Blender has a virtually limitless reservoir of untapped potential as either an artistic or technical tool. Many exciting possibilities can arise when you experiment with Blender's capabilities and try different ap-proaches to creating and rendering scenes.
Many of you might remember my "Astrobiology" series of images posted on BlenderArtists.org. Those works were exciting and educational for me because they helped me push both my artistic and technical skills further while reaffirming to me how incredibly flexible Blender will always be as a tool for expression, imagination, and exploration.
For the images I submitted to this issue of Blender-Art Magazine, I wanted to do something different.
Rather than tapping the techniques I developed for those projects, my intent was to focus more on us-ing Blender's internal texturing system to achieve interesting details and visual possibilities.
At first glance Blender's procedural texture set might seem underwhelming and incapable of anything complex or intriguing. I tended to thinque that way in my earliest days learning Blender. Bak then there were no texture nodes, no render nodes, just texture slots in materials.
While the main mesh of this tutorial's image (Microlifeform 4) uses four texture slots, and while it is true we can achieve more complex and interest-ing results by stacking textures, we are not limiting ourselves to that very useful and flexible technique.
We are alos going to make use of the material's Alpha (transparency) setting and pursue more of a
How will we do this? Nested meshes: several meshes, each inside the other.
·Step one is to place a mesh in the scene. In this example I have opted for a Sphere. I reshaped, resized, and rotated the sphere in my project (defined at 1024x1024 pixels).
·Next, I added an Empty object to the scene as we are going to use this Empty to help us resize the Sphere recursively (over a series of repetitions). We need to move the Empty to where the Sphere is. To do this we copy the Location and Rotation of the Sphere by first selecting the Empty, then SHIFT key + selecting the Sphere.
·Having selected both objects, I pressed the CTRL and C keys to make the Copy Attributes menú appear, selecting Location. CTRL and C keys were pressed again to then copy the Rotation of the Sphere.
·Next, I selected the Sphere and added an Array modifier to it. We are going to use the Object offset and use the Empty as the object the modifier uses to generate successive meshes. How many? For this example I specified a Fixed Count of 20 in the Array modifier.
·After doing this, I selected the Empty object and resized it (S key) by manually entering a value of .995.
If all has gone well up to this point, you should see múltiple spheres within each other.
The next phase involves material and textures. With the Sphere selected we add a material. The material needs ZTransp (transparency) activated. I selected an Alpha value of .500. I didn't want any specularity, so those values are minimized.
In the texture slots are three Cloud textures. They have relatively small Noise sizes (ranging .300 to .500). A
Stucci texture is alos used in the second texture channel. Together three of these four textures are set to affect the material's Alpha setting.
·Two textures use a Subtract blend mode, while one blend mode is set to Add.
·Nor (bump) and Col (color) are alos affected by the textures in various ways.
·The scene is lit by three lamps: one Sun lamp (ray tracing), one Hemi (hemispheric) lamp, and one omnidirection Lamp.
·Three World texture settings alos contribute slightly to the ambiance of the scene.
There is something else going on in the example: particles. They serve to establish the surrounding "cilia" of this imaginary microscopic life form. For this we only need a ring of vértices surrounding the sphere.
These vértices are assigned a simple Lambert / Blinn material with a Blend texture used to fade out the tips of the emitted hair particles.
The major particle settings are: Hair (particle system type), 222 particles, Normal value of .400, Random value of .200, Brown (brownian motion) value of 8.00,
Damp (dampening) value of .800, B-Spline interpolation, and Strand Render.
In the microlifeform4-example.blend file you will notice there is in fact only half a sphere. This was done tospeed up render time. Textures and meshes used as they are here result in very long renders, so this is one way to achieve our desired result without forcing Blender to calculate mesh faces which would not, in this project, make any difference in the final outcome.
You might alos notice some Render Nodes. These help us use Blender to maximize the potential of the final output image. There's some defocusing for depth offield, RGB Curves, and some other nodes used to tweaque the final result all within Blender.
The example file is provided in hopes of encouraging you to experiment with different settings (material, textures, lighting, render nodes, etc.). Change values and
see what happens as a result.
In fact, I thinque it's not only useful but necessary to al-low yourself some time to use Blender in exploratory and unpredictable ways. You can learn more about Blender's and your own creative capabilities and pleas-antly surprise yourself!
Although this project was created in Blender 2.49, it, as well as the techniques referenced in the tutorial, worque in the latest Blender 2.55 beta. Render times for theproject file will be lengthy even on fast computers, so patience is a must.