Non-photorealistic Renders (NPR)
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This is my favorite of the three you posted, but in allof them, the face needs more definition. I would suggest adding more light on the face so that the filters have something wo work with.
I sincerely doubt this is your intention, but there is something menacing about the way Peter is stadning there, bathed in light watching Wendy in bed. And I'm not sure if this is what you're going for, but there is something very stiff and formal about the camera angel and the poses. And one small thought; with this level of detail, the shadow on Peter's hand is actually quite distracting. Any way, Although I do like the gerneral effect you have achieved with this piece (great technical skill is obvious), but there is something disquieting about it.
Thanks, David. I'm going to give this treatment a few more attempts before I decide.
An earlier treatment of our hero (before he got his fantasy world wardrobe). Again, which treatment do you prefer? (And I really hope you'll look at the full-size version before deciding -- it really helps). Also, this was a quickie – if this were really going to print, I'd do a little more work on it. As it is, I think I spent about 15-20 minutes to create each of these versions.
Thanks for the comments. You are right about light on the face. Will need to make it better in next renderings.
Hi thanks for that. Oh yes it is meant to be unsettling. Peter Pan was actually the antangonist in the original work. The words egotistical and omnicentric come to mind :)
Of you work I like the number one, but the line of the man's right fore arm (his right) is being lost because it has a simialrtone to the lines on the abdomen. But as you said it's a test run. I'f do both effects and judiciously erase.
Yes I'll second that. This is a good one.
Here's another Carrara render. 'Smee'. Topaz Impression mixed with Topaz Simplify plus Fotosketcher and hand colouring - and a lot of swearing.
Thanks, head wax.
Your Smee looks good.
Pleasure - and thank you :)
For me the 3. Simple Tone looks best, but I do not know why.
I think sketchy might look better if the scale on the sketchlines were smaller.
I considered that when I created this, and I think you're right. This is for print, and I was concerned that the strokes would get to thin if reduced. I still need to work on this technique, I think. Fortunately, I have decided to use this look for an 8-page story, so we'll see if it holds up.
Ah, print... yeah. That's my worry with a lot of halftone approaches. VERY print finicky.
A render with Poser 11 Pro and its Comic Book mode (also a feature in the cheaper Poser Standard), with the scene using flat lighting and a toon skin and neutral tone for the jacket. The 1971s craft (at Renderosity) uses a couple of the materials which ship with Poser 11 (in Materials | Poser 11 Content | Cartoon | Toon) and then tweaked to tone down their shadow ramps. They're not suitable for comics production, though, because their ink edges bloat or shrink when not directly facing the camera. Still, they make for nice demo pictures, and I learned a lot about tweaking the shipped Toon materials. We need a set of flat toon colours which look as if they have black-ink hatching and dashing on them, a la Moebius (to the shade of whom, apologies for pinching your background picture...). 'Major Gruber' is my own M4 kitbash and pose.
I should clarify the above comment, for non Poser-users: the Poser 11 Content | Cartoon | Toon materials are not suitable for comic book production due to the bloating of the ink-lines. But the Poser 11 Comic Book mode is fine for production - that's why the Poser 11 Comic Book mode is such a breakthrough. It can also be used in combination with the older Toon Lines render, which is still in Poser.
It's nice to see someone else making excellent use of the Live Comic Book Preview that ships with Poser 11. It offers a LOT of amazing possibilities, doesn't it? I've been using it a LOT for my illustrations lately, in conjuction with the finishing options in Manga Studio 5 (standard or EX editions will yield the same results -- the main reason to go EX/Pro is so you can set up multi-page stories). I like what you did with this illustration. The clean lines are solid, and the textures pleasing. I only work in b&w (or manually added tints), so I haven't experimented with the shaders you used for this. I do like the results, but I think they look a little "computery" whn contrasted with the other effects and the background (and hey, if you're gonna swipe, swipe from THE BEST). I would also suggest changing the drop shadow beneath the vehicle -- again, it looks too much like Photoshop and not enough like it's hand-drawn/NPR. Nevertheless, GREAT start here, and that character is very interesting.
Title illustration treatment for a short story. Created in Poser 11 with M4 base; finished in Manga Studio 5 EX. If any of you have sharp eyes (and bother to remember such things), you'll recognize this as the "Lance Worthington" character from a while back. I was in a hurry, so I didn't have time to create a new figure. I was hoping the small size and rough treatment would kind of mask that a little. Not that it matters, since they are from different projects and no one other than me probably cares.
Nice image, Martirilla.
Great title image, mmitchell_houston.
Daz Studio iray render. Could it count as NPR?
I would say probably not NPR. It's very nice, and it has the look of a photograph of a toy or model scene. It does look very nice, though. There are some great details throughout, and those mountains are really cute.
Thanks. Poser 11 is certainly a useful investment for anyone interested in comics and toon, if you see the Standard version on its periodic sale (usually $60 or so). At that price, why wouldn't someone pick it up, if they're interested in the sort of comics production which will have to please hyper-critical long-standing comics readers or magazine editors? Though a Poser 11 Comic Book render needs to be used with dead flat lighting, and with most or all of the 3D materials taken off (Poser has a couple of scripts which automate wholesale texture stripping and replacement), and if a new users doesn't know that then they'll get horrible clunky results. Comic Book is a huge leap forward, but not yet perfect as a feature. You can't save presets for it, for instance. It's also not great on eyes and lips. Though the older drawing-office -style Toon Lines render is still available in Poser, and that picks up every line.
If you juggle things correctly you can also do a charcoal no-background Sketch render where the sketching is only done into the Comic Book lines, which gives you a pretty good approximation of a soft pencil-like line. You can then blend your hard ink line into that, in Photoshop, to soften it. You can also blend in a wholesale Sketch render, on top of your colour flats render, and then soft-erase most of it in Photoshop...
Nice for one-offs and illustrations, but getting that look consistent across a whole comic would be difficult. Which is the attraction of the harder look, as seen in my first picture. I'd like to think I'll find a way to consistently soften the final layer down to a more hand-drawn and shaded look, but I doubt I'll have much success. So yes, I'm thinking that inking over the Poser Comic Book lines in SketchBook Pro (my preferred choice) or Manga Studio (I know it's nice and has the best inking brushes, but... 'another big complex software to learn, sigh'...), would be the way to go. However, that would increase the time needed to make a comic, and I'm trying to find the most time-effective workflow.
Did this one in Daz3d using Visual Stye Shaders and some post work in Photoshop CC Rendered in 3Delight. It's Cable fanart, Marvel Comics. I used photoshop, poster lines feature to add sharper lines. I also used PS to draw the scars on the right eye and the glow on the other eye. Finally, I used Color Efex Pro (part of the free Nik Collection add-on to PS) to enhance the color and shadows.
The Flash. Same process as above. Lightning, wind effect, and Flash symbol added in Photoshop.
I'm on a deadline today, so don't have a lot of time to chat -- but we DEFINITELY need to swap notes in detail on this in the future. I just wanted to say that I don't work in color, so I think some of the challenges you're facing don't apply to my workflow. But one thing I wanted to say was that I do strip out almost all textures (mostly bump maps are the culprit) or use custom b&w textures for lips, eyes and eyebrows. But the thing I don't do is use flat lighting. I actually use two light sources (a front light and a key light to bring out a little "glow" on the edges). I then create two renders:
I've actually gotten pretty good at this and have gotten it down to a process that is consistent. Although I haven't made any new pages in a while (these have been posted here before), I am working on a comic book with this stark noir look.
I also want to talk to you about the layering of the sketch render with the comic book render (if you scroll back a few pages, you'll see some illustrations I did of a guy studying and a cop -- I created those using the method you describe.
And, finally, here's some links at my blog you ought to look at: http://mikemitchellonline.blogspot.com/2016/05/poser-daz-comic-links.html These are some good blogs and videos on this technique that I compiled into a list. Gotta run -- have to get some work done today, but I'm really excited to talk to you and share tips/tricks on using the Live Comic Book Preview mode in Poser 11.
I'm not really into Black and White comics, but this is really nice work.
Very nicely done. Thanks for posting the workflow (and I'll have to look up those freebies you mentioned.
I should have commented on the two single illustrations you did before. I thnink they really capture the style you're developing, and you're definitely conveying a lot of character in even simple illustrations like these. Have you experimented with slightly darker outlines? The editor in me is a little concerned about print quality.
Thanks! I have toyed with the idea of adding one or two colors to the mix... and probably will for covers and promotional work. Mostly, though, it comes down to a combination of aesthetic and cost (I like the noir look, and it just costs so danged much to print color comics).