Hi all, again. I want to show You my new project inspired a bicycle tour. Don’t worry, none of snail does not hurt either during the trip or during production :smiley: I wanted to keep a bit of realism surrounding but the snail presented in a fairytale way a little.
Im just started my adventure with Blender so pls be forgiving.
All i modeled myself except the trees :slight_smile:

200 samples
6h 43min done O.o

My render machine is a little old :smiley:

PS. so sorry for my english :slight_smile:

Here is a orginal size png http://i.imgur.com/p3BbebO.jpg

Here is 576 865 verts.

Nice idea! And I your modelling is good, I think if you made things like specularity maps for your textures, then they could look more realistic. But apart from that it’s good.

You sure captured the feeling of being a snail.
This shows imagination and promise for the future.

In my case it’s the other way around. I fear the snails that come in through the catflap at night. I don’t want to poison them but every morning I see some trails where they slimed and If you go to pee at night you might squash them with your bare feet. Horror!

Thank You so much.
Yes i use spec map in asphalt material. I think i need more practice with use it. On the snail and his shell i used procedural material only.
Cart I know what U mean :smiley: My cousin stood like that on the snail and than she scream and woke the whole house :smiley:

I had seen this a few days ago, but hadn’t had time to post anything yet. I just wanted to say that you’re really doing a good job. I love the expression on the snail’s face, you really captured his emotions well. I would agree that the modeling is really looking good as well. I also wanted to pass on some information to you that I’ve gotten a lot of benefit from in case you would like to use it as well, and that is to use HDR images, which stands for High Dynamic Range, for the lighting because it gives a good ambient light in the shadowed areas and also gives more colors in the reflections. If you don’t know what HDR is, the best way I know how to describe it is that a normal 8-bit jpeg image has a range of lights to darks, let’s say between 0 and 100 for clarity, that make up the image but will cut off any colors darker or brighter than 0 and 100, making them just black or white. A 16-bit image stores more values between 0 and 100, but still clamps the values to be between 0 and 100. A 32-bit HDR and also .exr images on the other hand are able to store values that go beyond 0 and 100. This is done by stacking together multiple images taken at different exposures, usually 3-5, and then combining all of that data into one image, as you can see at the bottom of this wikipedia page: https://en.wikipedia.org/wiki/High-dynamic-range_imaging. Some, like at this website: http://gl.ict.usc.edu/Data/skyprobes/ and this one: http://www.hyperfocaldesign.com, have even taken it a step further by combining 7 or more images, which gives the full brightness of the sun and makes for extremely realistic lighting without having to use a sun lamp. Although, using a normal HDR image with this trick by Gleb Alexandrov would probably give similar results: http://www.blendernation.com/2014/06/03/hdri-lighting-tricks/ If you are interested, you can see how to set up an hdr image in Blender here: http://www.hyperfocaldesign.com/free-hdri-sky/ Here is another post as well about HDR images if you are interested in learning more: http://www.cgarchitect.com/2013/12/effects-of-hdr-vs-mdr-on-image-based-lighting. Sorry to expound so much on HDR; I tried to keep it as short as I could :smiley:

Have fun on your adventure!

The idea and composition and modelling is brilliant! Funny, too. What falls extremely flat, though, is the textures… somehow the snail somehow manages to almost wash itself into the backdrop while at the same time clashing too harshly against it… on the main icon, I couldn’t tell what was even going on in the image, which is a shame, because the idea itself is quite a good one. Would be nice to see this same kind of thing again with improved materials! What would have also complimented the story of the image is some shallow depth of field, to show off the “tiny world” the snail lives in.

wow, thank U guys for suggestions and advice and in particular for your time.
ArtOfLight thank U so much especially for http://www.hyperfocaldesign.com/free-hdri-sky/ and http://gl.ict.usc.edu/Data/skyprobes/ it rly helps me :slight_smile:
I tried use hdr img but it was out of control :smiley: thank U so much.
Lusterflask thanks for suggestions and i promise to try to work again at this image :slight_smile:

That’s great! I’m glad it helped so much. That Multiple Importance Sampling really makes a difference. With materials there are a few things I remembered that have helped me a bit. Please don’t think that you have to use these ideas though, and in the end, you may not get the results you’re looking for using them. I just thought I would mention them just in case you might get some use out of them. One is something called Fresnel, which basically means that a surface becomes more reflective according to the angle you are looking at it. A good example of this is like wood floors or countertops. When you look straight done on a wood floor, you see a lot of the wood’s diffuse color, but when you get down at eye level and look across the wood’s surface, it’s almost completely reflective and there isn’t very much of the diffuse color visible. I don’t know the exact science behind it, but you can see it in varying degrees in pretty much every surface in existence. It also can give some interesting highlights around the edges of things. One way of implementing this can be found here: http://www.blendernation.com/2014/08/14/custom-fresnel-curve-in-cycles/ Although I think I would agree with the people in the comments that I like the results from using the facing input more than the fresnel input, but I have no idea which one is more accurate. There is also a more artistic way of doing this by using a ColorRamp instead of the RGB Curves, and then putting the sliders in toward each other until you get the falloff that you want.

Something else I have found useful is to use a separate shader network for each material and then use a mix shader node with a texture as the mix factor to mix them together. As an example, rust on a bike is going to reflect and look different from the paint and sometimes it’s a bit more bumpy as well, so using one tiled texture and shader network for the rust and another shader network for the paint would give more realistic results for each material. Then a third texture, either tiled, hand-painted, or both, could be used as a mix factor between the two shader networks. This also makes it possible to decide exactly where you want the rust more easily as well. You can see a basic example of what I mean in the image below.

Lastly, something I have found to help is to think about the texturing process as having its’ own story that it is telling and part of a bigger environment than just what is in the scene, especially with things that are old. The first time I heard of this was from a book about texturing that you can see here: http://www.amazon.com/Digital-Texturing-Painting-Owen-Demers/dp/0735709181/ref=sr_1_1?s=books&ie=UTF8&qid=1438309112&sr=1-1&keywords=digital+texturing+and+painting One example of this, and one similar to what was in the book, is that in my house there is an old wood staircase with varnish that is coming off, but it’s only coming off on the side next to the railing. The reason for this is that everyone uses the railing, so instead of the entire staircase being worn the same amount, the side with the railing is naturally going to be more worn than the side without. So if I ever did a render with an old staircase, that would be part of the story I would include to make the staircase feel like it’s a part of an environment around it. You can also use this for many other things as well to tell the story of how old something is; or maybe the environment that it’s in; or how much something is used, with having more dust on some objects in a scene. It can also be used to enhance the story of a character, like whether the character likes things to be clean or maybe doesn’t mind those food spots on his shirt.

Anyway, sorry to write so much! I love talking about all of this stuff. Hope it helps!

I tried a lot of this stuff that U say and think i probably need more practice for using it and understand it.
This is some ss material node i used on this project maybe some one can show me better way or better shader settings.

Asphalt shader:

Tire shader with dust from Blender Guru http://www.blenderguru.com/tutorials/how-to-add-dust/ thx for this stuff BG :wink:

Grass and gravel using mixed 2 shader by Voronoi texture:

And this shader of shell… and here i see is better to use sth different that i used:
First shader that I used with fake AO. I saw it using by Gleb Alexandrov https://www.youtube.com/watch?v=6mbo474uhOA but i rly don’t understand how to use it :smiley: its too complicated.
Second shell shader is very similar but instead use fake AO a should use Layer Weight to mix the shader. It’s looks better i think than my bad using fake AO :smiley:
I know is my bad to no understanding fake AO presented by Gleb :yes:
Here is a shell shaders http://imgur.com/a/UgC1g

Thank you for your interest ArtOfLight and for continued suggestions ant hints for me. Cheers :wink:

That’s okay, there is a lot to learn and you’re doing just fine, and I don’t always explain things very well either. Also, you’re welcome! I’m glad to help if I can. That snail shell does look pretty neat darker like that.

I made a few notes on some of your images that might give better results but don’t think you have to use them:)Hopefully you will be able to read them alright; the words ended up being a bit small. I also made an image that shows a bit better how to use the fresnel effect in a shader setup.

This is probably something you already know, but I thought I would mention it just because it was something I had a hard time keeping in mind when I was starting out. It’s something that helps quite a bit to remember when setting up a shader network though. With the mix factor for the mix shader node, just remember that the closer a color is to black or 0, the more the top input will be used, and the closer a color is to white or 1, the more the bottom input will be used.
Also, with the MixRGB node, when choosing something other than Mix; like Multiply, Add, etc.; the top color input is always your base color, then the second color input is what modifies the first color input.
To put this into practice, here is an example that will (hopefully) explain how to add in the fresnel effect to your shader network.

This concept of multiplying and adding can also be used many other places as well. It was also the same concept that I used in my previous post for the mix factor between the rust and paint. Although in hindsight, I realized that below is probably a better way to show it.

The base of the mix factor (the top input) would be a seamless texture, then modified with a texture that would start out as pure white and have black hand painted onto it to take away areas you don’t want to have rust. Since the Math node is set to multiply, any part that was darker on the painted texture would lower the mix factor and mix in more paint and less rust, but the white areas would leave the mix factor untouched because 1 (which is what the white color is) times anything gives the same number as what you had before. This method also works well to gain some control when using box mapping for a texture.

Here are the images with the notes on them.

One last thing I thought of that might help is to use the Subsurface Scattering Shader in place of the Diffuse Shader for the snail’s actual body. You’ll probably want to search online for a tutorial that explains how to use it; I can’t seem to think of any offhand that are free. What it does though is imitate the way light passes inside of things like flesh and bounces around underneath the surface, like if you have ever put a flashlight behind your hand in the dark, and you were able to see the light glowing through your hand. You will probably want to use a fairly low value for the snail, maybe around .2 or less for the scale. The three numbers for the radius correspond to the colors Red, Green, and Blue in that order. This is used to affect the color of the light that goes through the object, like how light from the flashlight turns red when it goes inside of the hand. You’ll have to play around with the sharpness a bit to see what you like. Subsurface Scattering can take away some of the details in a model, so the sharpness can be used to keep the details in more. With the texture blur, you’ll probably just want to leave it at 0. Lastly, just as a warning, using the Subsurface Scattering node will increase render time, so you will have to see if your computer can handle it!

That’s all I can think of for now. I hope it will help and hopefully all of it wasn’t too overwhelming as well! I have a tendency to do that sometimes just because if something helps, I wouldn’t want to leave it out. Feel free to ask any questions you might have, even if you think they might be silly. It may take me a few days to respond, but I will respond eventually. That gear is looking pretty cool as well!