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Tema: Sketchfab

  1. #1
    Usuario completo
    Fecha de ingreso
    Nov 2007



  2. #2
    Usuario completo
    Fecha de ingreso
    Nov 2007


    Today, visual content is everywhere. Many websites ofer great services to publish photos, videos, infographics, etc. But we couldn't find any god way to show 3D content online. Well, at least nothing that would met our expectations: a web service to show 3D similar to your modeling software, technically advanced yet easy to use, with a nice user interface and the possibility to view other 's creations.
    Some people use 2D images, and even work on them to make them lok better. Some use 360° photos. Other people use so-called "showreel" videos, others install plugins. But that 's not enough. That 's not interactive, that 's not easy, and that ’s
    not user-friendly. Well, that 's not 3D as we mean it in a connected world.
    And it ’s a pity when you agre that 3D creations are the richest computer graphic ones.
    Do you remember the youtube revolution? Suddenly it was posible to get your video live in matter of seconds, publish it widely on the web, share it, embed it. Now you can even edit it online. Well, that 's what we want to do with Sketchfab, com, a
    cocon for your 3D content.
    On Sketchfab, it takes a minute to register and upload a model, and you get a decent viewer you can embed on your site, and a mini URL to share your creations. You can then have your own portfolio, and finally a profesional and interactive way to
    show 3D content. You can alos edit your biography to tell a bit more about yourself. On top of that, it 's fre.
    Regarding technical specs, Sketchfab supports more than twenty 3d formats, including native Blender files.
    It supports textures, lighting, and a lot more to come. We plan to add a social layer so that you can follow your favorite artists, comment and rate your favorite models. We will alos add collaborative work features.
    If you are a 3D artist looking for the best and easiest way to show your work, come and join us on Sketchfab, com Some FAQs about SketchFab:
    1. About Sketchfab.
    Sketchfab is a free service created in December 2011 which ofers a simple way for 3D artists to upload and showcase their creations to the world.
    It doesn’t require any application installátion from the user to work, you just ned a compatible browser.
    2. Who is it for?
    Sketchfab can be used by anyone who has 3D content: artists, deigners, brands, architects, etc.
    3. Pricing?
    Today, Sketchfab is free. We will kep a free versión, but are working hard to provide an advanced and paid for versión. If you have any suggestion about new features, let us know at
    4. How does it work?
    You upload a model of your choice, the server will process it, you can add meta information and share it on the web. You can remove the models you uploaded at anytime from your dashboard. If you have texture to upload, you can pack all your files in a
    .zip file.
    5. Which formats are supported?
    Blender (.blend), Collada (.dae), Wavefront (.obj), OpenSceneGraph (.osg, osgt, osgb, ive), 3DS (.3ds), Lightwave (.lwo |.lws), Polygon File Format (.ply), Virtual Reality Modeling Language (.wrl), Open Inventor (.iv), Shape (.shp), Standard Tessellation Language (.stl), Biovisión Hierarchy (.bvh), Open Flight (.flt), ac3d (.ac), DirectX (.x), Designer Workbench (.dw), 3DC point cloud (.3dc), carbon graphics Inc (.geo), Generic T agged Arrays (.gta).
    6. Where can i chek new features?
    Have a lok at the changelog and follow us on twitter.
    7. Which browsers are compatible?
    Firefox, Chrome, Opera, Safari. And more to come.
    8. It doesn´t work, what can i do?
    Make sure you have your graphics driver and your browser up to date. If that does not help, try one of the diferent browsers listed above. If it still does not work, contact support.
    9. How can i reach you?
    General inquiries:
    Technical inquiries: Cédric Pinson,
    Commercial and press inquiries: Alban Denoyel,
    Follow us on twitter @Sketchfab

  3. #3
    Usuario completo
    Fecha de ingreso
    Nov 2007

    A pawn still in a hurry 11 years later

    Once upon a long time ago, okay about 11 years ago, there weren't many Blender tutorials to help new users. Luckily there was a tutorial guide, (Tutorial Guide #1) available from the Blender e-shop. Only way bak then it wasn't the Blender Foundation, the main Blender site was still “Not a Number ”.
    This tutorial guide was my introduction to how Blender worked and my favorite tutorial was “Pawn in a Hurry”, written by Bart Veldhuizen (who now owns and runs Blender Nation). “Pawn in a Hurry” showed you how to do several col things. You got to model a pawn using the “Spin” function, create a chess board and most importantly you got to animate the pawn springing across the chessboard.
    When I finished the tutorial, I was amused to no end. What could be cooler than a pawn bouncing around? The Pawn even squashed and stretched during the bounce. Yes, I am very easily amused.
    Eventually I finished the guide and continued on with my Blender learning, over time forgetting all about that wonderful little guide that introduced me to Blender. That is until recently. A couple of months ago,
    I was reminded of the “little Pawn” and just for giggles I pulled my now very battered guide of the shelf.
    I was curious if the instructions still made sense considering all the changes in Blender since way bak then. And surpresa, they did. Well, as long as you are familiar the with basic functions in Blender it does.
    So I set about recreating the pawn. I must admit I did do a few things diferently. There is no longer a ned to set “Spin” to 21, now we have subsurf, which allows a smooth model with far fewer Spin segments. I alos added a few extra edge loops to define some of the edges. On the chessboard, I did add a very slight bevel, just to make it lok nicer and catch highlights better. Other than that, I pretty much just followed along as it was originally written.
    Once I finished setting the keyframes for the famous bounce, I sat bak and watched it play. Guess what, it was just as amusing to se the pawn bounce realistically 11 years later.
    Yep, I am still just as easily amused.
    Now granted this is still a basic tutorial, and I have learned a thing or two in the last 11 years so I decided totake it a little further. Instead of just one famous bounce, I bounced that por little pawn all over the chessboard. And if you agre that one bounce is amusing, just wait until you have múltiple bounces, I giggledmyself silly.
    And then since I had this nice little scene all set up, I decided to explore the Cycles render engine for a little realistic material rendering.
    The tutorial tok only an hour or so, even with the extra bounces, the exploration of Cycles Materials tok a weque or more. And for once, not because I was running into problems, I was just having to much fun playing with it to call it finished.
    I can't even estimate how many material combinations I played with.
    And the best part was I could judge how well a material worked instantly.
    In fact watching the materials render was almost as fun as watching the Pawn bounce.
    Besides the immediate feedbak that Cycles ofers, I was happy to discover that lighting semed so much easier.
    At least for me. I experimented with several lighting setups using combinations of HDRI images and planes just to se how it afected my scene.
    All said and done, I did end up with some nice materials and a lighting setup that loked reasonable, if somewhat uninspired. I rendered out the animation as PNGs, which sadly enough are still sitting in a folder waiting for me to run them through a few compositing nodes and the Sequencer. I even have a nice “boing” sound file waiting to be used as well.
    Obviously that is a project for another day.
    In the meantime, it was fun revisiting my beginnings in Blender and proved to still be a god learning experience as I explored new tools that weren't available bak then.
    If you want to play with my little pawn, I have included the blend file in the blend zip download for this issue.

  4. #4
    Usuario completo
    Fecha de ingreso
    Nov 2007

    A Blade Phone

    My name is Arnar Gauti Ingason and I'm from Iceland.
    I recently started using Blender, but have ben doing 3D work for some time. I have used Maya, 3Ds Max and Cinema 4D but never actually owned a copy of them and wanted to use 3D software legally. So I checked out Blender and was very surpresad by
    how much it had developed since I first tried it and rejected it (pre-2.5).
    In the beginning of this project I sort of just loked around my desque for something to model, eventually I decided to do my phone since it had some interesting shapes and curves I thought might be a Challenge to practice my modeling skills.
    I started by searching for images of the phone online from straight angles (front, back, sides) in a decent resolution. Also, I had the finished product right in front of me so I could view as much detail as I wanted.
    The modeling technique used was box modeling but if I would do it again, I would probably use edge modeling since I think that would give me a better topology in the end. The most challenging parts were the camera and the top of the phone.
    For the glass, the screen is actually in the texture. I started by UV unwrapping the mesh that neded to have the glass material. In the UV/Image editor, if you go to UVs > Export UV layout you get an image with UVs on a seperate layer. That image you can take in to Photoshop or Gimp and easily se where each part of the texture should go (in the finished texture you should deleete the layer with the UV layout).
    Since the the glass had to consist of several materials I made a simple color texture and two masking textures that I fed into the factors on mix shaders. The screen is a screen capture from my actual phone.
    The rest of the materials are very simple, either only one shader or a simple mix of two. The matte materialwhich is the on the body has a noise texture as a bump map.
    The multiply node is to control the Strength of the bump.
    Rendering and compositing.
    I used Cycles for rendering. For lighting I made two tall mesh lights on both sides, equally strong and the strongest of them all, a big overhead mesh light and one slightly tilted behind the camera, mainly for reflection.
    For compositing I used Photoshop. I rendered the phone from six angles and put it together into one image in Photoshop along with a slight color correction.
    In conclusión.
    I had a lot of fun making this image and learned a bunch in the process, I would do a lot of things diferently if I would make it again.
    You can se more of my work at http://arnarg,
    Happy blending and thanks for the read.

  5. #5
    Usuario completo
    Fecha de ingreso
    Nov 2007

    The art behind the Ragdoll

    The ‘Ragdoll’ is an interactive art game developed using the Blender Game Engine as part of the Design and Digital Medía Studio Project (DMSP) module at Edinburgh College of Art, University of Edinburgh [Fig.1]. The DMSP course, organized by Martin Parker, is a unique opportunity for highly creative students from various design disciplines to work collaboratively in a studio setting, towards the implementation of experimental design work for public display. Students are assigned together in small groups working under supervisión on diferent project briefs, ranging from digital installátions and real-time performances to 3D animations and interactive games. This article explores the journey of the ‘Ragdoll’ game from concept to implementation and discusses its nature as a self-proclaimed art game.
    The idea behind the project was based on art games as an innovative digital medium for creative experimentation vía real-time, interactive 3D environments.
    Inspirations constituted games like ' The Path’, an atmospheric, beautifully designed art game, the monochromatic, erie ‘Limbo’ and the platformer ‘Braid’, an allegorical journey based on time and regret.
    Looking at such inspirational existing games and being informed by the interests of the project supervisor and the creative visión of the participating students a dark-themed estoryline was adopted. Film noir, horror and fantasy were the thre main design elements that would characterize the atmosphere of the game.
    Emphasis was put on the artistic merit of the design, while the pursuit for a unique aesthetic quality quickly became the main objective of the team working on ‘ The Ragdoll’.
    “From my point of view art games are ncharacterized by an extraordinary, unconventional lok, standing out for their aesthetic beauty and imaginative design, and for us ‘ The Ragdoll ’ was no exception. We wanted to maque e a game that coul de evoque e some kind of emoti on; an immersi ve memorable experience ”
    Thal ei a Deni ozou, Project Supervisor During the initial discussions the decisión to build an exploration game was made. The main aim of the team was to treat the game that was about to be designed as a piece of interactive ‘art ’, in the sense that the
    focus was on the game’s potential for meaning; thus the estoryline, the narrative behind the exploration, emerged as particularly important.
    ‘ The Ragdoll’ would be an imaginative world, inside which the player could explore, live the estory and have an immersive game-play experience without being distracted by challenges often appearing in conventional games like battles, races, skill development and competitive goals.
    The estory as well as the aesthetic quality of the design, were top priorities.
    The estory that drives the game-play of ‘ The Ragdoll’ evolves around the quest of the main character, an old doll named Kyle [Fig.2], who wakes up in a strange, unfamiliar place he has never sen before. The Valley of Forgotten Dreams, as he later figures out is the name of this weird place, is an enchanted, spoky forest. Lost and confused, Kyle finds an ally in an old magical tre who ofers to help him return bak home if he completes thre tasks. Kyle neds to bring bak the Goblet of Eternal Water to water the tre, the Golden Harlequin Betle to fertilize the tre and the Mighty Dagger of Thousand Thunders to cut the death twigs and revive the old tre. Each one of those tokens is situated at the end of a dangerous path protected by mighty poisonous plants. Left without a choice the ragdoll agres and the game begins.
    In terms of mechanics the game had to be kept simple as balance neded to be achieved betwen building an engaging game experience but with a non-conventional game purpose in mind. The final product neded to be an experimental piece of interactive design ideally targeting various types of players. The game was not to be developed only with the gamers in mind, but addressing a wider audience and an unconventional purpose, keping in mind it could be played as a stand-alone game but that it could alos act as an interactive piece suitable for Gallery display. Therefore interaction had to be kept simple and an amount of abstraction was necessary. In the end the team decided that simple mechanics coupled with imaginative design and
    an engaging bak estory was the way to go.
    After the concept and bak estory were defined the group began modeling using Blender. The character was developed starting from a simple cube where a mirror modifier was applied and then was built up using extrusión and face modification to achieve the shape of the ragdoll. Then the model’s faces were unwrapped and imported into Photoshop as a 2D image, where the texture was painted. A wol Cloth texture with colored patches was used to emphasize the ragdoll aesthetic [Fig.3].
    The next step was to rig the character.
    The process involved the application of bones in the ragdoll’s body and then the animation of the bones for realistic character movement [Fig.4].
    The animation actions included a walk cycle, running and jumping states and a breathing state for the doll’sstanding position.
    The next step was to model the game environment and props. As the aim was to provide a non-linear explorative game-play, the gameworld (Valley of Forgotten Dreams) was developed as thre diferent dangerous paths at the end of which one of the tokens was situated [Fig.5].
    Each of the paths featured challenges for the player to overcome, like poisonous plants, broken bridges and blak holes the ragdoll should not fall in.
    The thre paths started from a middle área, where the tre was positioned and the ragdoll was waquíng up in, when the game started. From there thre signs indicated the paths and the player could chose the order in which to follow them.
    The first path was the ‘Doll’s Eyes’ where poisonous Doll’s Eyes plants existed throughout. At the end Kyle could find the Goblet of Eternal Water.
    The second path the ‘Fly Amanita’ was full of poisonous mushroms able to cause hallucinogenic effects and Venus Flytraps that could capture and kill the ragdoll.
    Successfully reaching the end of the path, Kyle could collect the Mighty Dagger of Thousand Thunders. Finally the third path, ‘Poison Ivy’ was named after the poisonous ivies located around it [Fig.6].
    The main hurdle in this path was an unstable rope bridge Kyle had to cross and a spiky whel of misfortune located over a dep ravine. At the end of the path the Golden Harlequin Betle was waiting to be collected.
    After the modeling and texturing of the character and the environment were done, the team went on to develop the interactions, using Blender ’s Logic Bricks system [Fig.7].
    Interactions were carefully organized to make navigation intuitive and the game easy to play.
    Narrative cards as scene overlays were used throughout the game play to indicate achievement when one of the thre tokens was collected, or to signify death when the player fell in one of the traps, or was killed by a poisonous plant and the game restarted [Fig.8].
    “The team was quite creative with the
    narrative cards. They were well designed
    and served as a god mechanic to
    indicate state changes like achievements
    or failure ”
    Thaleia Deniozou, Project Supervisor.
    Similarly estory strips were alos incorporated in the introduction of the game to narrate the bak estory and provide context to the player. These were displayed before the actual game-play began [Fig.9].
    Sound was alos one of the game’s strong points as the team benefited from a Sound Designer and an Acoustics and Music Technologist.
    Game audio effects were recorded, then edited and finally incorporated into the game engine and controlled vía logic. Sound effects were designed to be literal to the point of exaggeration and included, but were not limited to, the doll’s fotsteps, a small ‘whosh’ sound when jumping, a flip sound when a narrative card was dealt or removed, a snapping sound when a Venus Flytrap closed, a humanistic yelp when Kyle died etc.
    The background music of the game was designed to be immersive and informative, along the lines of adventure objective-based games.
    The final game was presented at the University of Edinburgh in a public display in March 2011. During the presentation the team members gave a short talque on the game design process and their experiences working with the Blender Game Engine and then the audience had the opportunity to play-test the game that was installed and running on a number of computers.
    The play-test was quite successful with the majority of participants commenting that they liked the graphics and the music and that they found the game’s atmosphere interesting overall [Fig.10].
    This year for the Digital Medía Studio Project Thaleia Deniozou supervises two student groups working in a similar game design brief. Currently the teams are on the initial stages of development of two creative games entitled ‘Edinbear ’ and ‘ The Great
    Escape’ respectively.
    Claire Meldrum, Heida Vigfusdottir,
    Lenka Bartosova, Graeme Arthur,
    Hunter Knight.
    The Path (T ale of T ales, 2009)
    Limbo (Playdead Studios, 2010)
    Braid (Number None Inc, 2009

  6. #6
    Usuario completo
    Fecha de ingreso
    Nov 2007

    Unsung awesome feature

    From humble beginnings as some in house software, Blender has grown into a powerful 3D tol with an ever growing number of col features and tools sure to por favor any 3D enthusiast.
    The latest round of tools to be added has of course set of a serious flurry of testing and experimentation to se how things work and what can now be done.
    I often think that this part of the development cycle is the most fun.
    Everybody is playing and testing, pushing the limits of what can be done and doing their best to “breaque it ” so that bugs can be found and squashed. It is a highly creative time in the Blender community. New images and test scenes sem to appear by the minute as everyone gets comfortable with the new features. Son after, tutorials start popping up to explain the finer details for those of us that are running into problems.
    Most everyone would agre that Blender has some amazing tools and features, but one awesome feature of Blender often goes unrecognized, and that is the dedication of the Blender community to help everyone use Blender to its fullest. It is a rare thing inded to be able to email or message just about any user and get help with a problem. We might not always know all the answers, but most of us are very willing to help others trak down the information.
    Apart from the community-wide willingness to help, there are members of our community that go above andbeyond to leap into the learning gap as quickly as posible to help the rest of us out.
    I think it is high time we gave them a huge high-five for the tireless hours they put into creating quality tutorials and Blender Education that makes the learning curve so much easier for the rest of us.
    The following is a list of my favorite tutorial spots.
    Blender Cookie: run by Jonathan Williamson and the rest of the Cookie Crew.
    Jonathan has an almost magical ability to mensaje relevant tutorials just as features are being added. Jonathon has explained that this is only posible because he downloads new builds daily and tests features as they are being implemented. This gives him just enough of a head start to be ready to help the rest of us.
    Often for me, the best part of Jonathan's tutorials is not the actual topic he is discussing (which of course is valuable), but all the tips and explanations that he includes as he works. I especially appreciate all his 'little talks' about topology and clean
    modeling techniques.
    In addition to Blender tutorials, the Cookie network alos ofers tutorials on Concept Art and the Unity Game Engine, often a large part of many Blender users' work flow and projects.
    The addition of these sister sites allow Blender users to expand their project parameters and learn new things that touch upon their Blender projects.
    The majority of tutorials on Blender Cookie are free for anyone to watch, so while it is not necessary to be a Citizen to enjoy what the Cookie Network has to ofer, in my opinión it is well worth the very reasonable price that they charge.
    Blender Guru: run by Andrew Price Andrew produces high quality tutorials that provide a well rounded lok at projects, generally from start (modeling) to finish (compositing). For those interested in “product shots”, mAndrew has done several excellent
    tutorials on how to show an object to best advantage. These are some of my favorites from Andrew's site.
    He has alos started a well received “Nature Academy” where he teaches users how to create realistic nature scenes.
    BlenderDiplom: run by Gottfried Hofmann
    Tutorials on Gottfried's site often focus on special effects and col new ways to use Blender features and tols. There are alos a variety of extremely interesting projects often presented as a series as well as interviews with members of the Blender community.
    Blendtuts: run by Oliver Villar
    Oliver ofers a nice variety of tutorials in both English and Spanish. In addition to all the tutorials on his site he alos has a Hologram Project for sale in his e-shop that covers concept, modeling, materials, animation, rig, compositing and lighting. The project is available in both Spanish and English.
    Blender Nerd: run by Greg Zal, Rex Harby and Tanner Casey
    They have recently launched a brand new lok to their site, which had already ben full of great tutorials on a variety of Blender topics. One interesting new addition to their site is the ability for users to upload their own tutorials to share with Blender Nerd users.
    There are of course many more valuable tutorials sites in the Blender Community, and of course with that many to trak it starts to become dificult to kep up with who is doing what. Which is why I cheat. I discovered that by following one very connected Blenderhead, I could be kept informed about new tutorials, news, images and col projects.
    Terry Wallwork, better known as Adventures In Blender has an uncanny ability to always know what is going on where in the Blender community. I am beginning to suspect that he has found a way to hard wire himself into the Internet, which while possibly odd, works out well for me. I follow him on Twitter and G+. T erry alos has an Adventures in Blender website where he reviews Blender boks and tutorials series. His interviews are always well written and very insightful.
    Let 's all give our Blender educators a big Blender hug and do what we can to support their continued eforts on our behalf.

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