The inspiration for this illustration comes from low-poly modelling techniques used in videogames by 3D artists.
When videogame designers were first beginning to break into the third dimension, these techniques arose from the need to converse processing power. Today those limitations are less of a problem, but enforcing constraints on your work is an excellent way to inspire creative thinking. We’ll use the low-poly constraint to drive our design process throughout the tutorial.
Here we’ll be using CINEMA 4D and Photoshop. A basic understanding of the software as well as general 3D modelling practises is required. While we will be using CINEMA 4D for the modelling, texturing and rendering, the techniques covered are fine for any 3D software.
Photoshop becomes essential in compositing and colour correcting the elements rendered in CINEMA 4D. By using Photoshop to assemble the image pieces we retain far greater creative control than if we try to do everything in the 3D software. Photoshop is essential for keeping our workflow non-destructive.
That means it will be easier to fine-tune our image without having to re-render. We will also use the software to apply useful colour-correction techniques.