­ing art for games and fig­urines. She was able to use this ex­pe­ri­ence to cre­ate a unique and strik­ing char­ac­ter de­sign.

Men­des used Zbrush to sculpt the char­ac­ter and Blen­der to ren­der the im­age. She notes that cre­at­ing the char­ac­ter’s ini­tial de­sign was a high­light of the en­tire process, along with sculpt­ing the hair.

“Most of my in­spi­ra­tion comes from anime, fash­ion, books, or some­times even a ran­dom con­ver­sa­tion can give me ideas of what to do next,” Men­des tells 3D World. The cre­ative process then be­gins with a sketch on Pho­to­shop or di­rectly in Zbrush. “I then make the block­out in Zbrush,” she con­tin­ues, “and when I'm sat­is­fied with the de­sign and shapes, I start to pol­ish each part.” Fi­nally, Men­des poly­paints the model and ren­ders it in Blen­der us­ing Cy­cles.


ARTIST Thorsten Folk­ers SOFT­WARE Orontes En­gine, World Ma­chine, Quixel Suite, Sub­stance Painter

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