Non-photorealistic Renders (NPR)
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Thanks! I think so, too, but I don't like the trees in the foreground. They just don't match the more-abstract style of the rest of the piece. So I removed the closer trees. I added another plant near the base, and will add some trees or something in the foreground to give it scale. I'm also working on the final shading for the image. Will post something new shortly.
Thanks VERY much. I think you're right about the rocks (although I did finally pull the skull... at least for now). I might add some rocks to the foreground and -- as you said -- use texture to convey the distance. This is supposed to be an imposing crag with a dragon's cave on top. I'll post an updated image shortly (and maybe the skull will come back, alnog with a few rocks). Great comment about the rocks near the crag, by the way. i think you nailed what was giving me a problem.
Are there any NPR shaders that work with Iray?
hya trees do the job better than before. Thos foreground large shapes look like leaves though, so they are making it confusing.
my first thoughts for getting the sense of scale would be monocular clues to depth perception
eg reducing size of texture, reducing contrast to get the feeling of atmospheric depth
the other thing you could try is receding lines - eg a winding road that gets thinner in the distance - the road gives the sense of comparative scale - or perhaps a plane flying across the monolith - or very small birds
thanks for that, no it's not a blunt question :) the sand filter, not really sure if it has advantage over photoshop - but there is a big push by some to do 'untouched renders' so that's why I used the plugin - just to show what carrara can do out of the box. Ah his 'package' I hadnt looked to be honest!! But it's always good to give that sense of manliness I guess.
The setting is a local swimming pool here. Easily recognisable in my home town - so that's why IO chose it - to show the phantom in situ
thank you, that's very kind of you!! we had a big Phantom show here recently where many well known artists were hung (well their work was) - I wasnt invited to show (Local regional art gallery) so this is my reaction :) !! Trying to prove myself I guess !!!
Thanks! I killed the trees -- they just looked weird (didn't see them as leaves, but can't argue with that interpretation; they look weird). I reconfigured the hills and terrain a bit more and think I'm ready to move forward.
And you're right about a road being the perfect choice to show scale and depth, but it doesn't fit the story. No one builds a road TO a dragon's lair. Tiny birds, though, will definitely be added during the "inking/details" phase. I'm also try to use thinner lines for the distant terrain.
You know, I fully respect the artistry of the unretouched photo or render, but the editor in my brain takes over and he wants the best photo/image he can get, and doesn't care how it got there. Still, I do think it's very cool that Carrara can do that. VERY cool, and if I were working on an animation, and the effect were mostly stable and not jumping around too much from frame-to-frame, it could be very cool.
And sorry you didn't get in the exhibit. It sounds like it was a lot of fun.
hi mmitchell_houston take a look at this https://www.daz3d.com/forums/discussion/200861/gmic-new-plugin-announcement-teaser
yep bummer I didnt get in the show, but I was shortlisted for a $10,000 prize last Friday night, didnt win, but my small painting 70 by 50 cm was auctioned for $2500 (more than three times the reserve!) so I am happy with that :)
Very cool. Congratulations. I hope I get to a point where people would want to spend money on my art.
Two characters this time!
Nice. Did you use Topaz Clean? I baught Simplicity, but not clean yet.
GREAT work. If you did use a Topaz filter, could you please post the render of the woman before running the filters? I would love to compare how her hair looks before and after.
And I really think you've really got a good-looking anime style going here.
Hello gentlemen, thank you for the compliments. I don't use topaz clean but rather work on it through the basic render through daz3d. The rest is done with Clipgrab studios and Photoshop. Here is the render of the woman.
thanks!, I;m lucky because I like to make images that people want to buy - as opposed to trying to get them to buy stuff they don't want !
it's about matching the artist to the audience I guess
In honor of the new movie out this weekend: Blade Runner. The figure was done in IRAY but I used Topaz Simplicity to go in a more artsy direction. Background is from online. Used same technique.
Nicely done, tkdrobert.
Very nice!
Quite fetching! The two pieces look well integrated. The muzzle flash is interesting, but I think you needed to use the smudge tool to drag a line out of it so we get the bullet escaping (I looked online for an example, but couldn't find one quickly... sorry). This is REALLY nice. It really captures the pulp-future look of Blade Runner. It reminds me of a game box design for an RPG from the 1980s (and that's a compliment).
Hey guys, I seldom cross post, but I'm looking for a new baldric (the chest strap) for the hero in my comic story (the current one I have is slowing me down -- I need something that poses easily, especially when he's sitting). I was thinking something dynamic might work (I'm working in Poser). Here's the post: if you guys can think of anything (including a completely different look or design), please let me know. I'm quite willing to change the costume if it will get me a cool look that is easy to pose.
https://www.daz3d.com/forums/discussion/202736/dynamic-baldric-or-warrior-outfit-for-poser-m4
Trying the smudge thing, but I'm not liking it. Probably not doing it right.
Try selecting a region using the polygon select tool. Keep the edges hard (don't feather). You just want to draw a little "tube or stick" shape, and then set the smudge tool to a really strong intensity. Then give it a shot. You will probably have to draw the black lines along the top and bottom after you're done. If I get a chance tonight, I'll take a stab at it, but I'm on deadline today and need to get back to work.
This is really nice, I really like the effect here! And the foreground and background elements blend well. I like the color pallet and the contrast you have here. Very good work.
Ok, something different from the last one, but similar principles and use of pwtoon. (A lot more work compositing the final image though than the last one) Still may work on the colors a bit, but I know I could keep adjusting the colors forever and need to make decisions at some point
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I went a little buck wild on this one (experimentations), so don't be to hard on me. This is basically a a comicbook version of a cyberpunk detective I've been playing with. I have an IRAY version as well. His one is a little younger and anime looking.
I like it (and completely understand the need to just move on and get something done -- I'm always struggling with that). My one suggestion would be to use black shadows on the figures and the foreground, as that would enhance the sense of depth (or flip it and go gray on them but black for the background). Right now it's a little too much gray on gray. And I really like the character designs.
Excellent concept piece, I especially like the background and the look of the left hand. Very nice!
— Walt Sterdan
oooh! I like this! :D
I don't know if anyone is interested in following how I actually put the comic pages together for my fairy story project (because it is a little off topic for this group), but I thought I'd mention that I'm doing it a bit differently this time. Normally (in my do-it-by-hand days), I would go through and make rough thumbnails of my pages, then go back and do the following, in order for each page, one at a time:
I would then go on to the next page.
But this time, for my digital comic, I'm starting off with figures rendered in Poser 11, and they arrive with an "inked line" already on them, including a lot of the shadows and final details present. The difference is, those inked lines are set as material properties (that is to say, I use the Materials Room in Poser to define a thicker Geometric Edge line to clothing than skin (as an example)). This means that if I want to keep the thickness of the inked lines consistent from one panel to the next, I need to render each panel at the size it will be printed (otherwise, if I had to resize the artwork with the transform tool, Nirona the fairy could have thick lines in one panel and thin in the next).
To achieve consistency, I'm actually going through the entire story and setting up my panel layouts and initial lettering FIRST. Now, keep in mind that I've already hand-drawn tight thumbnails, so I have a solid idea of what goes in each panel, and its size relative to the panel borders. In other words, I have a pretty solid idea of what goes where and how big it should be in each panel. If not for laying down the pre-work, I think I would be at a loss for how to approach this.
Anyway, if anyone thinks this is off-topic, just say the word. But I know some of you are working on comics and graphic novels, so I thought this might be of interest to you.
Here's a sample of the panels laid out. As you can see, I've even added some of the background and imported the one panel that's completely finished (I might need to reapply the line tones in that panel, as I think it uses a different line frequency than I chose for the entire story). Also, the "rough border" is going to get some more love soon. I want it a lot more jagged and splattery in the final version, but everything here is a quick "rough," so I drew it and now it's time to move on to the next page. AND, the black panel borders on that first page will be completely cut off -- they are in the trim zone for the page.
Some more characters