#nonphotorealistic rendering

[canmom]

since I started this job I've learned all kinds of cool graphics tricks but if there's one that's just insanely powerful it's taking a simple diffuse lambertian calculation, adding a greyscale offset texture, and feeding the result into a gradient LUT. in Blender that looks like...

do you want nice painterly grass/fur shapes at the terminator without putting noisy detail everywhere else? it's perfect for this.

do you want super cheap fake subsurface scattering for skin? got you covered, just put in a little saturated red at the terminator. won't look as good as proper SSS simulation but it does a lot.

do you want to do a colour grade and you're on a tile-based render which will absolutely not let you do any screen space stuff? that's cool, you're controlling just about every pixel at this point anyway. tweak away to your heart's content.

do you want to do an insanely complicated explosion shading effect to try and look like cel shaded explosions in anime? you'll need a bit more than Lambertian in this case as the input, but basically? it's the same damn trick.

evaluating all those gradients can be a little expensive (it's kinda branchy logic), but I'm working on mitigating that by turning the LUT into a texture. just some technical details to work out.

when we get to announce the game I'll be writing allll about this, so just you wait nerds.

#nonphotorealistic rendering #3dcg

[penwrythe]

Sketchfab NPR Illustration and Comic Examples

Topwebcomics was a bit of a bust (only found a few sfw 3D comics, not as good as Dreamland Chronicles tho), but Sketchfab has better examples of what I'm looking for. Most of these are 3D illustrations, however they look really good compared to what I found on Topwebcomics.

Here are a few NPR Illustrations a bit closer to my style:

These two I feel match up with WOR's style. Note: I am looking at how it's textured, shaded, and modeled/sculpted. Not related subject matter.

Objectkind/props (nonliving):

Humans/Gods:

Environments (oh boy, might need to take a course on this one):

Ambitious goal? Yes...oh yes.

#mystuff #3d resources #npr #nonphotorealistic rendering #blender #maya #3dcoat #substancpainter #worldofrelics research notes #wor research notes #sketchfab #character design #worldofrelics #environment design #prop design

[gibaxivuvex]

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[felord]

CSCI 4611: Programming Interactive Graphics and Games Assignment 5: Artistic Rendering Solved

CSCI 4611: Programming Interactive Graphics and Games Assignment 5: Artistic Rendering Solved

Introduction

  GLSL shaders make it possible for us to create some amazing lighting effects in real-time computer graphics. These range from photorealistic lighting to artistically inspired nonphotorealistic rendering, as featured in games like The Legend of Zelda: The Wind Waker and Team Fortress 2. In this assignment, you will implement a GLSL shader that can produce both realistic per-pixel…

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[penwrythe]

Thinking about returning to my NPR (nonphotorealistic rendering) research for my WOR style guide thingy.

Fell off of it last year, but since I'm working on these three characters here, it's important to remind myself of the goals for WOR's style.

Also, need to make a moodboard and media example list for WOR's fantasy 3D/2D aesthetic.

With this said, guess what I found recently!

So, I was revisiting an old webcomic I had read in my teens called The Dreamland Chronicles by Scott Christian Sava. This site is currently an archive of the 3D comic series that started in 2006. If you visit, just know that some of the pages, both the old 3D comic and the 2016 drawn comic, are either missing or misplaced throughout the site. I'm not sure if this site is still updated or maintained.

I found a series of pages that explained how The Dreamland Chronicles was made. Pages start here! This gives me a good starting point for developing and designing 3D characters, environments, and assets for a comic. The only thing that's missing is the render time (the style is similar to most 3D animation during the early 2000s on a 3D Studio Max version during that time) and how they organize all the files.

I did check the comments under one of these pages on the site and the creator did mention that (mind you, this was back in 2008 with 2000s 3D software) it took either a few hours or days to render a single frame. Nowadays, Blender, Maya, 3D Studio Max, and other 3D software are more advanced, so something like this would take half the time on a good computer rig.

Got some more information about the comic from the FAQ section here. It's no longer on the main site, but still accessible on the Wayback Machine.

What I found interesting is that once all the characters, sets, environments, and other assets are completed, it takes about a day or so to create a page. Depending on what the scene calls for, maybe more pages created within a day. Back when Dreamland Chronicles was running, the comic updates five times per week.

~ I mean, still, there's render time. So maybe, pages were created one week, then rendered out while the next pages were created, and so on?

Considering this comic's semi-realism style, yeah, that render time is going to take a while.

For WOR's style, I'm going for a cel-shaded 3D style similar to my own drawn style.

Example, my Spoon Ballerina character from last year, from concept to 3D model. Note: the 3D render on the right was less than a minute for a single character and plane using EVEE (Blender 4.0).

Another example is the anime 3D models by Bran Sculpts like the one below:

Both examples use Blender, and while Bran uses Blender's emission shader nodes to create the flat colors and shadows (with painted shadows), the Lightning Boy Shader I use also works off of emission nodes. Lightning Boy has the advantage of layer shader nodes, thus simplifying the setup for more complex models. The painted shadows I might had to do for certain areas of the character depending on how they are lit in an environment.

Rendering time might not take long for these- hang on

Downloaded and rendered the Akko rig - in less than half a minute. That's just with one character, tho, how long would it take with a full scene with a fully modeled environment? Idk, but maybe time might not be an issue for this style lol. And the character models might not need a high poly count for rendering, either. Interesting!

The most time-consuming thing I could see for WOR's style is modeling and texturing (gods, humans, all mimic/war and civilian object types, assets, environments, etc) per issue for Rise of Relics (maybe for months depending). Setting up for a scene (for panels and so on) might not take long at all...

#mystuff #npr #nonphotorealistic rendering #blender #blender 3d #3ds max #dreamland chronicles #webcomics #3d modeling #wor research and inspo #worldofrelics research notes #worldofrelics #art #bran scuplts #Youtube

[canmom]

so it turns out non-photorealistic, cel shaded, arc system works-style rendering demands a whole different paradigm of topology than traditional modelling and my mind's kinda broken a bit by it!

(from a model of Jack-O of Guilty Gear created by nsfw animator Wallimog - big props to the pornographers for like, successfully reimplementing Arc System Works' shader pipeline in Blender and making their models available free lmao)

like it's not about creating a 'clean' edge flow with minimal poles, but defining curves to create boundaries between 'planes' defined by normal editing, which makes the shadow shapes much more tightly controlled by the artist. you basically have the boundary of the face/cheek, and a smaller area designed to create a rembrandt triangle type effect in oblique lighting. that's so interesting.

the mouth here has a high density grid topology for precise deformation, but it's sutured into a hole in the face mesh by triangle fans which would be considered terrible topology if you were working in a subsurf-multires pipeline - yet you'll never notice the 'bad' topology in practice, because the shader means it's always lit the same colour!

hopefully i can draw out the theory of it more when i have worked out how to apply it to @mogsk's pirate girl

#nonphotorealistic rendering #3dcg

[canmom]

I watched an episode the new League of Legends spinoff tv series Arcane, I will watch the rest later at some point lol. visually it’s pretty interesting but it is 100% what would you would expect

animation mostly seems to be done either in house at Riot or at Fortiche Productions who did various previous music videos for them (not sure how it breaks down exactly, beyond that Fortiche definitely did the title sequence and some of the show animation is in their demo reel). whoever it is, they have a very strong nonphotorealistic shader pipeline that resembles recent trends in digital painting (strong rim lighting, fairly visible brushstrokes on surfaces).

so... it’s probably the first tv series to really bring that kind of high budget stylised videogame cutscene look to an animated series - not surprising since that look is very associated with League and Riot. i’d place it in a tradition with something like Legend of Korra (which it heavily resembles in writing) on the one hand and Star Wars The Clone Wars/Rebels on the other, though the visdev is considerably tighter than the starwars cartoons - very few sparse empty cgi sets, lots of nicely composed “looks like concept art” shots, very strong facial animation. this is definitely going to set a standard for what “expensive western CGI animation” is going to look like, and it’s cool that nonphotorealistic rendering is becoming increasingly popular.

overall though... it’s hard to get that excited because it’s kinda normcore lmao. like you can 100% tell it’s a spinoff of not just a game but a high budget modern MOBA; the character archetypes and writing beats are all pretty much “exactly what you would expect” given the premise. which isn’t necessarily an issue, like i’ve watched and enjoyed plenty of anime that throws a ton of visual flair at a conventional premise... but it feels like it’s so polished that the rough edges of personal touch that make something interesting have been sanded off along with the low budget CGI jank. which is also why I would compare it with Legend of Korra; it’s not just that they’re set in a city with a big class divide and a cool-but-scary police force and a 20s sort of visual style (Arcane is more Art Nouveau than Art Deco) but they both have that kind of “this story doesn’t really merit the animation effort you’re lavishing on it but that’s what capitalism will serve up for us” sorta feel to them!

one of the most interesting touches to me is the fact that the explosions, liquids - “effects animation” - are all clearly 2D, and made of very clean graphic shapes in a way that calls to mind animators such as Lightsoul. (it’s honestly so like his style that I wondered if he did it, but I couldn’t spot him on the credits). this added a ton of character. a slow motion fight scene with some deliciously squashy punch impacts also stood out choreography-wise. I was amused that they had Shohreh Aghdashloo’s extremely recognisable voice for the police chief, playing a character very similar to her role as Chrisjen Avasarala in The Expanse.

I feel like the premise has potential if they fully lean into the characters doing a terrorism (apparently where this is going), but I imagine it will back off to some Korra-style lib shit, because it’s the backstory of a mainstream videogame character and of course we surely can’t countenance blowing up fictional people in our fictional dystopia. that’s the thing i guess... I read V for Vendetta recently and you can really feel Moore’s anger at living through the Thatcher years, and I just don’t feel like this is going to have anything like that spark from 40 years ago, it’s just dabbling in a story about a revolution. but who knows. i’ll give it a chance!

#animation #arcane netflix