How to get the low-poly look
You may have noticed a common look in many images, not only in graphics and animations online, but also in magazines, and in television motion graphics, featuring low-detailed, faceted models, highly rendered, often with soft lighting effects.
Itrsquo;s at once a reference to the early days of computer modeling and animation, but given a modern twist. This is the low-poly look.
In this article Irsquo;ll explore what the low-poly look is, some examples, and how you can create low-poly images. Wersquo;ll also look at some applications for this look in web designs, and also how this aesthetic may evolve online.
A REACTION TO PHOTO-REALISTIC 3D MODELLING
All 3D models are made up of polygons. The more polygons the model has, the more detailed the model will be. Usually, when rendering the image a technique is used to smooth the polygons and give the appearance of continuous surfaces.
The low-poly look is a conscious decision to use fewer polygons in the modelling stage, to create a simpler, more abstract model. This is then combined with a rendering style which rather than trying to smooth out the polygons, instead renders each of the facets of the model, creating a blocky, angular, look.
However, this does not mean that low-poly modeling is low-resolution. Sophisticated rendering techniques, lighting effects and shadowing are used to create a highly realistic appearance of the simplified object. This is why the low-poly look recalls paper-craft or origami, which has also had a renaissance in recent years.
Some of the best examples of the low-poly look are the works of Timothy J. Reynolds. There is also the Tumblr site Geo A Day by Jeremiah Shaw and Danny Jones, which continues to explore and push the boundaries of the low-poly aesthetic.
Perhaps the most complete realization of the low-poly look is the project The Paper Fox by Jeremy Kool, which developed from a modelling project into an interactive story app available for iOS. In the Paper Fox, Kool has deliberately chosen to emulate an origami look, by adding a crumpled paper texture to the objects, and by adding very thin edges.
In this work by Kristina Macurova, you can see that by using a shallow depth of field, the sense that these are physical models is enhanced. The depth of field can be determined in the camera settings in your 3D scene, or they can be applied afterwards in Photoshop.
WHY IS THE LOW-POLY LOOK SO POPULAR?
The low-poly look can be seen as a reaction to the impersonal perfection of computer modeling. I think there is a very definite reaction against the over-polished lifelike 3D-modeling and rendering now possible in CGI. There is a desire for artists and designers to create something that does not try and mimic reality, but is more abstract, and tries to capture the essence of an object rather then represent it as realistically as possible.
Therersquo;s a historical precedent for this in art, at the start of the 20th century, when various expressionist movements emerged after the advent of photography; when photographs could capture an exact likeness, there was no need for art to do so; expressionism sought to convey feelings and sensations rather than accurate representations.
Fast forward to the 21st century and abstraction and expressionism is flourishing in the digital arts.
GETTING STARTED
Here is a quick tutorial to achieve the low-poly look, using the 3D software Cinema4D.
1.Create your objects using simple solids, such as spheres, cones and pyramids. The aim is not to model objects realistically, but to simplify as much as possible.
2.Set the segments property to sub-divide the surfaces of the objects. The more segments you add, the more facets the object will have.
3.Set the Phong properties of the object — this defines the smoothing of the object so you want to turn it off. In Cinema4D, either delete the phong tag or set the phong angle to 0 degrees to create a highly faceted appearance.
4.You can add deformations to the model to make it look not so geometrically perfect. You can do this manually by pushing and pulling individual nodes, or use a deformer such as the Displacer. Use the Noise shader to add random amounts of displacement to each vertex. You can adjust the strength to increase or decrease the amount of distortion.
5.Add materials to the object. When defining materials, you may want to add some bump mapping to provide some surface texture. Or you can keep your textures shiny and plasticy, with specular highlights — it all depends on the look you are going for.
6.Add backgrounds. Add a sky object, or use simple planes such as a background sky and as a floor plane. You can deform these in exactly the same way, if you wish.
7.Add lights. Subtle lighting effects will add atmosphere to your scene.
8.Render the object. Using Global Illumination render settings to create soft lighting. Adding an Ambient Occlusion adds a realistic grainy depth to shadows.
The key thing is to experiment until you come up with a look you are happy with. There are no rules other that the ones you set yourself. Aim to develop your own style by being consistent with the way you model, light and render your scenes.
THE LOW-POLY LOOK ILLUSTRATION STYLE
Even if you donrsquo;t have access to a 3D modelling program, you can still create low-poly images using 2D illustration software such as Illustrator or Photoshop.
The principle is actually pretty similar to modelling in 3D. Work with simple shapes to build up your scene. Decide where your light-source is, and apply shading to add depth and to create a faceted look. Texture effects and lighting effects can add interest and consistency to your scenes.
I really like the work of illustrator Matthew Lyons, who fuses simple
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如何制作低多边形风格的作品
你可能不仅仅在图形平面、网络动画上，也在杂志、电视节目中注意到了一个常见的表现方式，它的特点是细节简略、棱角分明，高度渲染并带有柔光效果。
这种表现方式是早期的计算机建模和动画的一种参考，但是到了现代，这就是低多边形风格。
在本文中我将会探索低多边风格的本质，举一些例子，并且讲述如何制作低多边形风格图像。我也将在网站设计上探寻这个应用的表现，以及如何将此审美投入实用。
与照片级写实的三维建模风格相反
所有的3d模型都是由多边形组成的。模型所拥有的多边形数量越多，模型的细节程度就越高。通常，当渲染图像时，使用某种技术来平滑多边形并使之拥有柔滑的外观。
低多边形风格是特意而为之的，即在建模期间使用较少的多边形数量来创作更简单更夸张的模型。这种做法运用了较之于平滑多边形、渲染模型细节更好的渲染风格，即呈现出棱角分明的特点。
但是这并不意味着低多边形建模是低分辨率的。复杂的渲染技术，照明效果和阴影被用来创建一个高度逼真的外观简化对象。这就是为什么低多边形风格勾起人们对于折纸和剪纸的回忆，也就是近年来复兴起来的。
低多边形风格优秀作品的其中一些是Timothy J. Reynolds所制作，还有 Jeremiah Shaw和Danny Jones做制作的Tumblr网站“ Geo A Day ”，这个网站仍在继续探索和推动低多边形风格审美的极限。
或许对于低多边形风格最复杂的实现就是Jeremy Kool的The Paper Fox作品，是一个适用于IOS系统的产生于建模项目，最终成为交互故事游戏的应用。在The Paper Fox中，作者通过添加一个弄皱的纸张纹理的对象，并加入非常薄的边缘，细致地选择模仿折纸的外观。
在Kristina Macurova的这组作品中，你可以看到他利用浅层景深效果，使得场景的物理模型呈现于眼前。景深可以在您的三维场景的相机设置决定的，或者他们可以在Photoshop软件中进行处理。
为什么低多边风格如此火爆？
低多边形风格可以说是计算机建模不带个人情感的完美产物。我认为现在CGI中过度抛光逼真的三维建模及渲染是一种明确与之相反的产物。而艺术家和设计师们现在渴望去创造一种更为夸张且表现事物本质的做法，而非那种逼真写实的风格。在艺术发展的历史中有这种先例，在二十世纪初，在摄影出现后各种表现主义运动出现了；当照片可以捕捉精确的写实图片后，艺术就不需要表现写真了；表现主义试图传达的是感情和感觉，而不是准确的陈述。
到了二十一世纪，抽象与表现主义在数字艺术中蓬勃发展。
开始着手去做
这里介绍了一个快速的上手方法，就是利用Cinema4D三维软件。
- 使用简单的固体，如球体，圆锥体和金字塔创建对象。其目的不是真实地模拟对象，而是尽可能简化。
- 设置边属性以为分解对象面数。你添加的片段越多，对象的面就越多。
- 设置对象的属性——定义Phong平滑的对象，所以你不想使用它。在Cinema4D，删除标签或Phong Phong光照角度0度创造高度面外观。
- 您可以添加变形的模型，使它看起来不那么几何完美。你可以通过推和拉的个别节点手动，或使用一个变形如置换。使用噪声着色器添加任意数量的位移到每个顶点。您可以调整强度，以增加或减少失真量。
- 向对象添加材料。当定义材质时，您可能需要添加一些凹凸贴图以提供一些表面纹理。或者你可以保持你的纹理光泽和增塑性能，具有高光-这一切都取决于你想要的样子。
- 添加背景。添加一个天空物体，或使用简单的飞机，如背景天空和地板。如果你愿意，你可以以同样的方式变形。
- 添加灯光。微妙的灯光效果将增加您的现场气氛。
- 渲染对象。使用全局照明渲染设置创建软照明。添加一个环境闭塞增加了逼真的木纹深度阴影。
最关键的是不停的实验直到你得到满意的效果。一旦你设置好了就没有其他的规则。目的就是创造你自己的风格，使用你自己风格的模型及灯光来渲染你的场景。
低多边风格的插画风格
即使你没有进入一个3D建模程序，你仍然可以创建使用平面设计软件如Illustrator或PS图象处理软件低多边形图像。
这个原理实际上与3D建模非常相似，用简单的形状来构建你的场景。决定你的光源在哪里，和 应用底纹添加深度和创造方面看。纹理效果和灯光效果可以增加你的场景的兴趣和一致性。
我真的很喜欢Matthew Lyons的插画，他融合简单的几何形状与粗糙的纹理和大气照明的工作。他的插图结合了强大的组成与一个伟大的世纪中叶的设计意识，创造一个复古未来的外观-捕捉未来的方式看过去。
三维网页中的低多边形风格
这个低多边形风格审美也延伸到了三维网页中。正如名称告诉我们，一个低多边形计数使用较少的多边形，需要较少的数据模型，渲染和动画，使其成为交互式实时3D在线的理想选择。有一些网页3D渲染技术，最知名的是WebGL。
WebGL允许3D内容可以显示在屏幕上通过一个互动控制通过JavaScript的浏览器。有一些JavaScript框架在这做所有繁重，最流行的是阅读Three js。
在Web上添加交互式3D的其他方法包括使用Unity或Flash等插件。有 是一个广泛的实时3D引擎，包括Flash Away3D Flare3D。治理建成统一或Flash 3D渲染可以更好的照明效果比目前在WebGL或画布渲染能力，但网络渲染正在快速追赶。对于 最近WebGL查看阅读Three js的创造者Mr. Doob的工作。
Chris Milk最近的实验电影， Rome — 3 dreams of black，使用WebGL创建一个动画变形在一个较低的多元化风格渲染的动物互动音乐视频体验。这是一个开源的项目，让您下载的资产和返工的代码，一个伟大的方式进入这个令人兴奋的新领域，三维设计符合网页设计。这是否真的适合低聚美学在渲染质量方面的讨论。
复古未来主义审美
低多边形风格是我所谓的复古未来主义审美的一部分（它可能被称为新的审美的一部分），因为它能回到过去和未来的同时。
它似乎完全适合目前的限制设计的网络。是否会持续这些限制仍有待观察。
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