Editor’s Note: This post is part of our weekly In the NVIDIA studio series, which celebrates star artists, offers creative tips and tricks, and shows how Nvidia Studio technology accelerates creative workflows.
Conceptual artist Pablo Muñoz Gómez dives In the NVIDIA studio this week, showcasing artwork that depicts a fantasy myth.
Gómez, an Australian-based creator, is also passionate about helping digital artists, teaching 3D course and performing the Zbrush Guides Website with its creative specialties: concept and character art.
“For me, everything starts with a story,” said Muñoz Gómez.
His 3D forest creature contains a fascinating myth. “The story of the forest creature is quite simple…a tiny little fantastic character who lives in the forest and spends his life balancing rocks, plus whatever stones he manages to balance and pile on top of each other. the others are big, the bigger it grows, the more invisible it becomes, eventually it will grow to a colossal size and disappear.
Gómez begins his journey in a 2D application, Krita, with a preliminary sketch. The idea is to figure out how many 3D assets will be needed while adding some color as a reference for the palette later.
Next, Gómez moves on to Zbrush, where he uses custom brushes to sculpt base models for the creature, rocks, and plants. It’s the first of several leaps in its 2D-to-3D workflow, detailed in this 3d forest creatures two part tutorial.
Gómez then turns to Adobe Substance 3D Painter to apply various colors and materials directly to his 3D models. Here the benefits of NVIDIA RTX burst of acceleration. NVIDIA Iray in-window technology allows Gómez to edit in real time and use ray-traced baking for faster render speeds – all accelerated by sound GeForce RTX 3090 graphics card.
“Since switching to the GeForce RTX 3090, I can just spend more time in the creative stages.”
Seeking further customization of his experience, Gómez downloads and imports a grass asset from the Substance 3D asset library into Substance 3D Sampler, tweaking a few sliders to create a photorealistic material. Exclusive RTX interactive ray tracing allows Gómez to apply realistic wear effects in real time, powered by his GPU.
3D workflows can be extremely demanding. As Gómez notes, the right GPU allows him to focus on content creation. “Since switching to the GeForce RTX 3090, I can just spend more time in the ‘creative stages’ and testing things to refine my concept when I don’t have to wait for renders or worry about optimizing. a scene so I can see it in real time,” he said.
Gómez sets up his scene in Marmoset 4, critically changing the denoiser from CPU to GPU. This unlocks real-time ray tracing and smooth in-viewport visuals as it works. This can be done by accessing the Lighting so Laser trace selections in the main menu and changing the denoiser from CPU for GPUs.
With the scene in place after some editing, Gómez generates his renders.
He does the final compositing, lighting and color correction in Adobe Photoshop. With the addition of a new background, the scene is complete.
More 3D to explore
Gómez has created several tutorials demonstrating 3D content creation techniques to budding artists. Check out this one on how to create a 3D scene from scratch.
First part of Session Studio, Create stunning 3D crystalsoffers an overview of sketching and designing in Krita and modeling in Zbrush, while Part Two focuses on baking in Adobe Substance 3D Painter and texturing in Marmoset Toolbag 4.
Generally, low polygon models for 3D workflows are great for working with hardware that can’t handle high polygon counts. Gómez Studio Session, Creating a Low-Poly 3D Floating Islandshows how to create low-poly models like his floating island in Zbrush and edit in Adobe Photoshop.
However, thanks to the graphics power and artificial intelligence benefits of NVIDIA RTX and GeForce RTX GPUs, 3D artists can work quickly and easily with high polygon models.
Learning to create in 3D takes ingenuity, Gómez notes: “You become more ingenious by making your tools work for you the way you want them to, even if that means finding a better tool to solve a particular process.” But with enough practice, as the variety of Gómez’s portfolio shows, the results can be stunning.