Feb 23, 2017

On product photography and 3D rendering

Sooner or later we come to a point where we question methods and wonder if there is a better way. The answer is yes but there is a wide gap to cross over. It will take a lot of work before we start seeing useful results. I am referring to 3D rendering in this instance.

My journey into Blender 3D started about a year ago. For me this was a tool looking for a problem. Admittedly the skill build up took a while, but every step counts, like when you are trying to assemble a jigsaw. Yesterday was the day that I had a go at modeling a beverage can. This seems simple enough but it took a bit of a run up before I could produce a useful model. One reason why I bother is that 3D has a potential value in the somewhat related field of product photography, which I also happen to practice.

Here are some initial, two rendered cans, and an earlier example of typical product photography without rendering.




In theory the huge win from 3D is that you can get creative with composition as if you were at the shooting table, but much faster, less messy, and with far greater consistency.

Feb 17, 2017

On typography and rendered word art



Fancy looking motion graphics are all over the TV, flying and zooming around, adding lots of punch. It is amazing how much visual impact you can get out of simple words if you just do them in 3D. It is words, and art, but is it word art or typography? In any case, here are some tips on how-to:
  1. Background: Create a complex looking background. Add a mesh, subdivide it, select random, and move up them up a nudge, just to get your triangles visible. Copy paste the mesh and flip it 180 to increase complexity with a sense of symmetry. Play with the material properties of both meshes to get a good color combo and a small amount of reflection. Render it. Import it via File, Images as Planes (ticked in Preferences Add-Ons) into your words project.
  2. Words: Add your message of inspiration. Extrude, bevel, white, reflection. Copy the words, stack them, and change render to halo to get your vapor trails, adjust material color and transparency, and extrusion.
  3. Sky: black
  4. Camera: orthographic
  5. Light: Sun, adjust it to get shadows and complete scene illumination
  6. Grounding: Remember that the objects in the scene need a sense of connection and real-like-ness, hence the shadows and reflections. Otherwise you might as well had done this sort of thing in photoshop, where layer 1 sits on top of layer 2.

Getting this far, you are only one step away from motion graphics. To animate it just add a keyframe into your timeline, move the camera, add another keyframe, click Animate, and WAIT! LOL.

This is not orthodox flat typography made of pure letters. Rather this has one foot in Type and the other foot in the realm of 3D, but it illustrates my point that is, you can do amazing looking graphics out of relatively simple things!


Screenshots: background composition and final scene

Feb 9, 2017

Puppies on tartan?

Meet Margaret, Dachshund. She's modeling a magenta tartan pattern, in three poses.

Hmm, is this really what the client imagined and asked for? That's hard to tell, but in my mind I like to think that this is under promised and over delivered.

Oh Margaret, why must you be so cute? Cuteness overload.





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Feb 1, 2017

Ceramics by Leanne Berelowitz (6)

I recently did another shoot for Leanne. In this series she concentrates on vessels.



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Jan 19, 2017

On long shadows in graphics

It seems that just about everywhere you look now, you see simplified icons. I think that the trend kicked off when the Windows 8 UI came out in 2012, where all screen icons were simple and flat. Since then designers had been adding the illusion of depth via shadows to give the flatness a bit of substance. Nothing new there. However, over the past year I've been noticing ever more flattening of the shadows themselves, without a typical blur, and the length of the shadows extended to the edge.

In practice there may very well be a variety of ways to make long shadows and everyone has their preferred way, but I pick rendering in Blender because of the flexibility of the creative process. The main thing to look out for is to set the light source to Sun because it is directional and even across the whole scene, and in turn it produces shadows. Angle the the Sun at a steep 90 degrees, then rotate it on the Z axis to whichever direction you want the shadows to go. As you play around with the scene the shadows are an instant by-product!








And just to prove the point, you can achieve a similar effect with vectors (illustrator/inkscape), but it's a bit more work. Each element has to be improvised individually. In this example a double shadow is applied to each letter character, because my intuition tells me that a two is better than one, three however might be a too rich.

Dec 31, 2016

NEWMANX // project : art + design

This instance of NEWMANX contains a collection of graphic art and motion graphic experiments.

Dec 12, 2016

On photographing beer cans for product photography



The challenge with beer cans in product photography is that they are curvy and reflective, which has to be managed with care. The current trending style for displaying bottles and cans features a white vertical reflection on one side or both.

A popular current technique for producing product photography is using a white product tent. I got one only recently, and became an instant convert to this method. My current ideal setup for photographing objects is placing them into something like a reflective white cyclorama tube; this can apply to real photography but is more achievable in 3D software. If you can imagine, the photo shoot would be inside of a white shiny tube that is partly squeezed from top to bottom, and extending to the left and to the right, that's what I'm thinking. In reality however we work with what we've got, and a bunch of MacGyver-ish improvising -- still you get most of the effect that you want.

Features to target include:
  • Even illumination, as the light bounces from top to bottom throughout the scene 
  • A seamless background that doesn't cause overexposure flares that break colors and ruin sharp object edges 
  • A real base reflection 
  • Space to the left and right of the object where you can place a white body or a black body to interact with the object but stay out of frame -- remember that if the object is highly reflective then you will need to give it something to reflect 

The setup here was:
  • A white product tent for even illumination, with softbox lights to the left and right, spaced far enough to avoid hot spots 
  • The base was standard shiny white perspex 
  • White styrofoam panels to the left and right, for white body reflections, placed and angled just right to get nice reflections and minimise blocking the lights -- find a balance 
  • A white mask in front of the camera to minimize the camera's black body being seen reflected in the object -- in post, unwanted reflections were further de-emphasized or removed 





Here is a sample of the results:




[1] Left, Basic retouch and deep-etch  [2] Right, same as Left + reflection + asymmetrical lighting + 5 percent black background






[3] Left, sample promo layout square cropped  [4] Right, sample promo layout xmas tree 





Update
Dec 29 2016
Client website had been updated with new images



Dec 9, 2016

sq1.net.au website redesign 2016

Earlier this year I started using Google's Material Design Lite (MDL) as my preferred web design framework for bespoke websites. This was a departure from my previous long-standing Blogger/WordPress CMS approach. Somewhat related, recently I was asked to assist with the upkeep of the Square One Studios website, sq1.net.au. As one good idea leads to another, I thought that it would be a great idea to combine the two. So I prepared a template, copied the content from the existing website to my proposed MDL prototype, and tweaked it while waiting for the right moment to pitch it to the manager. Soon enough we sat down for a workshop session to apply requested changes, and it was ready for upload.

The advantages of the new design are many, but these are the main points:

  • Contemporary website layouts are expected to transform automatically to fit any device that they are viewed on, so now that's up to date.
  • Sophisticated layout elements are available from the MDL framework and can be applied with relative ease. 
  • Site maintenance is simplified by needing to edit only one HTML file.
  • The use of codepen.io for editing enables expert facilitated rapid prototyping in a workshop session that is client oriented and user-friendly.

Between the dynamic layout and the relatively flexible design elements, this site is now ripe for change via incremental improvements if you like that sort of thing as I do.

Nov 18, 2016

On creating concentric arc graphs

   


I saw this graphic via Knight Frank and had to try it for myself.

At first glance these graphs might look cool, but IMO they are mostly illustrative and belong in the realm of fancy looking infographics rather than being useful for data analysis. If these were pie charts then the pies would not only get sliced up into sectors but also each sector would come from a different sized pie, so they would have different amounts of pie mass regardless of any angle ratios. What impressions are imparted, I don't know because it's confusing. We may be better off with a stacked bar chart maybe.

Design wise, once you have the all the parts of your graph in place, try different combinations of fill, effects, fonts sizes, etc. When you have a few different versions, pick the one that looks best.