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What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

3D is lazy?

I’ve heard it numerous times from critics: “3D is lazy! You should do it by hand!” Really? I wonder if they’ve ever tried to use this medium. Contrary to popular belief, it’s not point-and-click. It’s hours of minute adjusting, extreme attention to detail, fussing, tweaking, arguing and sometimes even swearing to get a scene just right. All so a reader can enjoy it for maybe 2-3 minutes as they read the page.

Lazy. Unrealistic. I get a laugh at the complaints when I think of how far this “baby” medium has come. Then I laugh louder when I can prove that even industry professionals use this medium with extremely impressive results. A fantastic example sells things right on the DAZ3D website: John Van Fleet. Here’s his story on the site of how he found DAZ and has put it to incredibly good use for both DC and Marvel! The renders shown on that article page alone are enough to be a total knockout for just about any “lazy” argument I’ve heard.

For someone like me, it’s a matter of learning, getting better tools, studying professionals and improving over time. I have little doubt even John Van Fleet’s earliest renders weren’t near as good as they are now. It takes time to learn, just like any other medium.

So, instead of the useless insults of calling someone lazy for using 3D, how about encouraging them to learn and improve? It’s like comparing a stick figure to the Mona Lisa. I doubt Leonardo DaVinci got that good at painting overnight. Take that into consideration before insulting someone that’s learning to be artistic. Perhaps then instead of being insulting, you’ll be more helpful with what you say to them about their art so they’ll grow and improve.

What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

What makes 3D so difficult?

What makes 3D so difficult to handle is that it has a very steep learning curve more often than not. I’ve found people that assume because the computer does a lot of the work that 3D isn’t art and it’s lazy to use. Let me assure you: nothing is further from the truth!

True, some programs, like DAZ Studio or even Poser are good for beginners or hobbyists and make setting up a scene reasonably easy to do, but that doesn’t mean the rendered art will be good quality. Like pencil and paper, there’s basic techniques and much more advanced ones. It’s the difference between a stick figure with dots for eyes and a line for a smile and a fully detailed anatomically correct figure that’s nicely lit and realistic.

Anyone can draw a stick figure, but that much higher quality figure with all the details and lighting? That can take years of practice. The very same holds true of 3D art.

First and foremost, it’s very much art. If it isn’t, it shouldn’t be in movies as a special effect since it takes special effects artists to use it for movies. What are they using if it isn’t art? Secondly, it’s constantly changing and improving, so just because some amateur hasn’t yet mastered even the basics isn’t a reason to tell them to use pencil and paper.

Four years ago, I knew next to nothing about 3D art. I posed bald, nude figures in Poser with default lighting and painted hair and clothes in Photoshop. As I learned more, my methods changed. Figures began having clothes and hair, I began experimenting with lights and camera angles.

Being a 3D artist is a lot like being a movie director. You have to be able to work with all the various departments to get the scene just right. Actors, wardrobe, hair, makeup, lights, cameras and other things have to be prepared for the scene to be complete. Finding, creating and effectively rendering the scene elements is more complicated than some might imagine. Even when you think the scene looks the way you want it, it doesn’t mean the final render will have the desired result. That means post work, which can get almost as complicated as setting up the scene in the first place.

The truth is there’s a million ways a scene can go wrong. True, pencil and paper mean you can simply erase the part that’s not the way you want it, but what if it’s already inked? That means hours with white-out or something similar to correct the problem.

Lots of ways to mess up, lots of ways to create incredible art. It’s a matter of time, patience and a lot of practice.

Using 3D to make comic books part 4

Using 3D to make comic books, as I’ve said, is quite the challenge. There’s a lot to take into consideration and I’ve only scratched the surface so far with these little postings. It’s definitely recommended you read parts 1, 2 and 3 before this one.

Okay, you’ve rendered awesome scenes, put them together in Comic Life and made them into a cool book. Now what? Well, this is actually the hardest part: getting it to sell. See, 3D is more widely used for porn comics, which makes it tougher to sell to other people. Add in the common complaints about it that I’ve read about and you’re going to find a lot of very harsh critics that won’t even give you a fair chance.

What are those common complaints? One is “stiff, lifeless figures.” Well, this one is harsh on rookies with the medium. Unless you are a fast learner especially with lights, cameras and textures, figures are going to look awkward while you’re learning. The same can be said of hand drawn characters, too though!

Ask for comments to learn from and ignore the ones that are blatant put-downs. You’ll probably be asked if you modeled the characters yourself. Odds are, you didn’t but don’t let that bother you! You’re still learning! So am I! So is anyone that can call themselves an artist. If they claim to be a master and don’t think there’s anything left to learn, they’re never going to grow as an artist and their work will go stale.

Another complaint is stiff clothes. On this one, I’m willing to agree, but only to a point. If you’re like me, your computer’s limits are where you have to draw the line. Realistic cloth simulation is possible and looks incredible, but uses an unbelievable amount of power from the computer!

Using 3D to make comic books part 3

STOP! Before you read part 3 of Using 3D to make comic books, you should read part 1 and part 2! If you’ve read them already, do feel free to continue reading!

Using 3D to make comics scenes rendered on my tablet while still out and about means I can pull the render into GIMP if I need to do post work, too. Literally, my work can go with me anywhere. Sure, the tablet can’t do everything the computer can, but it does a nice job of getting things started for the computer, which saves some time. Then I’m able to open the file in the computer and pick up where I left off while I was out.

Okay, that’s putting together the scene and making sure it’s a real eye pleaser, what about making it into a comic book? I wouldn’t doubt there’s other programs out there, but Manga Studio served me well for a long time before I discovered Comic Life. Now, you’ll notice all these programs have no links attached. I’m not affiliated with them, merely recommending them.

For my purposes, I wish I could combine the two into one program, but that seems quite unlikely. Manga Studio is indeed meant for hand-drawn comics and especially manga with a staggering array of tools and goodies for that purpose. I especially loved its layers palette, but it had its shortcomings for me, as well.

When I found Comic Life, I was struggling to create extended dialogue balloons in particular with Manga Studio. I didn’t have the expensive version of the program and couldn’t afford to get it anyway. I’d found a trial version of it and thought I might be able to setup my 3D scenes inside it, but found nothing for importing my own 3D models and accessories and its library limited to what it came with.

Comic Life offered the dialogue balloons I wanted and a nice assortment of other tools. It’s proven to be more intended for importing images and even fixing them in the program, which suited me far better as a 3D artist. I could just drag and drop my renders into the panel frames and if they needed fixing, I could do it right there without any headaches.

Using 3D to make comic books part 2

Using 3D to make comic books, for a beginner, DAZ Studio is a good one. It’s free, it’s not too difficult to handle until you start getting into the more advanced features, but for setting up and lighting a scene, it’s excellent for learning. Personally, I dove in with Poser 7.

Poser’s good, but I found myself often having trouble using it despite having a book to guide me. Other programs offer more heavy-duty features for making props, clothing, hair and other things, but as they get fancier, they get more expensive.

A leading complaint against using 3D I’ve often mentioned is that 3D figures and clothes look stiff and lifeless. You’ll be confronted by this, so be ready for it. I’ve begun to counteract it by making things more dynamic. Dynamic meaning realistic simulation of cloth in particular.

The other half of that complaint likely has to do with the lighting of the actor and its textures. That would mean it’s wise to pay close attention to the lighting of the scene when you do renders.

Just like pencil and paper, you need to pay close attention to even the smallest details in your renders as these are actually more noticeable in 3D unless you use depth of field to blur out the boo-boos in the background. What about the boo-boos of the character?

Some don’t like to be posed certain ways and can even poke through their clothes despite fixes. Well, post work is useful if you just can’t get the 3D to behave the way you want it to. The GIMP is an excellent freebie image editor that’s lightweight and easy on the computer.

One thing that’s been extremely handy for me is the ability to render scenes even on my little 2-in-1 Windows 10 tablet. Taking my library on the go and setting up characters, or even scenes has been a heavy-duty time saver, but it just doesn’t have the power of the computer.

That means I need programs that aren’t resource intense. DAZ and GIMP are a spectacular combination for this. Unless I setup a heavily complicated scene, my little tablet can render it. If I do setup a heavily complicated scene, I can save it to render on the computer.