building drawing to 3d model
In this building design tutorial, concept artist Samantha Kung demonstrates how to incorporate 3D models to build in the correct perspective. From silhouette thumbnails to painting in textures and small-scale details, she uses the example of a fantasy blacksmith workshop to demonstrate the main themes.
In this tutorial, I will share the process of creating a fantasy blacksmith workshop from brainstorming to completion, too as some techniques of rendering dissimilar materials.
Brainstorming
The first phase of any projection is to do brainstorming and analyze the themes. Since I am going to pattern a fantasy blacksmith workshop from the medieval flow, I outset researching the functions of a blacksmith workshop, writing keywords, and expanding the ideas outward.
References
Later on that, I kickoff looking for references. It is e'er not bad to take your own photos and to get to real places to go a feel of the environment. Yet, in that location are no blacksmith workshops in my expanse, so I collect the data and references on Google and Pinterest by typing the keywords like "blacksmith architecture." Although I'grand only designing the outside, I also assemble some interior photos to become a better agreement of how blacksmiths arrange their tools in their workspace, likewise every bit to analyze the architectural materials. The building is mainly constructed from physical, brick, stone, and wood, which I volition utilize to my final design later on.
Silhouettes
Later on gathering all the basic information, I so start sketching and creating silhouettes. While doing the sketches, I continue these things in mind:
- How many levels does the building accept?
- Is it located on a steep gradient or flat land?
- Course Follows Office: It is necessary to include entrance(s), chimney(due south), and roof(southward).
Rough Sketches
I choose five silhouettes from the above and add details, considering the main structure and unlike parts of the architecture. Although they expect flat, cartoon the side views start can requite me a better idea of exploring the outside design, picturing the facade of a house.
Thumbnails
The forms and proportions are still child-bearing, so information technology is better to focus on blueprint and solve design problems at this stage. I build a simple 3D model in SketchUp to become the bones class. Earlier creating thumbnails, I write downwardly several keywords first to requite me a articulate mind of the design features as well every bit considering the cloth choices. In section A, I want the blacksmith building to look simple and have the bones features. And for department B, I add more functions: store (selling goods and weapons) + workshop, adding an outdoor trading infinite.
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Block-out Terminal Shapes
Having created the thumbnails, I moved on to the terminal design, plotting out the basic class and shape in SketchUp, importing human dummies for scale. It is necessary to make sure all the objects we interact with every day are in a reasonable size.
Gear up Up Perspective Lines
One time the 3D model is done, I ready the ii-indicate perspective for the side by side step to make sure all the details I will draw later are in accurate perspective. Firstly, I draw a horizon line below eye level, so that the peak of the building volition be visible. Next, place the vanishing points (VP1 & VP2) on the horizon line using a pocket-sized dot. Notation that both vanishing points are out of the sheet. The final footstep is to extend the lines from each vanishing signal. When I've finished setting up the perspective lines, it is fourth dimension to start calculation boosted details.
Note:
Prune Studio Paint includes a perspective ruler tool for use creating concept art and comics. You tin ready upwards the perspective ruler and so that your lines automatically snap to the right perspective.
Just go the the Layer carte du jour > Ruler/Frame > Create Perspective Ruler to set up a two-point perspective ruler to assist your composition.
Draft Design
I further develop the B2 thumbnail. My idea is to create a blacksmith building that is located in a dry out surface area and to sketch out the overall layout of how people interact in the space and go virtually their daily lives. Calculation small details adjacent to the building makes the pattern wait more consummate and makes information technology easier to understand the environment of where the blacksmiths work.
Final Lineart
Subsequently sketching the typhoon, I finalize the line work, thinking about the architectural structure and the details of the small objects.
Design Principles
Design principles are all about contrast and the theory of Big, Medium and Small.
one. Detailed Areas VS Rest Areas
Residuum the detailed and rest areas in the overall blueprint, giving the viewer'south eyes places to rest.
two. Overlap / Avoid Tangents
Pay attention to whatever overlapping edges and make it articulate which shape is in front and which is behind.
iii. Repetition
Odd numbers create visual involvement and give diversity, while fifty-fifty numbers create symmetrical remainder.
Cloth Studies
These photograph references were taken by me while travelling. Studying materials helps yous visualize texture and more closely explore the differences between materials. Each fabric has unique surface that captures lighting differently likewise. The more I understand a fabric, the easier it is to recreate it in the rendering process.
Color Sketches
I create colour sketches before moving on to rendering. For option A, everything is in the aforementioned color value, which I discover a bit dull and lacking interest, while for selection C, I am not quite satisfied with the purple as the color looks too saturated. Therefore, I eventually choose B from these three options as the blue looks most harmonious to me.
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Base Color
Later picking the base color, I clean upwards the layers, separating each object into a different layer, renaming the layers too. By doing and then, the rendering after will be easier. Once I am done with the layers, I'chiliad prepare to remove the lineart.
Add together Shadow and Lights
At this stage, I use the eyedropper tool to choose colors in colour palette, rather than using the blending modes for the shadow and lights. It is sometimes challenging to command the colour with blending modes every bit it is easy to make the drawing appear dingy. Normally, I create 4 rectangles from high-value to low-value.
When I want to add together color, I add some blueish to a hue and make sure the new colour coordinates friction match the previous ane. You may expect upward "color value guide" if you lot are not certain how to cull the right colors in a color palette.
Add textures
Next, I add textures using a mixture of photobashing (merging and painting photos into the illustration) and texture brushes. Before working on small details, you should look at the drawing as a big moving picture, to correct the color of the overall drawing and use blending modes in a subtle manner.
Finalize Details
The last stride is to finalize the details and add more environment, making sure the color value of all the objects in the entire cartoon fit the aforementioned surround. Then it's done!
Source: https://www.clipstudio.net/how-to-draw/archives/160064
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