![]() This background is created via a single flat image, an Emission (glowing) material on a plane angled to face the camera and sized to fill the view. The way I compose these scenes is generally one or two figures and key objects in the foreground, and then a blurry quasi-abstract background which varies in brightness and colour to help highlight whatever I want to emphasise in the foreground. Looking at images of of real people (including myself in the mirror) can help make the body language more believable. There's tutorials on it around the place. Posing the models is fiddly and takes practice. You can find a lot of XPS models on deviantArt, and Padme4000 has a lot for Bioware games in particular. I've never tried XNALara, since I don't want to learn a new program, and XPS models can be imported to Blender using these Blender to XPS tools. ![]() There's a program called XPS/XNALara specifically designed for posing and rendering such models, and most models I've found have been in XPS format. The aqua background is a large plane with an edited screenshot of the Hanged Man on it.įor fanart of video games, I download models of the characters as extracted by other people. ![]() I also used two large planes to block the light from parts of the scene but if I'd included those you wouldn't be able to see anything else. There's models of Isabela and Hawke as well as fabric, a candle, a table, a map, beer glasses, beer foam, and eight light sources of different colours and shapes. This is a screenshot of the Blender scene used to create Nothing's Wrong. I'm no good at making people but I can create simple 3D objects like glasses/candles etc. I use Blender, which is difficult but free. To give an example, here is my drawn version of Useful and Pretty, and here's my (not entirely successful) attempt to create the equivalent scene as a paintover of a 3D render. If your artistic instincts are different to mine, this approach may not be very helpful. I use rough brushstrokes and a limited palette since (a) it's less work and (b) it creates ambiguity, and the viewer's imagination fills in the details better than I can paint them. I use the original image to get the colours and gradients right, which combined with rough grainy strokes creates an illusion of the sort of soft, three dimensional shapes I have trouble with. So my approach to paintovers is to think of them as flat shaded images with simple highlights and shadows, and even lines. What I can draw to my own satisfaction is anime style flat shading. The main reason I do paintovers is that I'm never satisfied by the results when I try to softly shade three dimensional shapes by eye, especially faces or anything with dramatic lighting. This painting technique works just as well for photos as for the sort of 3D renders I usually do, you can skip the 3D model section if that's not relevant to you. My basic philosophy is: realism is boring, and mistakes add texture. ![]() You should be moderately competent with whatever art program you're using, and have some idea about colours and shading. But I'll try to explain things enough that it might be useful to other people too. So, this is mostly for my own future benefit because I keep forgetting my own methods.
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