概念藝術(shù)家分享了偉大的游戲作品集

“魔獸爭霸”和“權(quán)力的游戲”概念藝術(shù)家約瑟夫迪亞茲分享了他的一些偉大的游戲作品集，揭示了他的工作流，讓我們知道接下來發(fā)生了什么...

"Warcraft" and "Game of Thrones" concept artist Joseph Diaz shares some of his great portfolio work, reveals his workflow and lets us know what's coming next...

3dtotal: Tell us a little bit about yourself: Who are you, what do you do, and where are you located?

Joseph Diaz: I'm a Barcelona based concept artist and digital illustrator. During the past 9 years I've worked mainly as a concept artist for productions like Warcraft, A Monster Calls, Game of Thrones, REC, Europa Report, Sleepy Hollow or Cirque Du Soleil's Luzia. For the past year I've worked mostly designing creatures and monsters for different genre movies still to be released. Right now I'm working with Guillem Pongiluppi, my partner at Ghostsolid Studio, on different projects based on H. P. Lovecraft's mythology.

dtotal：告訴我們一些關(guān)于你自己：你是誰，你的工作，你來自哪里？

約瑟夫迪亞茲：我是一個巴塞羅那的概念藝術(shù)家和數(shù)字插畫。 在過去的9年里，我主要作一個概念藝術(shù)家的作品，如魔獸，A怪物電話，權(quán)力的游戲，REC，歐羅巴報告，Sleepy空心或Cirque Du Soleil的Luzia。 在過去的一年里，我主要為不同類型的電影設(shè)計生物和怪物。 現(xiàn)在我正在與Guillem Pongiluppi，我的合作伙伴在Ghostsolid工作室，基于H.P。Lovecraft的神話的不同項目。

3dt: What's the story behind your latest gallery entry? Where did the idea come from? What were you trying to achieve with it?

JD: My gallery entry "Space-Time Traveler" was an exercise I did while developing a script for a short movie I want to direct. The idea behind the story is the behavior of reality against time travel. In the story reality treats the time traveler just like our body will treat a virus, first getting ill, then generating antibodies against the virus, and then attacking the virus. This image was one of the first attempts to design the time machine that the protagonist uses to travel back in time.

3dt：你最新的畫廊項目背后的故事是什么？ 這個想法是從哪里來的？ 你想要實現(xiàn)什么？

JD：我的畫廊條目“太空時間旅行者”是我為一個短片制作一個劇本我做的一個練習(xí)，我想指導(dǎo)。 故事背后的想法是現(xiàn)實對時間旅行的行為。 在故事現(xiàn)實中，時間旅行者就像我們的身體會治療病毒，首先生病，然后產(chǎn)生針對病毒的抗體，然后攻擊病毒。 這個圖像是第一次嘗試設(shè)計的時間機(jī)器，主角用來及時回來的時間。

3dt: What software and plug-ins did you use to create this image? Did you face any difficulties, and how did you overcome them?

JD: I use different methods and software packages for each work. In this case, I wanted to quickly develop ideas, and I used Cinema 4D to play with shapes and build a basic 3D model. I mainly used already modeled parts from my 3D library to design the time machine. I've gathered a lot of models from different projects and I keep them in my library for future use. I also use on most of my hard surface projects Black Phoenix kitbash models from the amazing Vitaly Bulgarov, he is a true master of robotic design. Then I rendered the built model in KeyShot with a very basic setting and brought the image to Photoshop, where I finished detailing the ship and painted the environment.

3dt：你使用什么軟件和插件來創(chuàng)建這個圖像？ 你遇到了什么困難，你是如何克服的？

JD：我為每個工作使用不同的方法和軟件包。 在這種情況下，我想快速開發(fā)想法，我使用Cinema 4D來玩形狀和構(gòu)建基本的3D模型。 我主要使用已經(jīng)建模的零件從我的3D庫設(shè)計時間機(jī)器。 我收集了來自不同項目的很多模型，我把它們保存在我的庫中以備將來使用。 我也使用了我的大部分硬表面項目黑鳳凰kitbash模型從驚人的Vitaly Bulgarov，他是一個真正的機(jī)器人設(shè)計的主人。 然后我用一個非常基本的設(shè)置渲染了在KeyShot建造的模型，并把圖像帶到Photoshop，我完成了詳細(xì)的船和畫環(huán)境。

3dt: Do you use any other software, either for work or personal projects?

JD: For creature design I use ZBrush a lot. It's an amazing piece of software that allows me to get really quick to the design I have on my mind. I'm mostly a 2D artist but I really love to sculpt in ZBrush, and try to use it as much as possible to improve my abilities, although I still need to do a lot of overpaint work in Photoshop to get to the finished result. I also use DAZ Studio if I need to include people in my paintings. I just use the models as a base for posing reference but it's still a very helpful and powerful tool.

3dt：你使用任何其他軟件，為工作或個人項目？

JD：對于生物設(shè)計我使用ZBrush很多。 這是一個驚人的軟件，讓我能真正快速的我的設(shè)計我的心。 我主要是一個2D藝術(shù)家，但我真的很喜歡在ZBrush雕刻，盡量使用它盡可能地提高我的能力，雖然我仍然需要做很多的過度著色工作在Photoshop得到成品的結(jié)果。 我也使用DAZ工作室，如果我需要包括在我的畫作。 我只是使用模型作為參考的基礎(chǔ)，但它仍然是一個非常有用和強(qiáng)大的工具。

3dt: Do you have any tips or techniques that other artists may not be aware of?

JD: The most important tip is to never stop learning. It might seem obvious, but it isn't. I've seen many talented artists that got lost along the way because they lost the drive and focus they had at the beginning. The work of a concept artist is constantly evolving and you really need a lot of constant work to have a successful career. Also, no matter how much work you have, you need to keep doing personal stuff. This is probably the thing that has helped me the most. Most of the best projects I've worked on came to me because the client saw a personal piece of artwork. Last, but not least, go back to the foundations, since there is where the key to being a good artist lies.

Regarding techniques, I use many tricks to accelerate my workflow and be more efficient with the digital tools. I will probably do a proper tutorial explaining them soon.

3dt：你有其他藝術(shù)家可能不知道的任何技巧或技巧嗎？

JD：最重要的提示是永遠(yuǎn)不要停止學(xué)習(xí)。 它可能看起來很明顯，但它不是。 我看到許多有才華的藝術(shù)家在路上迷路了，因為他們失去了開始時的驅(qū)動力和焦點。 一個概念藝術(shù)家的工作是不斷發(fā)展，你真的需要很多不斷的工作，有一個成功的職業(yè)生涯。 此外，無論你有多少工作，你需要繼續(xù)做個人的東西。 這可能是最幫助我的東西。 我工作過的最好的項目大部分來到我，因為客戶看到一件個人的藝術(shù)品。 最后，但并非最不重要的，回到基金會，因為有一個關(guān)鍵是一個好的藝術(shù)家在哪里。

關(guān)于技術(shù)，我使用了許多技巧來加速我的工作流程，并使用數(shù)字工具更高效。 我可能會做一個適當(dāng)?shù)慕坛探忉屗麄兒芸臁?/p>

3dt: What are your artistic ambitions?

JD: I started working as a concept artist 9 years ago. My first job was in Alejondro Gonzalez Inarritu's Biutiful. Back then, I didn't really know what I was doing. During all these years I've had the chance to slowly develop my abilities and my knowledge working with many talented production designers and directors. It was a really fun trip, but now I'm more focused on doing other kinds of works where I have more creative freedom. Now and then I work for a director or production designer, but instead of doing concept drawing of interiors and other boring stuff, I only take jobs where I can design creatures, monsters, robots or spaceships, just sci-fi, horror or fantasy. I'm also working on different projects around the figure of H. P. Lovecraft with my friend and partner Guillem H. Pongiluppi. This really is a dream job

3dt：你的藝術(shù)抱負(fù)是什么？

JD：我9年前開始作為一個概念藝術(shù)家工作。 我的第一份工作是在Alejondro Gonzalez Inarritu的Biutiful。 當(dāng)時，我真的不知道我在做什么。 在這些年來，我有機(jī)會慢慢發(fā)展我的能力和我的知識與許多有才華的生產(chǎn)設(shè)計師和導(dǎo)演合作。 這是一個非常有趣的旅行，但現(xiàn)在我更專注于做其他類型的作品，我有更多的創(chuàng)造性的自由。 現(xiàn)在，然后我為導(dǎo)演或生產(chǎn)設(shè)計師工作，但不是做內(nèi)部和其他無聊的東西的概念繪圖，我只有工作，我可以設(shè)計生物，怪物，機(jī)器人或宇宙飛船，只是科幻，恐怖或幻想。 我也在與我的朋友和合作伙伴Guillem H. Pongiluppi在H.P。Lovecraft的數(shù)字不同的項目。 這真的是一個夢想的工作。

3dt: Are you a member of any social media groups? Any favorite hashtags you check on a daily basis?

JD: I've used Facebook for several years and a month ago I started using Instagram, which is really fun. I really like the chance to see WIPs from my favorite artists and show my own sketches and WIPs as well. This is something that Instagram allows you to do very easily. It is also great to be in contact with other amazing artists and the chance to do that anywhere is really great. I usually check hashtags like #creaturedesign #characterdesign #lovecraft #conceptart #robots #scifiart #fantasyart #cyberpunk...

3dt：你是任何社交媒體組的成員嗎？ 任何喜歡的井號標(biāo)簽?zāi)忝刻鞕z查？

JD：我使用Facebook幾年一個月前我開始使用Instagram，這是非常有趣。 我真的很喜歡看到我最喜歡的藝術(shù)家的WIPs，并顯示我自己的草圖和WIPs的機(jī)會。 這是Instagram允許你做的很容易。 它也是偉大的與其他驚人的藝術(shù)家聯(lián)系，并在任何地方做的機(jī)會是真的很大。 我通常檢查主題標(biāo)簽，如#creaturedesign #characterdesign #lovecraft #conceptart #robots #scifiart #fantasyart #cyberpunk ...

3dt: How do you keep your portfolio up-to-date? Any tips?

JD: I try to upload on social media and portfolio sites at least a personal piece every week. If you want to focus your career on doing environments, you should try to focus all your efforts in that area. That way you will receive feedback from more experienced artists and you will have a way of measuring your progress. In my case, a few years ago I started to work intensively on robots, spaceships and creatures.

3dt：如何使您的資源保持最新？ 任何提示？

JD：我嘗試在社交媒體和資源網(wǎng)站上每周至少上傳一個個人作品。 如果你想把你的事業(yè)專注于做環(huán)境，你應(yīng)該盡力集中所有的努力在這方面。 這樣，你將收到更多經(jīng)驗豐富的藝術(shù)家的反饋，你將有一個方法來衡量你的進(jìn)步。 在我的情況下，幾年前，我開始在機(jī)器人，宇宙飛船和生物工作。

3dt: Who are your favorite artists, traditional or digital, and can you explain why?

 JD: I was born in Barcelona so my first real influences were the work of Dali and Gaudi. Then I discovered Hieronimus Bosch, Giger and Moebius, Wayne Barlowe and Juan Gimenez, they are still very influential to me. Later I discovered Ralph Mcquarry and Syd Mead and they were the main reasons for me to become a concept artist.

Now I follow very closely the work of concept artists like James Paick, Maciej Kuciara, Piotr Jablonski, Paul Komoda, Feng Zhu and Aaron Sims, among others.

3dt: What can we expect to see from you next?

JD: Lots of monsters and creatures!! I'll be working on various board games designing characters and cards during this year. 2016 was a very prolific year for me and I worked a lot of movies designing creatures and monsters that will be released during this year. So, I will be publishing all the concept art as the movies are released. And by the end of the year, the amazing Guillem Pongiluppi and me will have ready our huge three-volume coffee table Lovecraft book.

3dt：誰是你最喜歡的藝術(shù)家，傳統(tǒng)或數(shù)字，你能解釋為什么嗎？

JD：我出生在巴塞羅那，所以我的第一個真正的影響是大理和高迪的工作。然后我發(fā)現(xiàn)了Hieronimus博世，Giger和Moebius，Wayne Barlowe和Juan Gimenez，他們?nèi)匀粚ξ液苡杏绊懥�。后來我發(fā)現(xiàn)了Ralph Mcquarry和Syd Mead，他們是我成為概念藝術(shù)家的主要原因。

現(xiàn)在我非常密切地關(guān)注像James Paick，Maciej Kuciara，Piotr Jablonski，Paul Komoda，F(xiàn)eng Zhu和Aaron Sims等概念藝術(shù)家的工作。

3dt：我們期望從下面看到什么？

JD：很多怪物和生物！我將在今年的各種設(shè)計角色和卡片的棋盤游戲。 2016年對我來說是一個非常多產(chǎn)的一年，我工作了很多電影設(shè)計的生物和怪物，將在今年發(fā)布。所以，我會出版所有的概念藝術(shù)，因為電影發(fā)布。到年底，驚人的Guillem Pongiluppi和我將準(zhǔn)備好我們巨大的三卷咖啡桌Lovecraft的書。