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224 S 200 W, Suite #250
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The ? mark shows when you have selected several objects with different settings for that parameter (maybe also in other contexts, I don't know).
I have also bought Oso Toon Shader.
Would really appreciate to have some step by step instructions, from start to the end,
of how the promo images was done.
Picked this up because a. Will made it and b. I am really interested in the amazing sketched images and the flexibility of being able to take this into photoshop and really play around with it. I get the feeling that the level of control will be very good with this. Looking forward to using it!
I kind of expect a learning curve for stuff like this, heck, half the utilities and other stuff I buy here have a learning curve. And yes, some items more than others but I honeslty doubt that mcuh of anything in this program is easy straight out of the box lol.
I found the PDF listed at the first post to be a solid basic walkthrough of how to produce an image, at least the Daz parts, which is the only part Oso3d can be sure people have.
I am going to keep playing with it today and I can post more process images of my own work if that would be helpful.
Suggested resources:
https://www.daz3d.com/sketchy-toon-edge-and-art-style-shaders-for-iray can be a great substitute for the Shading pass (although you'll need a separate save file for the Sketchified surfaces).
You can then strengthen outlines with Oso Toon outline pass, and then plug in flat color; all the shading/lighting will come from Sketchy. Soft light can be cool; the sketch lines pick up the color.
FotoSketcher is awesome for a bunch of reasons, chief among them that it's free. One neat function is a procedural paint brushing filter which really creates a sense of brush strokes.
Photoshop has a filter gallery, with some neat options. I particularly like Crosshatch and Smudge Stick. However, control over brush size is kind of limited, so you'll want to adjust the image size and lightness to get the effect you want.
Photoshop's oil paint filter (Filter > Stylize > Oil paint) can create flowing shapes and smears. Also, with Stylize minimized and a good amount of Cleanup, it can smooth out an image, getting rid of speckles.
Photoshop's Filter > Noise > Median is also a good way to clean up and smooth out the colors or shades of an image.
I haven't used GIMP in a while, but I remember liking the ink and pencil filters.
FilterForge has, obviously, lots of great filters. My favorite for this sort of thing are Comic Stylize +weirdness, Crayon Master v2, Crosshatch Drawing, Graphic Novel, and Paint HDRtist.
Finally, as mentioned in the documentation, sometimes a simple two or three tone shading can create a great animated style. What I like to do is create two separate shading copies, and make one 'shadows' and do a threshold so that shadows are about 20-30% prevalent, adjust it to be gray and white. I set that to multiply (sometimes soft light) over the color.
Then the second copy I make so that it's just very sharp highlights, blur it a little, and set THAT to linear add on top, adjust opacity so it's not overwhelming.
Hey, Will, this looks great. I just picked it up last night. I'll probably play with it later today once I get some work done. :)
For some reason I had the impression (maybe because of the setup instructions) that if I applied your shader and then ran a normal render, without doing any of the setup, I'd get normal Iray Results. Alas, I get only blackness?
Anyhow, I'm doing a new render set now, gonna mess around more with the various shading settings.
Oso, do you know why these shoes came out saturated purple in some of these renders? They do have the same shader applied as everything else, and the same settings set on the shader. See first attachment for an example.
Anyhow, here's a sample image I put together A straight composite-with-filters, and the same with some adjustments over the composite and really crappy touchup-work on the face.
dreamfarmer: When you ran things as is, is there lighting? Also, if Max Path Length is set to 1 with normal settings, it's going to look black; a lot of reflected light, well, won't reflect.0
On the first image, it really looks like the shoes are simply on the wrong setting. If I had to guess, I'd imagine Emission Type? is set to Base Color rather than Emission Color (so it's glowing with it's base color)
I actually like this product for the same reason I like the Iridescent shaders. This 'shader' is actually more like an Iray shader mod, adding capacity to the shader that can be used in a lot of unexpected ways.
Here is my test showing my before iray render and after taking a set of Oso Toon Renders into Photoshop and applied the Find Eges filter to some of them and stacking them with various blend modes on top of the Iray Render.
It's an actual _new shader_ rather than a shader preset!
And yeah, I know, Oso3d, re: wrong settings. But the funny thing is.... the shoes are black! I mean, the actual base color assignment is light gray, but the texture file is black. And it's set, for those renders where it's purple, to glow with the emission color. You can see them black in the flat render, sort of pinkish in the MaterialID render and then they're purple for every render (mostly organic-style) after until my final render with the 'for cubes' style lines, they finally stop being purple.
(It's also not reoccuring now when I do the organic-style settings but I'm also getting an entirely different look for my organic shading render results than I was two hours ago so I need to figure that out.)
I wanted to mention that the whole 'flat color via emission channel and light bounce limits' is actually really brilliant. I feel like you've unlocked a box with a number of different wonders in there. Scripting would be good because I think if there was a script to do the light-bounce setting adjust and a few other things (including some I haven't quite pinned down yet) it would be revolutionary for a lot of people.
So I think what I'm getting now is actually the right organic render-pass result. Last time I started with the hard-edged instructions out of curiosity and then switched to the Alternate Base output and got.... texture files as my output for those passes. I noticed it and thought it was a bit odd that things were just like... desaturated renders. But it was what I was getting so I didn't really dig into it. (My first hard-edged, the shoes are tinged purple at the edges but that's it.)
Later, when I went back to doing hard-edged.again, I realized that the organic settings seemed to be impacting that. I'm wondering now if the hard-edged settings were impacting my organic renders, though with some casual tweaking I still can't reproduce what I was originally getting. I changed my light source twice in the process of doing a sequence of renders and I'm wondering now if the colored HDRI I was using early on was reflecting oddly off the shoes... although I still don't understand why I was getting the texture output on the organic shading pass.
Good work Oso. I think I need to play with the shadows a bit more but I like what I'm seeing.
Thanks
Nice result, how are you getting the eyes to render please all I'm getting is a blank grey or colour.
Try setting the Cutout Opacity for Eyemoisture and possibly the Cornea to 0
Cannot locate where to set Emission Type, do you set it under surfaces? - Actually by fiddling around I saw that the shader did not apply after Crtl+A for some reason. Found the option afterward.
Yeah, you have to select all objects and THEN make sure to select all surfaces. It's a little fussy.
Was going to do it with color but the color had a lot of sense of texture... decided sketch style looked better.
Also was happy that the hair count was pretty low, so it converted to fiberhair without a lot of fuss.
Thanks that helped a bit but they still come out rather dark.
Will when I said presets I meant for shader settings for example setting the Emission type, Backscatter etc, preset like the ones you describe in the pdf. Just would have been nice to have some of the presets you use for different passes, rather than adjusting settings constantly to get anything close to the images in the pdf, which I still haven't got.
The problem is that applying presets is about as glacially slow as the initial application of the shader.
It’s MUCH faster to simply change the indicated settings.
I just saved a shader preset using your base and the settings for a shadow pass and it applied in seconds much faster than changing the settings individually each time.
Huh, odd. Wonder why my machine was being difficult.
Glad you were able to set it up to your liking!
I haven't I'm still struggling with things especially the eyes; I just tried a shader preset as I couldn't see why it wouldn't work as the shader seems to be based off the Iray Uber shader.
Also render presets would have been nice to set the max trace etc.
Playing around with Edward and Beard Boss
Hate cross posting, but seems appropriate here.
Really like the shader options, and really just took me one time going through the steps to get what I was doing with these. And I like that the process with the alternate channels lets you keep all your texture maps in place and switch between the modes.
On another render I did have the issue with the eyes, but adjusting the eye moisture and cornea to be transparent on the shading pass worked fine.
Anyway, enjoying this! Thanks!
Great to hear!
I find that the best thing to do with refraction and transparency is revert to the older fashioned method of transparency (IE: Cutout Opacity). Like, you can do a convincing shiny cornea/eye moisture with some metalicity and a low cutout opacity (like .1 or so)
Ah this looks great! On the list!
Oso3d Toon MatID and Flat, with Sketchy for shading, and some layering in Photoshop. Process courtesy of @lain105_eckomars.
Any idea why this is happening with the face texture on the left? I actually reapplied the base textuire and then reapplied the Oso3d Toon texture and it had no effect on this render result.
Random ideas:
Is there a makeup layer?
Double check the luminance units for the face and the rest of the skin; maybe for some reason they were set to different values in the default skin or some previous skin and it wasn't noticeable until using emission. (This is the most likely scenario, I think)
There could be some other difference between face and rest of skin, like translucency or glossy or whatnot; I'd select the face and then, oh, torso and look for any surface parameters with ? indicating they don't match.