Design

Browse Email Marketing Campaigns on Emailium for Inspiration and Ideas

emailium email galleryEmailium, an inspiration database for designers who create email marketing campaigns, opened their public beta today. The site is free to join for now, although it makes no mention of what the prices might be once the public beta is over.

The company describes itself as “A filterable, sortable, categorizable, global database of email campaigns for competitive research, design inspiration and industry analysis.” In other words, Emailium is to email marketing what cssmania.com is to web design. (...)
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Preparing Artwork for Screen Printing in Adobe Illustrator

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Getting t-shirts printed is an ideal way to promote your business, organization or event. They are a promotional item that people can actually use, and they have the added bonus of being an advertisement for you. In this post, Adobe Illustrator will be used to create a three-color screen print using a fictional company logo, and have it set up to allow a screen printer to easily print the color separations that create the separate screens for each color print.

Although some printers prefer to create their own separations, it’s always good to understand the process. Be sure to communicate with your printer as they will specify their requirements, and will often give you tips for avoiding potential issues in the process.

Printing Techniques

As the t-shirt is going to be printed in three colors, we have to create separate artwork for each layer of color. Each of these layers interact with each other to form a complete image.

Images22 in Preparing Artwork for Screen Printing in Adobe Illustrator
Examples of Trap, Knockout and Overprint

There are three artwork techniques commonly used for this type of printing: Trap, Knockout and Overprint. The Trap technique is when the bottom color “bleeds” under the top color, ensuring no gaps are left from inaccurate printing of the second color (when the so-called “registration” between the colors is “off”).

Screen printing is not always an exact printing technique, especially when printing onto fabric surfaces; for this reason the Knockout technique is rarely used, as it relies on printing a color precisely in a gap left on the bottom color. The third technique, Overprint, is the easiest to achieve as the top color prints directly on top of the bottom color; often this produces a new color, as the top ink color is not always opaque.

Preparing Your Artwork File

1. Create Layers for Each Color

The most reliable way to produce artwork for screen printing is to manually prepare it in Adobe Illustrator. Each of the three colors is going to form a separate artwork in a separate layer, using elements from the main image for each color. Using Layers does not affect how your artwork is output by your screen printer; it just makes it easier for you to work on.

Opening the vector artwork in Illustrator presents the graphic in Layer 1. Select the drop-down menu in the Layers window and select Duplicate Layer twice, to produce three layers of the same graphic; name the three layers after their respective colors, as this will help prevent confusion later on. Ensure the order of the colors is correct: the bottom layer is White; the next color layer is Orange; and the top layer is the Dark Red, which will be printed last, on top of the other colors.

Images3 in Preparing Artwork for Screen Printing in Adobe Illustrator
Layers being created and renamed

2. Create a Temporary Background Color Layer

At this stage — because the artwork is being prepared to be printed on a dark t-shirt — create a fourth layer for a temporary background color and name it Temporary Background. A rectangle is drawn the full size of the art board, and given a dark color; this layer will be removed later in the process. Drag the layer to the bottom of the layers, and Lock it. Each color of your artwork produces a separate screen, and the order in which the colors are printed is usually from the lightest to the darkest color.

Images4 in Preparing Artwork for Screen Printing in Adobe Illustrator
A Temporary Background layer is created

3. Remove Excess Objects From the Layer

The first layer to be worked on, is the bottom White layer. Hide the Orange and Dark Red layers by clicking the Eye icon next to their layers, and make sure the White layer is selected in the Layers window by clicking on its name. As the artwork layer was duplicated in full, all the objects of the graphic are on this layer; some objects must be removed, leaving the shapes that form the white outline of the rocket, the text, and the orange fan shapes used in the background.

4. Outline All Strokes

The rocket outline is a solid shape so no further work is needed on the rocket, but the white outline of the text is a thick stroke applied to the text shapes; working with strokes can be unpredictable, so it’s best to create outlines from the stroke by selecting the text and choosing Object ? Path ? Outline Stroke. This ensures consistency if the artwork needs to be resized (Strokes can often be pushed out of proportion when resized with the Scale tool).

Images5 in Preparing Artwork for Screen Printing in Adobe Illustrator
Outline Stroke on text objects

5. Create and Apply a Custom Spot Color

Select all the objects in this layer and apply a light color to each of them. Avoid using absolute white, as you won’t be able to see the objects when checking Separations later. Apply a color of 20% Yellow to the objects and then, in the Swatches window, select New Swatch from the drop-down menu. Name the swatch “White base” and choose Spot Color from the Color Type menu. Even though it’s set to 20% yellow, it will output as a solid color, titled “White base.”

Images6 in Preparing Artwork for Screen Printing in Adobe Illustrator
Creating a new Spot Color Swatch

The swatch now will be in the Swatches window and there will be a dot in the corner to denote a Spot color. The Spot color should be applied to all the objects in the White layer.

Images7 in Preparing Artwork for Screen Printing in Adobe IllustratorImages8 in Preparing Artwork for Screen Printing in Adobe Illustrator
Potential mis-registration of two colours, seen between orange and dark red

Select an Orange object and choose Object ? Path ? Offset Path. Offset the path by 1 mm to make the object larger in shape. Oftentimes printers specify how much Trap they require, similar to how they might specify Bleed. On this artwork, the white background outlines the color objects, but if you wanted the white to be printed directly behind the colors, without a white outline, you could offset the path of the White objects by a minus figure (for example -1mm).

Images9 in Preparing Artwork for Screen Printing in Adobe Illustrator
Left: Before offsetting path by 1mm. Right: After offsetting path to create Trap

7. Deciding on a Spot Color

Once Trap is created for all the orange objects, select all the objects and create a Spot color from the Swatches menu. If you are specifying a Pantone color, name the Spot color with the Pantone Matching System (PMS) reference; otherwise, name it descriptively, in this case, Orange.

Bear in mind that it is often the case that printers have inks that they keep in stock and you could save some cost by using an indefinite “orange” rather than specifying a Pantone color, such as Pantone 179. Additional charges can be placed on inks that have to be bought or mixed for a specific project (especially with smaller print quantities). Talk to your printer and see what your options are, as they might supply you with ink color samples to choose from. Samples are definitely worth paying for; they give you a much better idea of color than swatches do.

Images10 in Preparing Artwork for Screen Printing in Adobe Illustrator
Pantone Colors can be found under Window ? Swatch Libraries ? Color Books

8. Knocking Out for the Trap Below

Once the Orange Spot color is applied to the Orange layer, hide the Orange layer and show the top layer, the Dark Red layer. Again, remove unneeded objects such as the white background elements, but leave the Orange highlight objects.

Images11 in Preparing Artwork for Screen Printing in Adobe Illustrator
Artwork with white base color removed

For each object with an Orange highlight, use the Pathfinder tools (Window ? Pathfinder) to Exclude the highlight color, effectively creating a void in the object shapes. This is Knockout; but as we created Trap on the Orange layer objects, we won’t get any registration issues. When using the Exclude tool, the object takes the color of the top object which is excluded. Change the color back to the original Dark Red using the Eyedropper tool on one of the other other objects.

Images12 in Preparing Artwork for Screen Printing in Adobe Illustrator
The Exclude tool (circled in green) is excellent for removing shapes from within objects

If the artwork was not being split into layers, the Knockout and Trap could be created automatically using overprinted strokes. This does save time but allows less control on the final print and is more prone to errors (such as forgetting to add Trap to objects).

9. Trap is Not Always Necessary

There was no Trap created for the Dark Red text on the rocket, as it will be Overprinted on to the Orange. In situations where the printing area is small, it’s best to not create Trap as the area left open below the Overprinting color usually ends up being insignificant.

Images13 in Preparing Artwork for Screen Printing in Adobe Illustrator
For smaller text and objects, the Trap is too small, so the object is Overprinted instead

Again, select all the Dark Red elements and create a new spot color. If you are using non-specific colors, always supply the printer with a printed proof to allow them to match the color as closely as possible. This printed proof often helps the printer identify issues with your artwork before they move onto the expensive stage of producing film for creating the screens.

10. Checking Your Separations

Once you have completed the last step, you are now ready to prepare your artwork to send to the screen printer. First, you have to set the Orange and Dark Red colors to overprint. Select Windows ? Separations Preview. From the window that opens, first check the Overprint Preview box and then hide the CMYK separations by clicking the eye icon beside CMYK. The temporary dark background should disappear.

Images14 in Preparing Artwork for Screen Printing in Adobe Illustrator
Separations Preview

Check your separations by hiding each color, one at a time, starting with the Dark Red. You will notice that the Trap you created earlier is gone and the white background is only an outline. This happens because the Orange and Dark Red are not set to overprint the colors below them.

Images15 in Preparing Artwork for Screen Printing in Adobe Illustrator
Separation of the three colors before Overprint is set

11. Setting Objects to Overprint

First, uncheck the Overprint Preview box in the Separations Preview window. Then, hide all the layers except the Orange layer (you can also delete the Temporary Background layer; it’s no longer needed). Select Window ? Attributes. With all the Orange objects selected, check the Overprint Fill box in the Attributes window. Do the same with the Dark Red layer, ensuring all the Dark Red objects are selected when you check the Overprint Fill box in the Attributes window.

Images161 in Preparing Artwork for Screen Printing in Adobe Illustrator
Setting Overprint Fill on two colors

12. Recheck Your Separations

Go back to the Separations Preview window and check the Overprint Preview box. You should now see a color variation on the artwork, where you created Trap earlier. If you also look at the White layer, you’ll see that the whole shape is left intact, due to the Orange and Dark Red set to overprint.

Images171 in Preparing Artwork for Screen Printing in Adobe Illustrator
Left: Trap can be seen by darkened area around Orange. Right: White base returns to a solid shape (shown with temporary background, for illustrative purposes)

13. Ensure There are No CMYK Objects in the Artwork

One thing you have to ensure before saving your file to send to the screen printer, is that there are no CMYK elements in your document. This can be checked easily by choosing File ? Print. Select your printer as Adobe Postscript File and click the Output option on the left side. Select Mode as Separations (Host-Based). On the list of colors below, if the printer icons shows next to any of the process colors (Process Cyan, Process Magenta, Process Yellow or Process Black), you have elements in your artwork which are set in CMYK colors.

Images18 in Preparing Artwork for Screen Printing in Adobe Illustrator
Checking for CMYK objects using the Print dialog box

14. Finish Up and Send It Off

Once you are sure your Spot colors will separate as you expect them to, save your file as PDF and send it along with either a JPEG or printed proof. Sometimes printers request the original Illustrator file, in case they need to make alterations themselves. A good printer will check your files, and let you know if there’s an issue before the process of creating screens begins.

Final Note

There are many alternative techniques to prepare your artwork for screenprinting; today’s post concentrates on more manual techniques, for demonstration purposes and also for reliability. Your artwork will probably be output on a different hardware and software configuration to yours; the more complex your artwork, the greater the possibility of errors during output.

There are two areas you must pay close attention to: make sure you are only using spot colors, and ensure all pieces of your artwork get output by the screen printer as you expect it to.

Often, a stray object set to a CMYK value is left somewhere on your artwork, which causes one of two issues: either the screen printer outputs an extra color(s) to film (with which the screens are created), possibly incurring extra cost; or the screen printer only outputs the specified Spot colors, and part of your artwork goes missing on the final print. Use the Separations Preview window to check the different layers of your artwork, making sure colors overprint where they should and that all pieces of your artwork are present and correct.

It’s important to strike up a good relationship with your screen printer, whether they are a local company or one you found on the Web. They can give you vital advice, and could potentially spot mistakes before the screens are made or any t-shirts are printed. Also, if they’re a local business, try to get a tour of their print shop; screen printing is a great process to observe, and being familiar with the process is a great help when making design and preparation decisions.

Further Resources

(ik) (rs)


© John Rainsford for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Using the LESS CSS Preprocessor for Smarter Style Sheets

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As a Web designer you’re undoubtedly familiar with CSS, the style sheet language used to format markup on Web pages. CSS itself is extremely simple, consisting of rule sets and declaration blocks—what to style, how to style it—and it does pretty much everything you want, right? Well, not quite.

You see, while the simple design of CSS makes it very accessible to beginners, it also poses limitations on what you can do with it. These limitations, like the inability to set variables or to perform operations, mean that we inevitably end up repeating the same pieces of styling in different places. Not good for following best practices—in this case, sticking to DRY (don’t repeat yourself) for less code and easier maintenance.

Enter the CSS preprocessor. In simple terms, CSS preprocessing is a method of extending the feature set of CSS by first writing the style sheets in a new extended language, then compiling the code to vanilla CSS so that it can be read by Web browsers. Several CSS preprocessors are available today, most notably Sass and LESS.

Less-css in Using the LESS CSS Preprocessor for Smarter Style Sheets

What’s the difference? Sass was designed to both simplify and extend CSS, so things like curly braces were removed from the syntax. LESS was designed to be as close to CSS as possible, so the syntax is identical to your current CSS code. This means you can use it right away with your existing code. Recently, Sass also introduced a CSS-like syntax called SCSS (Sassy CSS) to make migrating easier.

If It Ain’t Broke…?

By now you might be thinking, “So what? Why should I care about these things, and how exactly will they make my life as a Web designer easier?â€� I’ll get to that in a moment, and I promise it will be worth your time. First, let me clarify the focus of this article.

In this tutorial, I’ll be using LESS to demonstrate how CSS preprocessing can help you code CSS faster. But that doesn’t mean you must use LESS. It’s my tool of choice, but you may find that Sass fits your workflow better, so I suggest giving them both a shot. I’ll talk a bit more about their differences at the end of the article.

I’ll start off by explaining how LESS works and how to install it. After, I’ll list a set of problems that large CSS files pose, one by one, and exactly how you can use LESS to solve them.

Let’s go!

Installing It

There are two parts to any CSS preprocessor: the language and the compiler. The language itself is what you’ll be writing. LESS looks just like CSS, except for a bunch of extra features. The compiler is what turns that LESS code into standard CSS that a Web browser can read and process.

Many different compilers are actually available for LESS, each programmed in a different language. There’s a Ruby Gem, a PHP version, a .NET version, an OS X app and one written in JavaScript. Some of these are platform-specific, like the OS X app. For this tutorial, I recommend the JavaScript version (less.js) because it’s the easiest to get started with.

Using the JavaScript compiler is extremely easy. Simply include the script in your HTML code, and then it will process LESS live as the page loads. We can then include our LESS file just as we would a standard style sheet. Here’s the code to put between the <head> tags of your mark-up:

<link rel="stylesheet/less" href="/stylesheets/main.less" type="text/css" />
<script src="http://lesscss.googlecode.com/files/less-1.0.30.min.js"></script>

Note that I’m referencing the less.js script directly from the Google Code server. With this method, you don’t even have to download the script to use it. The style sheet link goes above the script to ensure it gets loaded and is ready for the preprocessor. Also, make sure that the href value points to the location of your .less file.

That’s it. We can now begin writing LESS code in our .less file. Let’s go ahead and see how LESS makes working with CSS easier.

1. Cleaner Structure With Nesting

In CSS, we write out every rule set separately, which often leads to long selectors that repeat the same stuff over and over. Here’s a typical example:

#header {}
#header #nav {}
#header #nav ul {}
#header #nav ul li {}
#header #nav ul li a {}

LESS allows us to nest rule sets inside other rule sets, as a way to show hierarchy. Let’s rewrite the above example with nesting:

# header {
  #nav {
    ul {
      li {
        a {}
      }
    }
  }
}

I’ve omitted the content from the selectors for simplicity, but you can see how the structure of the code quickly changes. Now you don’t have to repeat selectors over and over again; simply nest the relevant rule set inside another to indicate the hierarchy. It’s also a great way to keep code organized because it groups related items together visually.

Also, if you want to give pseudo-classes this nesting structure, you can do so with the & symbol. Pseudo-classes are things such as :hover, :active and :visited. Your code would look as follows:

a {
  &:hover {}
  &:active {}
  &:visited {}
}

2. Variables For Faster Maintenance

We usually apply a palette of colors across an entire website. Any given color could be used for multiple items and so would be repeated throughout the CSS code. To change the color, you’d have to do a “Find and replace.”

But that’s not quite it. You could also isolate those values into separate rule sets; but with this method, the rule sets would keep growing as you add more colors across the website, leading to bloated selectors. Here’s what I’m talking about:

#header, #sidebar .heading, #sidebar h2, #footer h3, .aside h3 { color: red; }

To make a simple color change, we’re faced with long selectors, all dedicated to that one color. It’s not pretty. LESS allows us to specify variables in one place—such as for brand colors, border lengths, side margins and so on—and then reuse the variables elsewhere in the style sheet. The value of the variable remains stored in one place, though, so making a change is as simple as changing that one line. Variables start with an @ and are written like this:

@brand-color: #4455EE;

#header { background-color: @brand-color; }
#footer { color: @brand-color; }
h3 { color: @brand-color; }

In LESS, variables also have scope, so you could use variables with the same name in various places; when they’re called, the compiler would check for the variable locally first (i.e. is there anything with that name where the declaration is currently nested?), and then move up the hierarchy until it finds it. For example, the following code:

@great-color: #4455EE;

#header {
  @great-color: #EE3322;
  color: @great-color;
}

…compiles to:

#header { color: #EE3322; }

3. Reusing Whole Classes

Variables are great, but we often reuse more than single values. A good example is code that’s different for every browser, like the CSS3 property border-radius. We have to write at least three declarations just to specify it:

-webkit-border-radius: 5px;
-moz-border-radius: 5px;
border-radius: 5px;

If you use a lot of CSS3, then this sort of repeating code adds up quickly. LESS solves this by allowing us to reuse whole classes simply by referencing them in our rule sets. For example, let’s create a new class for the above border-radius and reuse it in another rule set:

.rounded-corners {
  -webkit-border-radius: 5px;
  -moz-border-radius: 5px;
  border-radius: 5px;
}
#login-box {
  .rounded-corners;
}

Now #login-box will inherit the properties of the rounded-corners class. But what if we want more control over the size of the corners? No problem. We can pass along variables to the “mixin” (these reusable classes are called mixins) to get a more specific outcome. First, we rewrite the original mixin to add the variable we want to manipulate:

.rounded-corners(@radius: 5px) {
  -webkit-border-radius: @radius;
  -moz-border-radius: @radius;
  border-radius: @radius;
}

Now we’ve replaced the values for a variable, and we’ve specified the default value inside the parentheses. To give mixins multiple values, you’ll just need to separate them with a comma. Now, if we want our #login-box to have a border radius of three pixels instead of five, we do this:

#login-box {
  .rounded-corners(3px);
}

4. Operations

Variables let us specify things such as common palettes of colors, but what about relative design elements, like text that’s just a bit lighter than the background, or an inner border that’s one pixel thicker than the outer border?

Rather than add more variables, we can perform operations on existing values with LESS. For example, we can make colors lighter or darker or add values to borders and margins. And when we change the value that these operations depend on, they update accordingly. Take the following:

@base-margin: 25px;
#header { margin-top: @base-margin + 10px; }

This gives the #header element a top margin of 35 pixels. You can, of course, also multiply, divide and subtract, and perform operations on colors like #888 / 4 and #EEE + #111.

5. Namespaces and Accessors

What if you want to group variables or mixins into separate bundles? You can do this by nesting them inside a rule set with an id, like #defaults. Mixins can also be grouped in this way:

#defaults {
  @heading-color: #EE3322;
  .bordered { border: solid 1px #EEE; }
}

Then, to call a variable and a mixin from that particular group, we do this:

h1 {
  color: #defaults[@heading-color];
  #defaults > .bordered;
}

We can even access values of other properties in a given rule set directly, even if they’re not variables. So, to give the sidebar heading the same color as your main h1 heading, you’d write:

h1 { color: red; }

.sidebar_heading { color: h1['color']; }

There’s not much difference between variables and accessors, so use whichever you prefer. Accessors probably make more sense if you will be using the value only once. Variable names can add semantic meaning to the style sheet, so they make more sense when you look at them at a later date.
A couple more things to mention: You can use two slashes, //, for single-line comments. And you can import other LESS files, just as in CSS, with @import:

@import 'typography';
@import 'layout';

To Conclude

I hope by now you’ve got a pretty good idea why CSS preprocessors exist, and how they can make your work easier. The JavaScript version of the LESS compiler, less.js, is of course just one way to use LESS. It’s probably the easiest to get started with, but it also has some downsides, the biggest one being that the compiling takes place live. This isn’t a problem on modern browsers with fast JavaScript engines, but it might work slower on older browsers. Note that less.js actually caches the CSS once it’s processed, so the CSS isn’t regenerated for each user.

To use the generated CSS instead of LESS in your markup, you can compile your files using the various other compilers. If you’re on OS X, I suggest trying out the LESS App, a desktop app that watches your LESS files for changes as you work and automatically compiles them into CSS files when you update them. The Ruby Gem has the same watcher functionality but is trickier to install if you’re not familiar with Ruby (see the official website for details on that). There are also PHP and .NET versions.

Finally, LESS isn’t your only option for a CSS preprocessor. The other popular choice is Sass, but there are still more options to check out, such as xCSS. The advantage of LESS is that it uses existing CSS syntax, so getting started is just a matter of renaming your .css file to .less. This might be a disadvantage if you dislike the CSS syntax and curly braces, in which case Sass would probably be a better choice. There is also the Compass framework available for Sass, which is worth checking out if you go with Sass.

(al) (sp)


© Dmitry Fadeyev for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Design Creative Holiday Gifts for Your Clients

choosing gifts for clientsAs a freelancer, you are in charge of everything—from invoicing and collections to fun stuff like giving yourself an annual bonus. So, when it comes to giving holiday gifts to your clients, the choice is entirely yours. On the one hand, most clients don’t expect to receive gifts from small vendors or independent contractors. On the other hand, unexpected extras are a great way to remind your clients why they love you.

Just one note of caution: Don’t fall into the trap of “promotional gifts.” Nobody wants to receive a gift that is an obvious gimmick. Steer clear of the cheap and cheesy. This means: No refrigerator magnets; No desk calendars with your logo on the front; and by all means, please, no plastic letter openers. These things aren’t gifts they’re marketing. I’m not saying that promotional gifts don’t have their place, we all love free schwag, but holiday gifts shouldn’t scream “Look at me!”

Instead, give your clients something that shows how creative you can be without looking like an advertisement—in other words, something they’ll appreciate that won’t wind up in the garbage the minute after they open it. Here are some unique gift ideas for clients to spark your imagination. (...)
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Post-Production Trends in 3D Visualizations

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 in Post-Production Trends in 3D Visualizations  in Post-Production Trends in 3D Visualizations  in Post-Production Trends in 3D Visualizations

Post-production might well be the most underappreciated part of creating 3D visualizations. It gives you the power to easily make some changes; put in the sky you like, add some dirt, make the colors more vibrant and even correct some little mistakes in your 3D mesh.

Most of the traditional 3D artists tried to do as much as possible wihtin their 3D package since these packages were not focusing on post, but rather on the 3D products themselves. Rendering masks for the different color corrections one would like to do was a painstaking job of fixing the lighting and materializing — making artists choose to do most of the work in 3D (such as adding dirt and textures) and so leaving only color correction for post-work.

The techniques and styles of correcting images in post-production have changed a lot over the last couple of years. First, we shall take a look at some of the trends and techniques that are happening right now. Next to that, we will take a look at the most impressive architectural visualization shot that CGI has ever seen and at the post-production in that shot. Next to that, the trend it started in terms of post-production.

Different Styles of Post-Production

This is what a 3D image should look like according to the corporate industry. Basically, what you do is the following: take a render, do some minor color correction and add some glow. Despite the fact that this is mostly considered standard, it should belong to the past. There are a lot of techniques out now to create better looking, more beautiful images with the help of post-production software. Let’s look at some examples.

Trazar in Post-Production Trends in 3D Visualizations

This image, created by a Dutch company called “Trazar” explains exactly what the “standard” is. The image looks great and a client would absolutely love it because the building is so clearly visible, but it looks too perfect. So to a 3D specialist, it still looks fake.

Some things that immediately come to mind:

  • Everything is completely balanced; you can see the sky clearly (it is not too bright), but you can also see every little detail in the shadows.
  • There is a blank spot at the horizon, which is odd, because it’s situated in the middle of a city.

Here is another example, made by a company called “Archiform”. This render too looks very realistic, but still doesn’t look quite as good as it could with some heavy post production.

Archiform1 in Post-Production Trends in 3D Visualizations

Same thing here:

  • The colors are too vibrant.
  • The glow of the sky makes the trees blue

Degraded Photorealism

A synopsis to explain what I’m talking about. Degrading your images in post with scratches, vignetting, lens blur and many more things, making your image look more like a photo taken by a (bad or old) camera that uses film rather then a 3D render. What we make in our 3D packages can look perfect: our edges can be exactly 90 degrees (or 89 for that matter), our tabletops can be completely clean without dents in them, as well as that we can produce images in low light condition with an ISO of 6400 without a single drop of grain in the final images.

This technique focuses on how to overcome the perfectness of 3D. It is unmistakably the most popular post-production trend at the moment used in non-corporate 3D visuals. Let’s look at the only example needed to illustrate this technique. This video is made by Alex Roman, a 3D visualization expert.

The Third & The Seventh by Alex Roman.

Now, the first thing that’s noteworthy is that everything except the people and the birds is 3D. The art of 3D visuals has come a long way and if we would give a good 3D artist one year of free time on his hands to make whatever he wants, this is what he would come up with (at least, “Alex Roman” did).

Alex Roman’s “The Third & The Seventh” shook-up the 3D world by using a great cinematic style to make the architecture stand out. Most of the time, you don’t even realize it’s 3D.

So, what part of this is done in his 3D package, and what part is done in post? To let Alex answer the question himself, here is another video of the compositing breakdown. He shows a wireframe or smooth shaded view of the model inside 3D studio max, after that the bare render. Each next frame includes a new step of post-production.

Compositing Breakdown (T&S) by Alex Roman.

As we can clearly see he replaced the sky, added people, corrected the color and added some other visual elements in post. Those things are purely decorative. What really sets the mood, is the use of vignetting, lens flares and lens blur. He makes it look like this was a movie shot in the early nineties. Don’t get confused, it is not only the post-production that made this mood happen (cameramen wearing somewhat classic clothing, etc.), but this is certainly something that helps a lot! This movie would have been completely different if it hadn’t been corrected in post.

Techniques

Let’s discuss how we can achieve this effect, and look at the stuff that will work, and how the same stuff, applied in a wrong way, won’t work. In the examples below, these effects have been exaggerated to see the difference clearer. I’ve had to limit myself to a couple effects since it is simply too much to discuss all of the techniques that can be used. The ones I’ll describe below should get the basics though.

Grain in Post-Production Trends in 3D Visualizations
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When using old cameras with film, there are pictures that often show grain in the darker areas of the image because the film won’t pick up the details in the darker part of the image. This effect can easily be achieved in our post-production package. I used photoshop in this case.

Do:

  • Make the effect barely visible, only noticeable if you look good.
  • Use plugins like “NIK color effects” that can simulate actual grain from a certain film. This will boost the credibility of the grain.

Don’t:

  • Add noise in brighter areas of the image, this will look unrealistic.
  • Overdo it. Some noise is good, but don’t make it disturbing, the end product should still look good.

Vignette in Post-Production Trends in 3D Visualizations
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Vignetting can have different causes in photography. The main cause is using a cheap lens / camera. Most of the time this effect is unwanted, but sometimes it can create an image that centers your eye, or guides it to a specific part of the image.

In post, we can use two types of vignetting; one brightens the middle of the image, the other darkens the edges. Normally, the second one is used, since the 3D render still has to maintain its function of showing the subject properly 6mdash; if it’s too bright, this isn’t always possible.

Do:

  • Add vignetting to your renders! It looks cool.

Don’t:

  • Tell your client about is, they won’t like that you are degrading otherwise perfect images just too make them look cool. If you use this effect moderately, they probably won’t even notice.
  • Overdo the effect. This will make your image look very dark, and might not fit its purpose.
  • Add them when you are rendering studio setups and such. The effect needs to be believable. Studio cameras are often setup to not have vignetting; so when applied in this case, it won’t look realistic but rather disturbing.

ChromaticAberations in Post-Production Trends in 3D Visualizations
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Chromatic aberrations are caused by a lens that refracts the light spectrum in different ways on different places. Like with a prism, the light will disperse and fall on the sensor incorrectly.The effect will occur more on wide-angle lenses rather then tele-lenses.

It’s is a very subtle effect and will pretty much only show up in the corners and on the side of the images (unless your camera equipment is really bad). If you look in the circle drawn in the image above at the black beam, there is a red, blurry line next to it, that’s chromatic aberration (CA).

Do:

  • Use it (heavily) when you have rendered with a wide angle lens and adapt the amount of chromatic aberrations when using a tele-lens.
  • Make sure you use the correct color slider; the most often occurring colors of CA are red and green. In photoshop, you can also make blue and yellow ones.

Don’t:

  • Overdo the effect (again? yes again!). This is really important. All of these effects should be only very subtle to make them work. You are trying to make it look like a stylized photo, not like you screwed up your image in post.
  • Add it in the center of the image, it will look disturbing instead of realistic.
  • Add it in the beginning of the post; make sure to make this one of your last steps so that the colors of the aberrations are not effected by your color corrections.

Color in Post-Production Trends in 3D Visualizations
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This is were the fun begins. Color correction. The most common thing is to look at “lomography” photographs; they have huge amounts of saturation, produce those artifacts we want to see, and still manage to look stunning. This step is somewhat personal, and I can see why some people don’t like this effect, but I personally like to take this step over the top.

In this image I’ve added a bunch of adjustment layers:

  • Three gradient maps (set to various blending modes).
  • One color balance.
  • One black & white layer set to soft light.
  • A levels adjustment.

All of the layers have a very low opacity (less than 25%) to make the effects subtle, but visible. A little side note; before I added these, I made sure my image was “correct”. No overexposed areas, no huge amounts of contrast and no unsharp areas.

Now, all of these effects standing alone might not be very cool, but added together, it gives a completely different feel to the scene.

Final in Post-Production Trends in 3D Visualizations
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One thing to keep in mind, is that the render you start out with, has to look good already. It has to look somewhat photorealistic to make these effects work. If you start out with a simple render with simple materials that on its own doesn’t look convincing; you should work on those qualities first. After that, you can let yourself go in post to degrade the images again.

Next to the effects described above, there is a ton of stuff you can add; blooming, lens flares, haze, depth of field, motion blur, etc. I have just scratched the surface here. Check the “More to Read & Watch” section for some tutorials and interesting articles.

Hybrid 2D / 3D Visualization

Another upcoming trend is to use 2D in conjunction with 3D to create pictures that look like they were painted or drawn, but were the geometry was made in 3D. This movie is made by CMI studio — this technique is relatively new and uncommon, but I think it’s noteworthy simply because it looks great! Let’s look at an example of this technique:

If you take a good look at the movie, you will find a lot of things that are peculiar, and normally don’t happen in a 3D company. The rendered image is printed out, drawn over, the drawing is scanned, and that is the one getting color. So the 3D part isn’t visible in the end product at all! Check the “More to Read & Watch” section for some “making of” videos. I think this is one of the upcoming new things that will become greatly used in the upcoming years.

Wrapping Up

The last couple of years, the amount of post-production has grown, most things are easier to add into post, than in your 3D package.

Despite the fact that it has been growing in the corporate way (Because that’s where the money is), I think artist will start showing more of what they can do in post, and the companies buying 3D renders will soon realize that stylized images look much better than the plain, blend ones without some sort of a feeling too it. Adding real-life imperfections to your renders should be something that has to be done a lot more often.

Nothing in the world is perfect, your 3D renders shouldn’t be either!

More to Read & Watch

Would you like to see more articles on 3D / Visualization on Smashing Magazine?


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© Roland Peelen for Smashing Magazine, 2010. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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