Devious Technology is very proud to announce one of deviantART’s most highly anticipated projects – Portfolio: The Awesome Version!! Portfolio is the simplest and most professional tool on the Internet for formal presentation and review of artwork, and the best part is: it's available to everyone for FREE!
Devious Comments
Wow, Blender... I have some friends who are really into that (in fact one of them writes shaders and junk for it). I could never get into it though, too unpolished. It has some really good point, (free is always good) but I just like the way XSI and Maya have nice useable interfaces that don't hide all the common tools. I've seen some really good stuff made in Blender, but I just don't have the patience for it.
As for the images themselves...
3-point lighting is good, but the lights need to be at 3 different intensities (and semi-specific locations) to bring out the 3D-ness of the shapes. Build your 3-point light setup one light at a time, In the order: Main, Fill, Rim.
You need your Main (or Key) light in front of and above the object, relative to the camera/viewer. Think of it as a pretty bright light that hovers just over and behind the viewer's right (or left) shoulder. You can think of this light as the hero light, the one that does all the work. Its color and intensity should set the mood for the scene, and the scene should 'work' - even in a limited way - with only the Main light on it. What you are looking for is a light that illuminates the object/scene well, while still leaving interesting shadows for contrast. Try several positions and make sure the Main light is perfect before going on to the Fill light.
The Fill light is what takes those nice contrasty shadows the Main light created and makes them shine. The Fill light should be dimmer than the Main light (try 1/2 to 1/3 main intensity) and is usually the complementary color of the Main light. If your Main light is yellowish (even just a little) then your Fill light should be purpleish (even just a little). Often the Fill light has it's shadows turned off, allowing it to light places it really should not, but giving the object/scene a bit more ambient light feel to it. When placing the fill light, always (well, almost always, any rule can be broken) put it on the opposite side of the camera/viewer from the Main light, and put it lower down. If the Main light is above the camera/viewer's right shoulder, then the Fill light should be on the camera/viewer's left, and below shoulder level. Some people put their fill lights at 'ground level' or below (if the fill has shadows turned off being below ground won't hurt it), other people put the Fill light at any height lower than the Main light. Just be sure the Fill light is lighting (but NOT destroying) the shadows the Main light put in.
When the Main light is perfect and the Fill light is punching up the shadows, then you need the final light in the standard 3-point light rig: the uber-dramatic Rim light.
The Rim light goes behind the object, and faces back toward the camera. This light is the brightest in the scene, and is usually higher up, pointing down onto the object like a spotlight behind it. The Rim light is often the same basic color as the main light, but more yellow (unless, of course, you decide it should be a different color). Often the Rim light is on the same side (left/right) as the fill light, as it looks best when falling onto darker areas to define the rim of the object (hence it's name). The Rim light definately needs its shadows turned on, otherwise it will overwhelm the scene with its drama. Some people like to put the Rim light lower down so that it does not cast light onto the 'ground'. It's up to you. The most important thing about the Rim light is its placement, you really need to be sure it is lighting up the rim of the object/scene enough to really see it, but without flooding out the other lights. Try making the Rim light 1-1/2 to 2 times as bright as the Fill.
Play around with the lighting to see what looks best to you. Remember that any and all lights exist only to illuminate your scene/object. Everything the lights do should be aimed at making the scene/object look as good as possible. More than any other single element, the lighting in a scene will make or break the scene (obviously, having NO lights will break almost any scene). A good lighting setup can made even the simplest scene look 'real'.
Once you get the hang of it you'll be passing out great 3-point light rigs like candy at Halloween.
For the 'Blender Fluid Simulation': If you are making a shot of a fluid simulation, then the simulation should be the main focus of the shot. Push the camera in close until the fluid simulation takes up most (but not all) of the shot. Also, 90+% of the fluid simulation shots you will see will have _transparent_ containers. There is a reason for this. You want us to see the fluid, not the smoothly sloping gray walls of the container.
The orange/brown of the ground is ok, but a bit shiny, unless you wanted it to look like a plastic block. Knock down the specularity and maybe even give it a bit of a bumpmap. I seem to recall that Blender can do some pretty simple fractal bumpmaps with only a little trouble. While you're at it you can use the same procedural fractals to give the color a bit of variation. Nothing in the real world (outside of a laboratory) is ever one perfectly smooth color.
The constant glowing blue sky is way too blue, it draws attention away from the stated focus of the piece, that being the fluid simulation. I'd replace the sky with a wall in a much lighter shade of the ground color, but that's just me.
Great work overall, it shows that you have a good grasp of the basics, and the simulation (what we can see of it, anyway) seems to be doing it's job.
For the 'Glass Cups': Pretty sweet, one of my very first renders (in Lightwave 4) was a glass cup... I'll have to post it later. The cups and cubes are pretty good, but it almost looks to me like the cups are solid glass where the liquid should go, or aren't reflecting themselves, or have bad refraction going on. I don't use blender, so I can't tell you exactly, but as nice as the models are, the rendering is just not doing its job.
The best idea I have right now is that you should make sure that the glass reflects itself and the environment around it. Is it possible that you have raytraced reflections turned off? Raytracing takes a lot of time, but reflections and refraction never look right without it.
Remember that presentation is _everything_ in a visual arts setting, which DeviantART certainly is. No matter how awesome the content of your work is, no-one will take the time to see it if the presentation is lacking. It sucks, but it's true. On the other hand, if your presentation is spectacular, no-one will notice that there is no real content, or that the content sucks. Also true, also sucks very badly. Case in point: Louis Royo. He draws the same stupid naked girl picture 1000 times, but his presentation and technical skills get him $$$ for every one of them.
Keep up the good work, I always like to see other 3D artists showing what they can do.
--
I can never figure out what to put in these...
As for the images themselves...
3-point lighting is good, but the lights need to be at 3 different intensities (and semi-specific locations) to bring out the 3D-ness of the shapes. Build your 3-point light setup one light at a time, In the order: Main, Fill, Rim.
You need your Main (or Key) light in front of and above the object, relative to the camera/viewer. Think of it as a pretty bright light that hovers just over and behind the viewer's right (or left) shoulder. You can think of this light as the hero light, the one that does all the work. Its color and intensity should set the mood for the scene, and the scene should 'work' - even in a limited way - with only the Main light on it. What you are looking for is a light that illuminates the object/scene well, while still leaving interesting shadows for contrast. Try several positions and make sure the Main light is perfect before going on to the Fill light.
The Fill light is what takes those nice contrasty shadows the Main light created and makes them shine. The Fill light should be dimmer than the Main light (try 1/2 to 1/3 main intensity) and is usually the complementary color of the Main light. If your Main light is yellowish (even just a little) then your Fill light should be purpleish (even just a little). Often the Fill light has it's shadows turned off, allowing it to light places it really should not, but giving the object/scene a bit more ambient light feel to it. When placing the fill light, always (well, almost always, any rule can be broken) put it on the opposite side of the camera/viewer from the Main light, and put it lower down. If the Main light is above the camera/viewer's right shoulder, then the Fill light should be on the camera/viewer's left, and below shoulder level. Some people put their fill lights at 'ground level' or below (if the fill has shadows turned off being below ground won't hurt it), other people put the Fill light at any height lower than the Main light. Just be sure the Fill light is lighting (but NOT destroying) the shadows the Main light put in.
When the Main light is perfect and the Fill light is punching up the shadows, then you need the final light in the standard 3-point light rig: the uber-dramatic Rim light.
The Rim light goes behind the object, and faces back toward the camera. This light is the brightest in the scene, and is usually higher up, pointing down onto the object like a spotlight behind it. The Rim light is often the same basic color as the main light, but more yellow (unless, of course, you decide it should be a different color). Often the Rim light is on the same side (left/right) as the fill light, as it looks best when falling onto darker areas to define the rim of the object (hence it's name). The Rim light definately needs its shadows turned on, otherwise it will overwhelm the scene with its drama. Some people like to put the Rim light lower down so that it does not cast light onto the 'ground'. It's up to you. The most important thing about the Rim light is its placement, you really need to be sure it is lighting up the rim of the object/scene enough to really see it, but without flooding out the other lights. Try making the Rim light 1-1/2 to 2 times as bright as the Fill.
Play around with the lighting to see what looks best to you. Remember that any and all lights exist only to illuminate your scene/object. Everything the lights do should be aimed at making the scene/object look as good as possible. More than any other single element, the lighting in a scene will make or break the scene (obviously, having NO lights will break almost any scene). A good lighting setup can made even the simplest scene look 'real'.
Once you get the hang of it you'll be passing out great 3-point light rigs like candy at Halloween.
For the 'Blender Fluid Simulation': If you are making a shot of a fluid simulation, then the simulation should be the main focus of the shot. Push the camera in close until the fluid simulation takes up most (but not all) of the shot. Also, 90+% of the fluid simulation shots you will see will have _transparent_ containers. There is a reason for this. You want us to see the fluid, not the smoothly sloping gray walls of the container.
The orange/brown of the ground is ok, but a bit shiny, unless you wanted it to look like a plastic block. Knock down the specularity and maybe even give it a bit of a bumpmap. I seem to recall that Blender can do some pretty simple fractal bumpmaps with only a little trouble. While you're at it you can use the same procedural fractals to give the color a bit of variation. Nothing in the real world (outside of a laboratory) is ever one perfectly smooth color.
The constant glowing blue sky is way too blue, it draws attention away from the stated focus of the piece, that being the fluid simulation. I'd replace the sky with a wall in a much lighter shade of the ground color, but that's just me.
Great work overall, it shows that you have a good grasp of the basics, and the simulation (what we can see of it, anyway) seems to be doing it's job.
For the 'Glass Cups': Pretty sweet, one of my very first renders (in Lightwave 4) was a glass cup... I'll have to post it later. The cups and cubes are pretty good, but it almost looks to me like the cups are solid glass where the liquid should go, or aren't reflecting themselves, or have bad refraction going on. I don't use blender, so I can't tell you exactly, but as nice as the models are, the rendering is just not doing its job.
The best idea I have right now is that you should make sure that the glass reflects itself and the environment around it. Is it possible that you have raytraced reflections turned off? Raytracing takes a lot of time, but reflections and refraction never look right without it.
Remember that presentation is _everything_ in a visual arts setting, which DeviantART certainly is. No matter how awesome the content of your work is, no-one will take the time to see it if the presentation is lacking. It sucks, but it's true. On the other hand, if your presentation is spectacular, no-one will notice that there is no real content, or that the content sucks. Also true, also sucks very badly. Case in point: Louis Royo. He draws the same stupid naked girl picture 1000 times, but his presentation and technical skills get him $$$ for every one of them.
Keep up the good work, I always like to see other 3D artists showing what they can do.
--
I can never figure out what to put in these...
Wow, Blender... I have some friends who are really into that (in fact one of them writes shaders and junk for it). I could never get into it though, too unpolished. It has some really good point, (free is always good) but I just like the way XSI and Maya have nice useable interfaces that don't hide all the common tools. I've seen some really good stuff made in Blender, but I just don't have the patience for it.
As for the images themselves...
3-point lighting is good, but the lights need to be at 3 different intensities (and semi-specific locations) to bring out the 3D-ness of the shapes. Build your 3-point light setup one light at a time, In the order: Main, Fill, Rim.
You need your Main (or Key) light in front of and above the object, relative to the camera/viewer. Think of it as a pretty bright light that hovers just over and behind the viewer's right (or left) shoulder. You can think of this light as the hero light, the one that does all the work. Its color and intensity should set the mood for the scene, and the scene should 'work' - even in a limited way - with only the Main light on it. What you are looking for is a light that illuminates the object/scene well, while still leaving interesting shadows for contrast. Try several positions and make sure the Main light is perfect before going on to the Fill light.
The Fill light is what takes those nice contrasty shadows the Main light created and makes them shine. The Fill light should be dimmer than the Main light (try 1/2 to 1/3 main intensity) and is usually the complementary color of the Main light. If your Main light is yellowish (even just a little) then your Fill light should be purpleish (even just a little). Often the Fill light has it's shadows turned off, allowing it to light places it really should not, but giving the object/scene a bit more ambient light feel to it. When placing the fill light, always (well, almost always, any rule can be broken) put it on the opposite side of the camera/viewer from the Main light, and put it lower down. If the Main light is above the camera/viewer's right shoulder, then the Fill light should be on the camera/viewer's left, and below shoulder level. Some people put their fill lights at 'ground level' or below (if the fill has shadows turned off being below ground won't hurt it), other people put the Fill light at any height lower than the Main light. Just be sure the Fill light is lighting (but NOT destroying) the shadows the Main light put in.
When the Main light is perfect and the Fill light is punching up the shadows, then you need the final light in the standard 3-point light rig: the uber-dramatic Rim light.
The Rim light goes behind the object, and faces back toward the camera. This light is the brightest in the scene, and is usually higher up, pointing down onto the object like a spotlight behind it. The Rim light is often the same basic color as the main light, but more yellow (unless, of course, you decide it should be a different color). Often the Rim light is on the same side (left/right) as the fill light, as it looks best when falling onto darker areas to define the rim of the object (hence it's name). The Rim light definately needs its shadows turned on, otherwise it will overwhelm the scene with its drama. Some people like to put the Rim light lower down so that it does not cast light onto the 'ground'. It's up to you. The most important thing about the Rim light is its placement, you really need to be sure it is lighting up the rim of the object/scene enough to really see it, but without flooding out the other lights. Try making the Rim light 1-1/2 to 2 times as bright as the Fill.
Play around with the lighting to see what looks best to you. Remember that any and all lights exist only to illuminate your scene/object. Everything the lights do should be aimed at making the scene/object look as good as possible. More than any other single element, the lighting in a scene will make or break the scene (obviously, having NO lights will break almost any scene). A good lighting setup can made even the simplest scene look 'real'.
Once you get the hang of it you'll be passing out great 3-point light rigs like candy at Halloween.
For the 'Blender Fluid Simulation': If you are making a shot of a fluid simulation, then the simulation should be the main focus of the shot. Push the camera in close until the fluid simulation takes up most (but not all) of the shot. Also, 90+% of the fluid simulation shots you will see will have _transparent_ containers. There is a reason for this. You want us to see the fluid, not the smoothly sloping gray walls of the container.
The orange/brown of the ground is ok, but a bit shiny, unless you wanted it to look like a plastic block. Knock down the specularity and maybe even give it a bit of a bumpmap. I seem to recall that Blender can do some pretty simple fractal bumpmaps with only a little trouble. While you're at it you can use the same procedural fractals to give the color a bit of variation. Nothing in the real world (outside of a laboratory) is ever one perfectly smooth color.
The constant glowing blue sky is way too blue, it draws attention away from the stated focus of the piece, that being the fluid simulation. I'd replace the sky with a wall in a much lighter shade of the ground color, but that's just me.
Great work overall, it shows that you have a good grasp of the basics, and the simulation (what we can see of it, anyway) seems to be doing it's job.
For the 'Glass Cups': Pretty sweet, one of my very first renders (in Lightwave 4) was a glass cup... I'll have to post it later. The cups and cubes are pretty good, but it almost looks to me like the cups are solid glass where the liquid should go, or aren't reflecting themselves, or have bad refraction going on. I don't use blender, so I can't tell you exactly, but as nice as the models are, the rendering is just not doing its job.
The best idea I have right now is that you should make sure that the glass reflects itself and the environment around it. Is it possible that you have raytraced reflections turned off? Raytracing takes a lot of time, but reflections and refraction never look right without it.
Remember that presentation is _everything_ in a visual arts setting, which DeviantART certainly is. No matter how awesome the content of your work is, no-one will take the time to see it if the presentation is lacking. It sucks, but it's true. On the other hand, if your presentation is spectacular, no-one will notice that there is no real content, or that the content sucks. Also true, also sucks very badly. Case in point: Louis Royo. He draws the same stupid naked girl picture 1000 times, but his presentation and technical skills get him $$$ for every one of them.
Keep up the good work, I always like to see other 3D artists showing what they can do.
--
I can never figure out what to put in these...
As for the images themselves...
3-point lighting is good, but the lights need to be at 3 different intensities (and semi-specific locations) to bring out the 3D-ness of the shapes. Build your 3-point light setup one light at a time, In the order: Main, Fill, Rim.
You need your Main (or Key) light in front of and above the object, relative to the camera/viewer. Think of it as a pretty bright light that hovers just over and behind the viewer's right (or left) shoulder. You can think of this light as the hero light, the one that does all the work. Its color and intensity should set the mood for the scene, and the scene should 'work' - even in a limited way - with only the Main light on it. What you are looking for is a light that illuminates the object/scene well, while still leaving interesting shadows for contrast. Try several positions and make sure the Main light is perfect before going on to the Fill light.
The Fill light is what takes those nice contrasty shadows the Main light created and makes them shine. The Fill light should be dimmer than the Main light (try 1/2 to 1/3 main intensity) and is usually the complementary color of the Main light. If your Main light is yellowish (even just a little) then your Fill light should be purpleish (even just a little). Often the Fill light has it's shadows turned off, allowing it to light places it really should not, but giving the object/scene a bit more ambient light feel to it. When placing the fill light, always (well, almost always, any rule can be broken) put it on the opposite side of the camera/viewer from the Main light, and put it lower down. If the Main light is above the camera/viewer's right shoulder, then the Fill light should be on the camera/viewer's left, and below shoulder level. Some people put their fill lights at 'ground level' or below (if the fill has shadows turned off being below ground won't hurt it), other people put the Fill light at any height lower than the Main light. Just be sure the Fill light is lighting (but NOT destroying) the shadows the Main light put in.
When the Main light is perfect and the Fill light is punching up the shadows, then you need the final light in the standard 3-point light rig: the uber-dramatic Rim light.
The Rim light goes behind the object, and faces back toward the camera. This light is the brightest in the scene, and is usually higher up, pointing down onto the object like a spotlight behind it. The Rim light is often the same basic color as the main light, but more yellow (unless, of course, you decide it should be a different color). Often the Rim light is on the same side (left/right) as the fill light, as it looks best when falling onto darker areas to define the rim of the object (hence it's name). The Rim light definately needs its shadows turned on, otherwise it will overwhelm the scene with its drama. Some people like to put the Rim light lower down so that it does not cast light onto the 'ground'. It's up to you. The most important thing about the Rim light is its placement, you really need to be sure it is lighting up the rim of the object/scene enough to really see it, but without flooding out the other lights. Try making the Rim light 1-1/2 to 2 times as bright as the Fill.
Play around with the lighting to see what looks best to you. Remember that any and all lights exist only to illuminate your scene/object. Everything the lights do should be aimed at making the scene/object look as good as possible. More than any other single element, the lighting in a scene will make or break the scene (obviously, having NO lights will break almost any scene). A good lighting setup can made even the simplest scene look 'real'.
Once you get the hang of it you'll be passing out great 3-point light rigs like candy at Halloween.
For the 'Blender Fluid Simulation': If you are making a shot of a fluid simulation, then the simulation should be the main focus of the shot. Push the camera in close until the fluid simulation takes up most (but not all) of the shot. Also, 90+% of the fluid simulation shots you will see will have _transparent_ containers. There is a reason for this. You want us to see the fluid, not the smoothly sloping gray walls of the container.
The orange/brown of the ground is ok, but a bit shiny, unless you wanted it to look like a plastic block. Knock down the specularity and maybe even give it a bit of a bumpmap. I seem to recall that Blender can do some pretty simple fractal bumpmaps with only a little trouble. While you're at it you can use the same procedural fractals to give the color a bit of variation. Nothing in the real world (outside of a laboratory) is ever one perfectly smooth color.
The constant glowing blue sky is way too blue, it draws attention away from the stated focus of the piece, that being the fluid simulation. I'd replace the sky with a wall in a much lighter shade of the ground color, but that's just me.
Great work overall, it shows that you have a good grasp of the basics, and the simulation (what we can see of it, anyway) seems to be doing it's job.
For the 'Glass Cups': Pretty sweet, one of my very first renders (in Lightwave 4) was a glass cup... I'll have to post it later. The cups and cubes are pretty good, but it almost looks to me like the cups are solid glass where the liquid should go, or aren't reflecting themselves, or have bad refraction going on. I don't use blender, so I can't tell you exactly, but as nice as the models are, the rendering is just not doing its job.
The best idea I have right now is that you should make sure that the glass reflects itself and the environment around it. Is it possible that you have raytraced reflections turned off? Raytracing takes a lot of time, but reflections and refraction never look right without it.
Remember that presentation is _everything_ in a visual arts setting, which DeviantART certainly is. No matter how awesome the content of your work is, no-one will take the time to see it if the presentation is lacking. It sucks, but it's true. On the other hand, if your presentation is spectacular, no-one will notice that there is no real content, or that the content sucks. Also true, also sucks very badly. Case in point: Louis Royo. He draws the same stupid naked girl picture 1000 times, but his presentation and technical skills get him $$$ for every one of them.
Keep up the good work, I always like to see other 3D artists showing what they can do.
--
I can never figure out what to put in these...
Darn it, I must have hit the Send button twice. Sorry, you'll have to delete the second one.
--
I can never figure out what to put in these...
--
I can never figure out what to put in these...
thanks for comment and welcome DA 
*copies his lecture into notepad and saves it for future use*
--
You think I'm yucky?
--
You think I'm yucky?
Wow! Thanks for the awesome tips! I am just starting out in Blender, and i hope to get good at it. i will try and use some of the techniques you mentioned.
thx for fav
--
+ / -
Ee Venn Soh ( EIII™ )
Selct.d Clients & Prsn.l Experi.mtl Works
www.behance.net/vennsoh
--
+ / -
Ee Venn Soh ( EIII™ )
Selct.d Clients & Prsn.l Experi.mtl Works
www.behance.net/vennsoh
thank you for the fave and add!
--
art is in the air.
so take a deep breath.
--
art is in the air.
so take a deep breath.
Thanks for the 
--
Wallpaper Gallery Moderator
splintered13@volunteers.deviantart.com
--
Wallpaper Gallery Moderator
splintered13@volunteers.deviantart.com
Site Map
Community News187 Contest: A Hero=inomuiro
 reports, 1d 6h agoCONTEST: “A HERO”. What is a Hero? Show us in all the facets you want, using the art forms that you find more congenial. Subscriptions and commissions awarded! Deadline: 15 September 2009. 155 Horsin' Around Vol. 1=boribaby
 reports, 21h 40m agoA brand new monthly article which showcases some of deviantART's finest equine artists, as well as recognizing the lesser-known but equally talented ones. Interviews, helpful tutorials and features can all be found here too! I hope you enjoy it. 67 Your World of Arts! - 03`emmil
 reports, 1d 18h agoPaintings/Drawings/Photo manipulations & Crafts under one theme to see!  If you like it, another feature in this series will keep coming!!  - `emmil |
PollAre you currently in school? |
deviantART Loves You
Deviously serving the art and skin community for 3,266 days.
Only 21 days until our ninth birthday!
|
Deviousness
When it comes to community spirit, `Rushy is a shining example. From participating in devmeets, to providing positive encouragement to other artists, `Rushy can always be found demonstrating what it really takes to be a true deviant. It's without any hesitation that we are delighted to award the Deviousness Award for July 2009 to `Rushy Read More
|
Follow us on Twitter
Become a fan on Facebook
©2009 deviantART. All rights reserved
--
I had a really creative signature, but I forgot it...