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Blender EEVEE Tutorial : Realistic Car Paint Shader In Blender 2.82

Hey guys, Welcome to a new blender tutorial.
So, in this tutorial we are going to make this painted metal shader in Eevee.
So, yeah lets start. We don’t need this default cube.
So, ill just select and delete it. So, tap your delete key.
Now, we need to add a sphere so, Shift+A under the mesh, the UV Sphere. This sphere is a
bit flat we need to smooth it out so, select the sphere and under the object select shade
smooth. Now the sphere is smooth but the edges are
a bit flat so, to smooth out the edges we need to add a modifier and we need the subdivision
modifier. So, just apply it. Now, the sphere is completely smooth.
Okay, now go into the Look Dev mode and Up here you can select the default HDR’s that
blender provides, so I’ll just select the default one , the forest one.
No we are done with the setup so we will start working on our shader so for that we will
need the shader editor. So, I’ll just split my screen an to here where
it says 3D view-port I”ll just select the Shader Editor.
Now what we need is two principled BSDF shaders, one will be for the metal and one will be
for the paint. So, duplicate the shader. So, now we have 2 principled shaders.
So, somehow we want to mix there two shaders so, for that I’ll add a Mix Shader.
I’ll pop that Mix Shader right here and I’ll connect the second principled shader into
the second input of the Mix Shader. No these both shaders are mixed. We need a
texture to control the amount of paint and metal so we need to plug something into this
factor. So, let me make the secone principled completely Black.
If I make the factor 0, the first principled is being applied and if I make the factor
1 the second is applied. So we will need a grey scale texture that
controls the amount of paint and metal. So for that I will use a noise texture. So, Shift+A
under the Texture, I’ll add a Noise Texture. Now I will also add a color ramp for more
fine control. The factor of the noise connects into the
factor of the color ramp and the color of the color ramp connects into the factor of
the mix shader. So, now this noise texture is a grey scale
texture. So, we need to change these settings. So first,
I’ll bump up the detail to 16 so that is the maximum that we can go, the scale, I’ll make
it 3. Now, I’ll just slide this black slider and
this white slider until you get something like this.
In the first principled shader, now this will be the metal so, I’ll just leave the color
to white. Now we need some roughness but I’ll bump up the specular and I’ll bump up the
metallic. So now as you can see, it looks like metal but the roughness is a bit too
much, so I’ll just drop down the roughness. Okay, so we have some shiny metal. Okay in
the second principled shader, I’ll turn down the roughness, so this paint is a bit glossy
also I’ll bump up the specular. And change the color to whatever you want. I will make
it a faint orange color. This looks good. But one more thing, this paint is a bit glossy
and the metal is also a bit glossy so we don’t have that surface detail so for that I’ll
quickly add a Bump. I’ll just add a noise texture and I’ll hit
Shift+A and I’ll just search here, search for Bump. So now we have our Bump Node.Now
this is very important, the factor of this new noise goes into the height of the bump
and the normal of this bump goes into the normal of the principled bsdf. I’ll bump up
the detail.I’ll just turn down the strength until we get something like this. So, we have
some bump going on. Okay, so something like this looks good. Now we will do same for the
paint. So, I’ll just select this, the noise and the
bump and I’ll hit Shift+D to duplicate them, I’ll just bring them here and again the normal
of this bump goes into the normal of the second bsdf.
Okay now, as you can see the paint also have some detail. Bump up the distortion to 1.
The detail is a bit too much for the paint so, something like that.
Okay Guys that’s it. So this was a quick tutorial on how
to make a painted metal shader in blender.

How to paint a realistic sunflower in watercolour with Anna Mason

Hi it’s Anna Mason. Long a favourite with painters, sunflowers
are some of the most gorgeous and evocative flowers out there. But their yellow petals and complex centres
can make them a massive challenge when aiming for a realistic result in watercolour. So in this video I wanted so show you how
I went about painting this gorgeous glowing sunflower. I began with a drawing which outlined the
edges of the petals as well as the darker shapes of colour within them. And I also drew in plenty of the detail I
could see in the flower centre. I started the painting by blocking in the
lightest yellow to the petals with a wash and popping in the spots of it I could see
within the flower centre. Next I applied the lightest browns to the
flower centre – applying my paint with a stippling technique to recreate the rough texture present
there and changing the colours in my mix a little to reflect the different shades of
brown I could see. Next I used a smaller brush to mark in the
very darkest areas of the flower centre with a fairly watery paler version of the black
colour. I did this, rather than working with thick
black paint straight away, in order to make it easier to correct a mistake if I made one
and because, even within the black parts of the flower centre, there was some texture
present, so having this pale layer down first meant I could leave some little gaps through
to it when I went on to apply the thicker dark mix on top. This created some tonal variation, which is
what gives the impression of texture. Oh, and crucially, I only ever apply the next
layer once the one underneath is dry. With the darkest tones painted, I could make
some tonal adjustments, darkening up the midtones with another layer and then the darkest tones
with another layer. With the flower centre painted it made judging
how dark to take the petals easier. Next I painted the darkest tones in the petals
followed by the darker midtones. The key to getting this looking right is to
have plenty of orange in your mix and not too much grey because the blue that’s present
in grey would end up mixing with the yellow in the petals to make the darkest tones look
green – NOT what we want in a sunflower. Next I brought the petals together by adding
another bright yellow layer to the midtones to darken them some more. Finally I made some tonal adjustments to the
petals before adding a further level of detail to the centre
and making some more tonal adjustments to the whole piece, until the flower was finished. A full video class of this sunflower showing
the detailed mixes I use throughout is available now in my online School. And there’s also a step-by-step project of
it featured in my new book ‘Anna Mason’s Watercolour World’, published by Search Press. If you’ve enjoyed this tip video, please subscribe
to my YouTube channel and share it with your friends. And if you’d like to take one of my tried
and tested video classes FOR FREE, skip over to AnnaMasonArt.com where you’ll find tonnes
of resources to help you pick up your brush and paint the way you’ve always wanted to. Remember, you won’t improve your painting
unless you MAKE the time to paint. So be sure to schedule in some me-time this
week and paint something YOU love. Thanks so much for watching and I’ll see you
soon with another tip for creating watercolours with “wow”.

Hi it’s Anna Mason, and in this watercolour
tip video I wanted to show you my glazing method for painting leaves. This works especially well for painting any
deciduous type leaf which contains lots and lots of veins to it. Like these apple leaves. You may have found these overwhelming to try
to paint and get them looking realistic if you’ve tried them before. Either you attempt to ignore the little micro
veins in them altogether and you end up with smooth, more stylised leaves, or you can get obsessed
adding too much veiny detail and they don’t look right either. So here’s my method for getting the balance
right. I started with a drawing where I marked in
the most prominent of the veins – the central one and the ones coming off of that. When we look at the photo I’m working from,
we can see that these veins are a pale yellow colour and, because they’re pale, I want to
paint them first. And when you zoom right in and look super
closely you can see that this colour is also present in the tiny little veins that come
off of the secondary veins and the even smaller ones that come off of them. But as we’re painting at this size, we don’t
actually need to paint all of those tiny veins. If we were painting the leaf at twice the
size – or even more, then we’d need to add more of these veins in to achieve a realistic
level of detail. But when we’re painting at this sort of size
we just need to create the impression of these smaller veins as we paint. And in addition, those tiny veins are so thin
that they actually appear a shade darker than the wider veins when we’re viewing at this
scale. So what we’re going to do now is to focus on painting the widest of the veins which are highlighted here and they’re easier to see
against a white background. Being widest these veins stand out more strongly
against the darker leaf colour around them so it’s these that we’re going to paint with the yellow mix. I apply the watery yellow colour to the main
veins, not worrying if I paint over the pencil boundary as I’ll be working with darker colours
around the veins to define them later. Next I paint the watery blue-green shiny highlights
to the leaves to make sure that I had those in the right places, before going on to paint
a watery pale version of the main green of the leaves everywhere else, using a small
brush and taking care to work around the yellow of the veins. With that dry I go in with the very darkest
tones within the leaf next. Using a thick dark green mix, I apply with
a small brush, making sure to leave lots of gaps to create the impression of some of the
tinier veins in the leaves. This is something that you can get quick at with
practice but it’s important not to get too formulaic and uniform in your application. It does take a while but it’s so important
for creating realistic looking leaves. Next I water down the mix a little to work
on the darker midtone parts of the leaves too. The leaf is now looking really disjointed
with all those gaps I’ve left standing out way too much. So it’s time to unify them a bit by applying
a glaze over them. For this I use a mix that’s not as watery
as the first ones I used, but more watery than the ones I’ve just been using. I work gently with my brush so that I don’t
disturb the little markings I’d made before. I then use this same consistency mix to create
smaller shapes into the lighter parts of the leaf, just as I did with the thicker mixes
in the darker parts. With that layer dry I’m into the adjustment
phase where I darken the veins again to bring them back in balance, then the darkest tones
again to get them looking right and the lighter midtones again to get them in balance too,
before I apply another glaze over the lighter tones within the leaves to darken those micro
veins some more. After I add a few more adjustments and details
the leaves are finished. A full video class of these apple leaves showing
you what colours I use and each step of the painting in thorough detail, is available
now in my online School. If you’ve enjoyed this tip video, please subscribe
to my YouTube channel and I’d love it if you’d share this video with your friends. And if you’d like to take one of my tried
and tested video classes for free, hop on over to
AnnaMasonArt.com where you’ll find even more resources to help you pick up your brush and
paint the way you’ve always wanted to. Remember, you won’t improve your painting
unless you make the time to paint. So be sure to schedule in some me-time this
week and paint something that you love. Thanks so much for watching and I’ll see you
soon with another tip for creating watercolours with ‘wow’.

Understanding Color for Realistic Painting, with Anna Mason

Hi it’s Anna Mason. In this video I’m going
to have us think about colour and the way we need to understand it in order to achieve
realism in our paintings. Analysing colour it’s something that’s actually
pretty complex and it’s something that scientists have struggled with for years. But there are two aspects of colour that I think are especially important for learning how to paint it accurately. Tone and hue. The tone aspect of colour is how light or
dark it is, sometimes this is referred to as the colour’s value. It’s this aspect of colour that is absolutely
crucial to painting form and achieving 3D effects. Because of it’s role in creating form, I believe
tone is THE most important factor to consider in your paintings. The hue aspect of colour is pretty straight
forward. It’s what we usually think of when we use
the word colour – so this is whether the colour is, for example ‘green’ or ‘orange’. It’s possible for two colours to be very different in terms of hue, but the same in terms of tone. For example if we take a look at these two squares: Their hues are orange and green but if we
strip out hue, you can see that this orange and green
are actually the same tone. Only by capturing variations in both tone
and hue as we paint colour can we get a textured, realistic result. But I’ll say it again, so long as you have
your hues in the right kind of ballpark, it’s getting the tone right in your painting that
will give it realism, 3D effects and the WOW factor. There’s a complication we need to take account
of when we paint colour. It’s the fact that hue and tone are relative. In other words, the way we perceive colours
– both their hue and their tone – depends very much on the hues and tones we see around
them. Let’s take a look at these green squares. They are exactly the same colour
But viewed against a light tone they look a lot darker than they do against a darker
tone. And here against 2 different hues which are
the same tone. The green square surrounded by blue seems
to have a little more yellow and looks duller than the green square surrounded by red, where
the green appears more vibrant, lighter, and perhaps even a fraction more blue. So you can see that when we try to colour
match while we’re painting, it’s potentially really tricky until we’ve got all the colours
in place in the painting. And as we can’t paint everywhere at once,
I believe it’s best to work in layers, building up our paint gradually so that we can adjust
for tone and hue as we go. We can work on our light tones, dark tones
and midtones, before going into a phase of tonal adjustments where making an adjustment
to one area usually requires us to make an adjustment to another. As you practice observing your subjects closely
you’ll start to see that there’s a lot more going on with colour than first meets the
eye. For example most people when taking a casual
look at this hollyhock flower as they walked past it would say it was white, or at best
a creamy white. But actually when you look at it in lots of
detail you can see it’s petals actually contain pale greens, yellows, pinks and greys. It’s observing this nuanced colour detail
which will help give your paintings realism. And capturing all that colour variation is
made so much easier if you work larger than life, which is one of the reasons I love to
do that. I hope this has helped you start to understand
colour in the way you’ll need in order to inject realism into your paintings. If you’ve enjoyed this video, please subscribe
to my YouTube channel and I’d love it if you’d share this video with your friends. And if you’d like to take one of my tried
and tested video classes FOR FREE, hop on over to AnnaMasonArt.com where you’ll find
even more resources to help you pick up your brush and paint the way you’ve always wanted
to. Remember, you won’t improve your painting
unless you MAKE the time to paint. So be sure to schedule in some me-time this
week and paint something YOU love. Thanks so much for watching and I’ll see you
soon with another tip for creating watercolours with ‘wow’.

Hi. I am Figure maker YH HA. Today, I made a “Carnage” following “Venom With Spider-Man”. (Click on the card above to view making Spider-man with Venom Bust.) Carnage is Main Villain for the second series of Venom. Many of you may not know it, but Carage is a famous Villain among the Marvel Comics fans. It is the most powerful character in the entire Spiderman comic book universe and its wickedness is unrivaled.. Spider-Man and Iron-Man are hard to beat the Carnage even if they fight together. The carnage I’m making this time hasn’t been released yet. So I made it into a comic version of Carnage and Woody Harrelson. I hope you enjoyed it ๐Ÿ™‚ This is the 3D printing process The head and torso have been printed on the new printer I showed you before. (Click on the card above to view My new 3d printer review video.) As expected, they came out well ๐Ÿ™‚ The old printer is also working well together ๐Ÿ™‚ Venom has sharp, multi-pronged tentacles. Carnage is a character that will show even more spectacular and free movement. I’m very excited about how it will look in the movie this year’s release. Carnage, like Venom, is a creature of Symbiote, but its host is a psychopathic killer, making it even more evil. The madness was reflected in Woody Harrelson’s smile from the end-credit scene of Venom’s first movie. Personally, I’m really looking forward to Woody Harrelson’s crazy acting and Carnage’s spectacular action. :). If Spider-Man is appearing in this movie! You might see a historical scene with three characters. Just thought of it made my heart flutter ๐Ÿ™‚ Complete. I would like to make one more time later when the movie is released ๐Ÿ™‚ Subscriptions and Like, please feel free to comment on how you feel and the which character you want. Thank you for watching.
See you in the next video. ๐Ÿ™‚