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  05 May 2005
Originally Posted by jmBoekestein: . I was raised with onyl women in the home, but can't seem to stick a name on it, but it's nice to see anyway.

now u see why i never understand u one bit?

  05 May 2005
It's satin...I have satin nightwear .

Jan-Mark, nice tutorial, but maybe you could explain a little further as to the shadings you used, rather than just general pointers- that's the point of this thread after all
  05 May 2005 like... turn me into some social derelict would you Squibbit! lol, I gotta learn to make my own smileys, maybe that'll help.

Ah yes forgot Theresa. I'll get on it, but that takes more time, but for the meanwhile, another tip, use all the special effects you have in your shaders, but don't overdo it.(, and I did overdo it I think, ahem):

I'm not really sure whether it's satin, it could be some exotic fabric fromthe east or something, lot's of different silks, , uhm...needless to say it's rare...
modelling practice #1

Last edited by jmBoekestein : 05 May 2005 at 07:37 PM.
  05 May 2005
The question of rendering size for printing always comes up. I posted this in the
Lightwave forum before seeing this thread, so sorry about the double-post.

Example: Printer tells you he wants a file 17x11 inches at 300 dpi. Open a new file in Photoshop with the printer's settings.
No need to save this file. You're only using it to get your render size.

Go to Image>Image Size. Look at the Pixel Dimensions. Render your file at this size.

After rendering your file, open it in Photoshop. Go to Image>Image Size.
The Pixel Dimensions are correct but the Document Size doesn't show what the printer wants yet. TURN OFF "RESAMPLE IMAGE".
I'll repeat this because it is the most important thing in all of this: TURN OFF "RESAMPLE IMAGE"!

Now change the Resolution in Document Size to 300 pixels per inch. The size
automatically updates to 17x11 while the pixel demensions remain unchanged.

Click OK. Save your file. Send it to the printer.
  05 May 2005
Not at all, jmBoekestein..

notice her surroundings.. plain white
but ofcourse.. you are right that one has to study the lightsource .. which isnt often white (because it doesnt exist..)

your renders here are quite interresting. look like satin or silk.. reminds me of my master&servant entry, which has really bothered me with the lighting!
.personal gallery.
  05 May 2005
Wonderful thread idea Linda, very helpful. And for your brush tutorial, quite a coincidence. I was fiddling with some brush settings and creating some new brushes in Photoshop earlier today; it comes handy just at the right time.
Your tips are very useful Allenatl, good to know. Thank you for sharing it.

Same goes for everyone else, i'll sure keep an eye on this thread and try to add some of my own tips later on.
  05 May 2005
Very helpful thread idea, been very curious about da brush, so followed Furia's tutorial at sunday, with one modification: I took scanned papier texture, set 1 layer to overlay 100%, second - duplicated one, to a difference mode, and - yes - in da moment U got plain black, but experimenting with slicers in blending options for the "difference" set layer made interesting "moire", and I did it on the very early stage of the brush creation, leaving the both paper layers visible, and working under them on main layer made me able to see final effect. BTW if duplicating a work, (merged layers) inverting and saving as JPG one have ready to define Painter brush.

Topic by jmBoekestein reminded me a job I had ca. 2-3 years ago, with dark room having net courtains, (slightly moving in da wind). If I will find a CD that scene is archived, maybe I will compare some technology.

And small question to Furia again. After some years I have to get back to traditional media, exactly having to do oil/acrylic on canvas portrait for someone, and my question is:
If, and how would You modify Your "Thoughts on Skintones" tutorial to traditional media work? Got to finnish till saturday, already trying delicatly adding bright turquoise already gives goood effect

P.S. Mostly all of digital painters use to switch to computer from traditional media, right? With me is different, I really started developing my feeling to painting in pshop & pntr.
  05 May 2005
Thanks, allenatl, for that printer tute. Been wondering about that darn "resample image".
This will come in very useful.

  05 May 2005
Unhappy Apology

I'm sorry for calling You Enayla - Linda by mistake as Furia, (even not Furiae) and reason was I'v been simultaneously visiting Your site, hope You dont mind.
  05 May 2005
shader settings specifically...

Actually I felt the approach to creating the shader would be more beneficial, since you'd know what to do instead of what I did because of it. But seeing it will probably help in understanding. I hate reading boring text myself, pictures will do better for sure.

So, here's the basic shader roll-out. Some of you might not recognise some of the terms used here, the ones that do probably dno't need this explanation.
The Color slot which has the gradient is basically <diffuse color>, which in calculations gets multiplied with Kd, the <diffuse amount>. This is more efficient than just using a color slot for diffuse, you should try and use both, so that you can adjust eventual output levels in a more balanced way without going into other applications for it.
Kd or diffuse amount has a fall off map assigned to it to control the brightness of the surface at differnt angles, this i swhat I'm talking about basically, and color of-course. I'll explain more later after the over all.
Sheen maps. there are some assigned here, but I've switched them off for rendering. Basically this is what you see on edges of hairy objects, where the hairs reflect light more and differently than the objects surface, basically you culd fake this yourself using a combination of several maps, sourcing data along with the surface normal(direction).
Bump map was applied to slightly break up the surface, computer graphics simply are to consistent to be easy on the eye, break it up subtly without destroying leverage for effect and the effect itself of-course,
specualr level has a noise texture added to it to make it seem more broken up and irregular, for the same reason as with the bump map. (That'll teach you to pay attention, lol )

Ok, so this basically is all needed for that cloth I made, except for the SSS effect, and ofcourse you need the rendering engine to go with it, GI and bounce ligth help an image so much further into a nice complexity.

On with the shader settings.

You'll notice I've blended the map to about 50-60% of the base colour which is red. I do this for the general balance in the shader itself, so that it seems to deviate from red and not be some collection of nifty colourschemes.

he only things I changed about the map is the colour gradient itself and the type of gradient to normal, I haven't assigned any mapping to the object itself, some renderers will ask or tell you about missing uv's in this case. I ignore it since it uses different data. It would only serve for texture baking. You'll notice the colours are very dark, but upon making the gradient put in some slight variations in those darkareas, it adds complexity and interest along the different angles. That's that then, onto the next map.

So the noise is obviously to brake up the rendering, so I'll skip that. It just adds complexity to the surface.

The last bit, the diffusion amount, is controlled by a fall off map in this case. All the settings are there. You'll see it's low values, but that's because I wanted a dark cloth so I lessen the effect like this. If the hairs point at you you'll see more cloth which should have a different raction to light in general, so that's why I use this. That's all. I had wanted to do more shaders at once so it would be easy to understand but this is enough I hope. Maybe otherss will follow later.

modelling practice #1
  05 May 2005
i like it .... ..
  05 May 2005
For downloading and saving useful sited and documents!!!

I've found that storing webpages as in saving them on your hd is really frustrating. I've found this aplication some time ago and I think it might come in handy sooner or later for most. You can print to a pdf file with it instead of to a printer . It leaves a little watermark in my free version, but that's no big deal I think.

pdf factory

topmost icon on the page...
modelling practice #1
  05 May 2005
Great thread Linda! Thanks to everyone for the tutorials posted it's been and interesting read. Thanks linda for the brush tutorial really helpful
  05 May 2005

Making quick rain, most of you probably know this already.
Anyway just play around with the settings and see what you can come up with, it is also usefull for a quick reference of how the rain might look.
Someone might find it usefull.


Vote in the "DSG Voting gallery" poll

Last edited by jud : 05 May 2005 at 09:08 PM. Reason: Spelling.....tch..!
  05 May 2005
To be honest I haven't got a clue how this would look in photosop, , could you elaborate a bit, please. I understand the idea though, pretty nifty!
modelling practice #1
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