How to Present Your 3D Art for Your Portfolio | Tom Hanssens | Skillshare

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How to Present Your 3D Art for Your Portfolio

teacher avatar Tom Hanssens, Professional Technical Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 6m)
    • 1. Introduction

    • 2. Marmoset Toolbag Basics

    • 3. Beauty Render Part 01

    • 4. Beauty Render Part 02

    • 5. Basic Renders

    • 6. Breakdown Renders

    • 7. Exporting a Marmoset Viewer File

    • 8. Creating a Thumbnail

    • 9. Putting it all together

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About This Class

Hello and welcome to my class on presenting your 3D art. If you've put in hours of work creating an awesome 3D artwork, it's only fair to do it justice in the presentation. Too often I see incredible pieces of art fall flat when it comes time to show it off, poor lighting, no context, backgrounds that don't compliment the piece, bloom turned so high it makes your eyes hurt, you name it!

In this class, since I have made a "game ready" asset, I will be using Marmoset Toolbag 3 which is a "realtime viewer". This means it renders my shots in real-time, simulating what it would look like inside a video game. Feel free to use whatever you would like to present though, be it Blender's Eevee, Unreal Engine 4, Unity or Sketchfab, the principles will still apply regardless.

Within this class, I will show you

 - How to construct a lovely Beauty Shot, to grab the viewers attention

 - How to set up some basic shots to show off your asset more clearly

 - How to break down your asset to give some behind the scene information

 - How to form it into one cohesive portfolio piece

Hopefully, by the end of this class, you'll have garnered the tools and knowhow to give your artworks the presentation they deserve!

Meet Your Teacher

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Tom Hanssens

Professional Technical Artist


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1. Introduction: Hello, everyone, and welcome to my class on presenting your lovely three D artworks. My name is Tom and I'm an environment artist from Australia, and I'm here to show you how to bring your three D assets to their full potential through the presentation. So you spend all this time creating in a foursome asset for your portfolio. It would only be fair to put in the extra 10% to make your artwork stand above the rest. Too often I see super cool. Three D artworks fall flat in their presentation, be it solar Dwight backgrounds or bloom turned up so high that it hurts your rivals off of these things can be detrimental to your work. So I'm here to run you through a few things that you can do to grades and fantastic fabulous photos for your folio. Since my asset, in particular, was made toe work inside a video game, I am using what is called a real time viewer to present it, meaning it renders the object in real time, emulating the way video games render trade the objects. But when I'm using is called Mama set tool Back three that you can use whatever you would like or have access to the principles and still quiet. Some examples you could use includes sketch Feb, Unreal Engine Unity or blenders, E V renderers. So within this class, we're going to look at creating a super cool beauty render to grab the view's attention, then some basic shots to show off the asset in a nice, clean manner, exporting a little real time view of file to embed in your portfolio and then breaking the Essex down to show some behind the scenes technical stuff which people seem to love. And then finally, we'll put it all together into a cohesive piece. I've included the assets and materials I have used for my own presentation so you can follow along if you would like, but do feel free to be creative and demanding to Thanks, guys. Hope you enjoy the cloth 2. Marmoset Toolbag Basics: how everybody and welcome Teoh this lesson where I'm just going to teach you a little bit about Mama said what it is and how I can utilize it. So I'm doing this scenes. I will be using this one to present my asset, which will be a Viking acts that I've created beforehand. Um, I will include that in the projects. Racehorses to the case. First things first. You probably want to know how to put models in, so I'll do that one first. So these buttons up here are adding stuff to the scene, so adding this Q as a three D model. Click on that and then just find your model and press open. So this is the acts that will be using that I want to present so vehicle controls. Leslie rotates right click zooms and middle click pans shifts right click rotates the light or the HD Iwry. Speaking of the HDR I if we click on the sky here in our hierarchy, we conceive bunch of settings for it. So the brightness and in the child lied brightness, which looks like it's not doing anything at the moment because you don't have any childlike So child la A child lied. If we look at our image here and we could it will place a light where that is an HDR I and it will adopt its color. And then, of course, we can change the brightness of it here. If you don't like the current HDR, I can choose one from the presets. He's a council sunset, for instance. But you have to replace your life. Speaking of the lights, we click on the lunch. We can get a bunch of different settings here is well, And if you want to add the alights in manually instead, click on the like button up here so the like button up here you have the options for a spot , directional anomaly and all me. Sorry, Romney is like you were Teoh. Use a light bulb and put it into your object. Directional is as if you were using the some. And then finally, spotlight is like a small just like a directional current of light. Next your settings. So if you find that you go to capture an image, you can capture your image, but you don't really know where it sending it, so to change your output file, edit preferences and then down the bottom. Here, you can choose where you would like to say and then capture. Image for F 11 will capture You'll image. We could go to capture settings as well. Hey, you can change your resolution whether you want it transparent on up. So transparency just means it'll render up the object on disregard the background or any other background stuff that you have, and then finally change the format of your image and also rendered videos and animations and stuff to. But we won't need to worry that that would just be rendering still images. Okay, so next the camera, if you click on a camera here, looks like nothing's really happened. But you can see up. It's changed from the main camera on September 1, and if you click on either the main camera number one, you have a bunch of settings here, so and increase the blame, um, sharpness, exposure, all that stuffed up the field field of view like good stuff. And if you click of the safe frame here, you can see what it's actually capturing. So if you remember the render settings from before, if we go to settings. Penans, for example. If you changes toe like 10 80 by 10. 80 instead of 1920 1980 it is now a square. Okay, so now that we know how, add lights out at cameras had at your measures Last thing you need to do is know how Teoh materials so up here where it says low various material presets if you are using a PBL workflow. And by that I mean if you have your base color for at your albedo your metal nous, your roughness, your ambient occlusion and your normal map, you'll want to use the honorable for temp. This is generally the one that you're going to want to use 99% of the time. Say we click on this click on this here he conceived but on normal maps slot roughness, slot albedo, slot metal nous slot. And we have often start more here. So this is a baby, a ambient occlusion and then you have a missin see of a miss and see that's not aware we go . I'll add missive. I had dreads parents telling I just pushed those two words together. Okay, so if you want to add your materials here, you can just, for instance, I'll just at the base psychologist for demonstrative purposes. So just click and drag it over and plug it in and then drag on material over to the axe. See, it's out of the base cover. Cool. So that'll done. Ah, well, move onto the next lesson, which will be setting up the beauty short so I won't worry about lighting and post pressing it post processing effects in that one yet. But we just set up all the props and get a nice little composition going, and then we'll make it look as good as we can for our first shot. And that will be the best looking shot off the set. And then I'll show you some other ways of presenting objects that aren't like as pretty or complex. But they show a lot of clarity of your object in some show, maybe a wife frame in a bit of a breakdown. And those are really good to include in your portfolio. Aziz. Well, all right. So I hope you enjoyed that one, and I'll see in the next 3. Beauty Render Part 01: Hello, everybody. So in this lesson, I'm just going to go or ever setting up the beauty render and to start off with, I'll just go into a bit about what a beauty render actually is. So the purpose of this is to give your asset a bit of context and just elevated of it, make it a bit more interesting. Make a pop, make it look really cool. Now, of course, your asset can stand out on its own. This is just something I like to do to sort of set it apart from all of the, you know, flat grey backgrounds with the just with the assets standing at, I find that adding a little seen around it, really ah elevates the look of it in your portfolio was well, now these renders aren't so great for, like the clarity of your objects. But this is only just to grab the viewers attention. And then when they start to look into the project, they can see that you also have some clear renders of all the different angles of your purple, whatever it is that you've created and a bit of a breakdown too, said a beauty Rendah his bitter eye candy more or less, but I feel like it's definitely with it. All right, guys say might be thinking, Tom, I spent all this work making my prop, and now I have to spend so much more work making a little seen around it just to make my problem better. And you can. You can spend the time doing that, but you can also use pre made assets. There's no harm in doing that, since the hero is should be at least the prop that you have created. And these are just two. Accent it. So there are plenty of free ways to go about that. If you're using unreal engine Epic games has a library of assets, some of phrase someone not, ah, mega scans. Here is what I'm using, and they just have free assets all the time. You could just jump on and grab a few. I think you need to have, like, a trial account or something, but it won't cost you any money use. So the ones that I've grabbed, or just this foliage, this grass here, this ground here, uh, this rock And I believe the Lawson was this trade so my plan is toe have the ax stuck into the tree, have a nice little ground with some foliage coverage. And if he rocks sticking up So I think that would work nicely with the time period and the the acts that I have. So if you have assets from, like, previous projects, um, materials and stuff just chuck him in, um, if they fit in with your idea for the beauty render Okay, So once you have all the bits and bobs that you think you might need for your beauty render whether it just be like a museum cabinet or a little pedestal was something just a little something to give it a bit of context and elevated a bit, Not literally in terms of like interest. Okay, so the first thing you need to do is import all of our FB X is that will be using So first things first, I'll import the axe. There's that next Oh, import a simple plain that I've just subdivided a bit, which will be using for the ground. Okay, so now that's in there. I can just move it down and scale it up. Teoh, cover a bit more ground. There we go. So next our import Ah, the road. There's that Mr Dwayne Johnson in there. So now that we have the rockin last two things, we got the fern and the traced. Um, So there's this stump there. I'll just increase its size again. Maybe two. 10 hand rotated. Cool, Cool, Cool. So now lost ing the Sen. So there's our fern there, and I just remembered we also downloaded some grass. Um, so import that as well. And there is that everything isn't scaled super properly yet, But, um, when we start to assemble it, we'll fix that up. But before we start assembling, I might want to get the materials in first. Just said, That's in there now. I don't need to worry that assigning all the different materials store the assets of later so I'll start doing that now. First, starting with the axe come up here. Unreal engine fold will undergo full template. Click on that and now we can start to just drag in the materials. So it's the base color for the axe, the metallic. A normal man be roughness map. And then, of course, we need to get the ambient occlusion in there, just like so. And if we drag this onto our axe, it has text, you know, So we'll just do the same with our assets that we downloaded here. So these should when you download from mega scans or wherever you get them from, they should come with materials as well. So to start with the wood so we can just right click this and duplicate it. And then in this fun, we'll add he, uh, Peter first, I'll just place it on the wood here next. Ah, the normal, then the roughness. And then we can remove this metal miss map and make it not metallic. It'll because wood is not a metal. Then it didn't come with a ambient occlusion map, so we can turn that off a swell. And we've got a nice tree going. So now we just need to do the same for the thurn grass and rock. So just do that real quick. So just a note about foliage. Um, usually, they come with an opacity map which defines ah, which parts are a take in which a transparent. So when you are plugging them into mama's it like this, you're going to want to select cut out, but in your transparency, add in your, um, capacity map. Then make sure it's not using the Alby does Alfa. Unless, of course, you're a passage e is inside the alfa of your base color. Um, the effort channel, that is, and then just change the channel to argue. You'll be, um, because those ah, like the color channels, though, that will show up black and white. And in the Alfa is the Transparency Channel, which would make sense for it to be in there. But, um, if you say what you select between them, it doesn't cut it out, and we select our and it does cut it out. So, yes, sometimes you just got to play with some of these settings until it works out for you. But that's how you set up a bit of foliage. So it'll be the same deal for this phone here too. So just set that up quick now. Okay, so there is l firm and ah grass here. Everything's scaled bit incorrectly. So we need to fix that. But we'll start. Teoh have to have the ground in first. Like I said, one thing about tile. Herbal textures is up here in the texture you have the option for Ah, how much a tiles? Meaning like the scale of it. Basically. So we can increase and decrease it. How? It looks like I've edited the Yeah, silly bugger. Let me just fix it real quick. Sorry. Accidentally replaced the fern lbw with the ground. L beato. Um, no matter. Fix that. Okay. So, back to the tiling textures here, texture, tiling. That's basically the scale of its He can increase it and decrease it like this. We just need to remove this and metal miss map here because it's, ah causing this weird happening that's just left over from duplicating the material. Say we He's like that niego make it not met a little. And they okay, looking lovely. Say, well, Thailand sere amount because it would be nice and close like this. Okay, Okay. So now, with everything in the scene and all the materials added we can start to construct are seeing a little bit. So I'm just looking to make a nice little ah composition. So adding the ax stuck into the tree some little foliage and rocks around it just make a look nice. Okay, so let's do that sort off with this tree. I might angle it a bit and push it into the debt. You can also change whether it tilts off the local or global access in added, and then liquid may have access it. Okay, so now I'm gonna spend its acts around. That seems I have Ah, yeah. The had an ax made of dirt there for a moment. All right, so just drink this down a little, maybe 70% of what it is. Now, stick that in the the log there. Cool. But I wanted to deep because we want to show off most of the X. Okay, So one thing you can also do is place the camera in a good spot like this, for instance, and then click on new camera. And this will be your number one. And then you can click on this lock here toe lock the view so you can't accidentally move it around. You'll have to go to your main camera and start moving just so that we have a consistent view that we can keep coming back Teoh and checking how everything's going. Okay, so no. Grab out grass, this tiny little tuft up here and will definitely increase that. So maybe five and well, definitely be duplicating that affair. Okay, so we'll add some grass around the base who had a few of the rocks. First, start with the largest shapes and go from there. So maybe three on the scale of this road then just press controlled D to duplicate it. If you need another, you can change its scale. Rocks are pretty forgiving with scale, so you can actually not keep it completely uniform, too. Just trying to get a nice little composition going. So I just want to be careful of overlapping shapes and stuff and seeing how they work within your scene. So control de at another rock here so I might unlock this camera and to the angle down a little bit. Just say we have less of a, um, space to fill up here, and I'll rotate this X to compensate for that. So we still get a nice view of it that we go. So now we can continue placing our rocks and stuff around, and we just have a less of a space to worry about. toe. Look, the camera. Ah, just fix that real quick, okay? And then we can lock the camera. So if you're worried about all this stuff behind the X being a bit too busy, we can always add some depth of field to the camera. When we get to the post processing and the lighting to fix that up, that's and that will place a bit more of this grass around. - Okay , so now I've just compiled a small seen here, and it's looking a bit flat and dark and a bit hard to read our lovely acts at the moment. So in the next lesson, we're going to look into adding some nice lighting in to really make out X stand out and some post processing effects like depth of field and some vignette ing and stuff like that to make sure our acts is the standout piece of this beauty render. Right. So I look forward to seeing you in part two of the beauty render and I'll see that kiss 4. Beauty Render Part 02: Hello, everyone, and welcome back to part two off the beauty render. So now that we have a lovely composition set up, we can start out some post processing effects to make sure out acts stands out. But before that, we'll look into some lighting. So with post processing, you only want that to be that extra sort of 5 to 10% and you want most of the work to be done beforehand. Relying on the post processing too much just sort of gives a really artificial fake look. And you generally don't want that first thing I like to do when working on some lighting is going to my sky box and seeing what we have to work with. So it looks like we're working with a nice sunset. Hdr I and sometimes I'll just click on a chair I and place a light source in there, and then we can see how that's affecting everything. So we got some nice shadows going, and we can add a bit of directionality. And there we can even use the shadows to help frame out saying, but might be a bit difficult. Generally, we wanna acts to be nice and lit on a background of sort of fade away so we can edit out light that we've added in here changing its brightness and its color so we can go for a nice warm light. But I think it was a just a tad too warm. Ted, too, Um, sort of afternoon vibes. And I can drag this let up just to see how that might affect. Um, the shadows, because they were looking looked sorry attached to you imposing, I guess when they were, that just means you have to change the settings again. So increase the brightness and we'll definitely go for the warm white. They already looking much clearer. Much more clear, I should say no bird. So just with an HDR I and then one directional light source, you can have a pretty nice, effective scene. So no ah, we can look into some of these shadows there a bit harsh. So we're going to around here and without shadows, you can change the resolution toe ludicrous, or you can experiment with using cascades. Cascades will sharpen up your shadows, but they can be a bit finicky at times and with a lot of objects, can be a bit hard and you get some artifacts like shudder, Danning and stuff on some objects like self shadowing. But, um, I think that turns out pretty decently, so I'm still not too sure about the light at the moment. So just change my Michael move, Teoh que So if I change the angle like this, it puts everything behind the axe in shadow on the axe Still stays as a main focus. But we get these sort of weird, streaky shadows, if it's too, um, below the sun Does that make sense? But I think I might like that. Okay, So since we've got some lighting going, all you had to do was even if you don't like this priest, that you can change them, um, in the presets here, like I mentioned in the previous lessons. And see which one? Sort of. That's the right vibe that you're going for. So now it's, um, basic lighting taken care off. You can spend more time on this, add custom lights toe, bring out some more of the asset, and I might do that, depending on how the post processing turns out. But with that done, we can move on to the post processing. So it will just go to a camera here and then we want Teoh. Ah, unlock it so we can edit it and activate the safe frame. So now we can see exactly what a camera is capturing an edit l view based on that too. So just zoom in a bit. They can play with the angles, too. I just want to make sure our acts is nice and sort of the focal point of their scene. And if we find a better angle, like maybe maybe this one would work nicer than what I had before. We can always just add a few more props here to make up for that to make up for that empty space that is, See how that works. Fine, just as it is. Okay, so in our post pro sings post pro Jesus crust, so without post processing effects, you know, camera, um, we'll start with a slight lead of bloom here. Um, just it's sort of added sort of tiny bit of ethereal flourish nous to it and then at us again, keeping everything subtle. Slight vignette, too. Frame it just a Ted. It's like that then I always like to add a little bit of grain in there, too. Um, I start quite high and then bring it down until barely visible button. That's still noticeable. So I'm just playing with the exposure here just to get something a bit more clear thing that start to look All right, So next we can add out, Um, what's Emiko? A depth of field. So I'm going to focus and then touch depths of field. And then, of course, we can change the focus Distance. Michael, where the cameras being focused. Okay, so just tweak the settings of your depth of field until it's what you want. So generally I want this nice and in focus and then the background to be sir, Word says that we compress space bar to see how scenes looking. That's coming along pretty nicely. I think so. I think I lied in what just might be a bit dark, so we just play around with out a bit more so adjusting the brightness here will bring up the entire scenes sort of value. But adjusting the child light, which is this light, just adjust, the one light source said. The brightness will increase it as a whole. And then this would just increase the one. So the directional light that we added in I think that's looking a bit clearer as well. Okay, so back Teoh render settings this time going to enable global illumination to call some of these weird shadows that we get so enabling G I Global illumination. Make sure that you get a little bit of bounce light in there. So, like, some of these rocks will pick up some of the green from the fans and, uh, the grand ah, it will like when light comes into down self the ground, have a bit of this brown color and then put it on the rocks like he is saying here safely increase the brightness of what you can see. What I mean by that that just makes for a bit of a morrissey without it, very harsh dark shadows, and with it we can sort of ease that off a little bit. So as an ambient occlusion in as well just to sort of dark and off the really clustered parts of the scene, that's starting to look pretty good. So we just got back into the camera settings and give it one last look for some of the effects that we can use. But I think we're pretty good as is. Okay, just looking around. Now, Um, getting a bit of hot, edgy. I just want to see if there's any sort of anti alias English and usedto remedy that that's already set to the highest. You can go. We can always double the resolution of the view port. Slow stand quite a bit. Okay, so we pretty much go down. Nice beauty. Render set up and good to go. So you need to do is capture your image and it'll render out and then we can I will chuck it on the screen and full size. We can have a look at that. Okay, So now that we have a beauty render that will grab the audience's attention, get people looking at your work, um, we can start to break it down into a sort of symbol. Clear renders that shelf the different angles of your prop, and then some breakdown to show like the wife frame, the poli, counting all that stuff, and then we can compile it into a nice sort of flow for the portfolio. All right, so look forward to seeing you in the next lesson where we'll get some pretty nice clear end is going as opposed to this beauty render and ah, cement cheese. 5. Basic Renders: Hello, everyone. And welcome Teoh This lesson where we're going to learn about capturing some more clear, renders some close up shots and a few different angles of the asset to show it off as more of a solo piece rather than in the beauty render where it's just sort of a bit of eye candy . Their service. Open up a new project in Mama said here. And we'll just start, of course, by adding an out model so model that we want to show off. So once that is in the same who go into materials honorable for template, drag it onto a model and then we can fill in our slots here. Okay, so we've got our backs basically set up in the scene, and the first thing I like to do is get some half decent lighting going and in my sort of background plate. So the background is kind of green and kind of weird at the moment. So we're just going to our sky here, and it's creating like a really sort of greenish sheen over it, because it's as if we were inside of a dense forest. So what we'll do get are presets and we'll find maybe something like this castle sunset. That's a bit. It's definitely warm, but slightly more neutral lighting. You can try some others as well, just to see how they look. Man's end. It's not too bad, actually. So might stay with that one. And then in our backdrop here to change the background, we can change it to color, and then we can just pick whatever you want. So I tend to go for darker colors. But I know that lighter colors will say work quite well, sort of background. So I just leave it something sort of neutral like this. So now Ah, I always spend too much time on this. It is good that for now. Okay, so now next, without camera and so decide camera and we can change its field of view. I tend to go for a short of field of view, something like 25 just to call down the intense perspective a bit. So now now that we have a lovely axe, Congrats. A few close up shots, angled shots, etcetera. So first let us rotate my lovely Axa bit. And then I will set up the camera to get a nice cool shot of it. I want to machine on that accent, too. Okay, so in our sky, make sure we add a directional light or just click on the same. Oh, that the image when we can move it around, of course, and we dio good machine on there, so I tend to like a warmer colored light for some scenes and assets, cooler definitely works better, but warm is generally a safe of that. It's not easy to make a woman light look nice, so describe a nice close up shot here. Only need one acts, and it's a bit of rotation. And in our camera settings, of course, we'll add the safe frame and make sure access composed nicely. You know, image here, and then next we can add a few post processing effect. We won't go as strong as we did on the beauty render here, which has had a slight bit of sharpness. I wouldn't worry about the bloom, actually slight Vinje very soft, too, and then a tiny bit of grain. That's basically all you need to post processing X. So we'll your prop whatever you're using. So they captured that image and I'll show you on the screen how that looks. So next we're going to do a sort of Ortho graphic style shot. So cutbacks and indirect ation will just zero it out. So zero, Ah, zero. Uh, it looks like it's sort of full of Davis, I think 90. It was set. Not on that one. It is OK. Minus 90. Oh, yeah. All right, So now we're going. Teoh. Ah, great sort of author Graphic you ish. So grab a X control de duplicated. Move it across here. We can rotate it duplicated again. Set owl moving to political access on into global accessory. Turn off local access. Really, K, Just make sure it fills up the space nicely, and then we can play with that lights again. We don't really want to keep it relatively consistent between Schultz, but this is showing up just a Ted dark for my liking. That's a bit better. You definitely want to have a clear view of your probe. Says another easy shot right there. Capture the image. Easy peasy. And how we can have a bit more of an autistic shot. Um, can angle axes a bit to get a more interesting. Ah, sort of composition and angles of it. There's some coming a bit towards the camera like this. So these are just a show for the different sort of angles and reviews you might see this problem in an actual video game just made this towards the camera like so sit down like, Ah, crazy amount of angles you can really show and acts off at. But, um, we'll do our best to make it interesting. That's looking pretty cool to make sure a lot is capturing some nice bits of the X. And you can even add more than one light as well. Just so I want a bit of light here. But on this 10 definitely make it a bit less bride. So Tom welling at everything. So make sure it feels up the space nicely is another nice and easy render for us. So he's got to capture image and there you go. So after just a few minutes of work, we've gotten three nice renders of our acts. At 23 we got the close up, we got the photographic shots and we got these sort of artistic shots and there is one last shot I would like to get. So I just need to access for that. Make the rotation zero on all the access, and then I'll make it a minus 90 on this one and 90 on this one. And you might know where I'm going with this one with this shot, okay? And then I'll just delete this ax and might be easy. Just duplicate this control d drag it down and then rotate it. Um, what would it be? Minus 90? Yeah, just like that. And then we can rotate it here 90 degrees and then bring it over. So this was originally going to the the thumbnail for this lesson, but it didnt work super well with the text so stuck with the beauty member. But it does work well as a stand alone render toe show off The X, I think looks quite lovely. So we just rotate the light, make sure we've got a good Shane on that ax. We'll bring that light back in. Yeah, that were quite nice. Go. That's a man Istan, Capture image. There we go. So, overall, we've got four total images now for our, um one post now portfolio just, ah, the close up, which shows off some of the nice little details on the axe head. Awesome Ortho graphic shots, some crazy angled shots and this nice little shot here. So with that done next, we're just going to look at adding maybe two or three shots for the breakdown. That'll just include a wire frame, maybe a UV island shot if it looks nice, which it doesn't. So we might not Ah, healthy you these cuts, then. Nothing to write home about. But we'll definitely do. I frame shot. And ah, we'll also grab a marmoset viewer so we can embed it in the portfolio. All right, so now, with that done, I look forward to seeing you in the next lesson choose. 6. Breakdown Renders: Hello, everyone. So, in this lesson, we're going to look at some break down possibilities for your portfolio. So I've just brought up one of my pieces, one of my favorite ones that I've made this, uh, feudal Japan thing that I made for an out station challenge. Anyway, so I included quite a hefty breakdown in this video. I mean, in this portfolio piece. So, yeah, this just serves as some sort of inspiration to show you what's possible. Ah, when you're breaking down, how you made your asset. So one of the first things this is one of my favorite things to do when creating environments is have a static camera in the scene and then build and build around it until we end up with, um, a nice progression gift. So if you're making something that's taking you a while, you can always set up a static camera, even in your modeling project. And ah, it's take a screenshot every now and then in some parts of this, the different stages of the project. And then by the end of it, you have this cool thing that you can put together in a gift, and it's really satisfying to watch it all come together. Okay? Saying the breakdown I can I've gone through like this, showing my work flow, some notes about how I've modeled my thing, how the light maps and the E V. The feast maps a different. So I give this towards because I know a lot of students full, and I art station, like from the university that I used to go to eso I included this for them to sort of learn a bit more. So here I just go into some other more interesting things that I've made and then another section for special effects. So here I am, going to helmet fire at a little gift of the fire. How made the footsteps in the snow. And then this technique called normal edge decals, etcetera. So here, um, you don't have to go into this depth, especially when you're making, like, a prop. So you won't really have as much to talk about with a prop, so I'll show you what I've done in one case. All right, So, in the case of this, um, Miller helmet, this sort of gladiator helmet in the back in the breakdown of included like a split off scene of the wire frame. Ah, the metallic roughness and the base koa. And I'll show you one last way that I've done it is well, so in this sort of ornate picture, um, that I made just to test out some sculpting skills that I lent, um, I had included a nice Clearwire frame of the model. And then I added, in the substance pains of you on the side, um, and it shows like all the textures and lighting data. Just It was just a really cool, subtle way to see all these people lined up. Um, in the year they map. So what we're going to do is we're going to show off the wire frame of the model of the axe , and then we can company in photo shop, just like some details, like how many triangles it has and the texture resolution of it. So it like employees and scatters. They like to look at stuff like this, Um, just to show that you know how to UV unwrap or, you know, sort of the limitations. And, you know, um, how to make good topology. So the stuff like that. So again to Mama said now and I show you how I go about making something like this. Okay, so we don't need to do a whole lot. Um, Teoh have a breakdown short. What we can do is we can just have one of their axes. This is just the same scene as we had earlier. Just having a nice angle. I'm gonna make sure it's pretty much all in view. Something like So there's a really hot shadow hearing here, so I might just ahead at the light of it to make sure that is alleviated. Yeah, so with that some I would just add a bit more of a vignette to Okay, So to get a wife, Fran got to you render here. And then here's a checkbooks for why a frame? So if we click that we have our wire frame here, but it's not very visible. Okay, So we want to do we can either increase the capacity of it, but it becomes a bit bold if we do that. The easiest way just to change the color. Solid white soloed, Black, red, blue, Something like that. Um, it kind of round. So just add something that is pretty visible on everything to the dark blue. Well, this dark green sort of works out quite well. Lime green, I should say. So this just shows off. You say we got some nice technological flow on this ex head? No unnecessary loops actually got to unnecessary loosely of it. Like if you were showing off your wife frame like this, you would definitely make it as clean as possible before you started showing it off. So just grab a render of this and then I'll put it up on the screen off. It was added in a little graphic to show how many polygons or triangles it has. And finally the texture resolution of it, which was a two K texture, I believe. Alright, so I've just added in the small graphic to show how many triangles it has and the texture size. So now that that's done, Ah, there's only one thing left to do that is the marmoset viewer. And then we'll look into compiling it into a nice, orderly fashion in an actual portfolio piece. All right, so the quota senior then choose 7. Exporting a Marmoset Viewer File: Hey, guys, welcome back. And in this lesson, I'm just going to teach you how to export a mama set fewer. So what that is, you can embed it into your portfolio, and it'll just let the person viewing your prop, rotate around it and inspect the materials and stuff on it. So one thing we do to make sure that the cameras rotating around the correct spot is actually make this the camera target so we'll select the camera. It was like this. Sorry and make it camera target and then select the camera and then follow target. So now it rotates around the axe nicely. So if you don't want to center it, if you have, like a, um, a more complex seen, you can just select one thing in your scene and make it the camera target. So the lighting is still set up nicely from before, So what we can do is just export it now. So nice and easy. You just go to file export, mom said viewer, And now just set your with toe whatever you'd like and then select a place toe explorer to title author. All that stuff, Um, these aren't as important. But if you're finding that you get some artifacts, you can try activating the lost souls normals, um, father and that it should be fine just with the defaults. So they just export that. And then if you want to test out how it's gonna look when you upload it, uh, you can just open that file and I'll show you what that will look like. So just imagine this embedded into like a Web page, and you can see you can rotate around it, consume in and out, and you can also see people can expect the different maps on the acts on a topology as well . And then he goes a really useful little tool to use when you're presenting. That's a nice, easy lesson for this one. I hope you found it useful eso in the next lesson, which is gonna look at grabbing a thumbnail shot and then we'll look at putting it all together. All right, so I'll see in the next lesson. Choose 8. Creating a Thumbnail: Hello, everyone. So I've just brought back this beauty shot that we do in the first couple lessons, and we're going to use this to crab our thumb Now. Now, if you're just using a standard art station portfolio, the thumbnails are a square image. So if you using your own website or a different portfolio so website, Um and the thumbnails aren't square. Just feel free to use eel beauty renders the thumbnail. But for all station stent, which is the industry standard, it is a square image. So we're just going to crop this to a square image and then reframe it so that the composition is still nice. So the reason that I don't just pop the original beauty, render in the photo shop and then change the canvas size Teoh a square image and reframe it there is because, well, blues out within yet in the corners here. Okay, so first thing, we're gonna go to capture settings and then change the height or change the width 10 80 as well. You'll see it's changed out safe frame here. So now, with a bit of careful adjustment, we can reframe our axe doing something like this works pretty nicely. And so we just go back into a camera and change some of the post processing setting. So, um, to accommodate for the changes that we've made, it's a first at depth of field. Um, and I want to change and near the so that we get a nice shop image at the front. That guy, and then a vignette has become superseded strong. So I want to turn that down. Still wanna present, But like, not quite like this, you know, mega. So to capture this same as always, capture image may get So there's your thumbnail done because he can add little. It's a text on it if you want in photo shop or something like that. But, um, yes, I just crop it down to a square image and then reframe it and it should work nicely. All right, so now last lesson, which will be the next one, we will look at putting it all together into a cohesive sort of portfolio piece that flows nicely. Eso show you how to do that in the next lesson. Shoes 9. Putting it all together: Hello, everyone. And welcome to the final lesson where we're gonna put all their hard work together and make a nice little portfolio piece. So I'm just on our station here on my account. And what we're gonna do is press the upload button here and then do new artwork and will bring you to this page. So I guess first things first, you wanna title it. Mine would be called a Viking axe, and then we're going to go to upload media files and we're gonna upload all of the images that we took. All right, so once they're uploaded, scrolled in here, you can see they're all arranged. And here is where we can offload out some now. So click on upload here and upload the some now. All right, so now some nails looking nice. There it is. Okay, so now we're going to upload, and Mama said view as well. All right, So now that's our Plato Weaken Start to arrange our scene. Well, our portfolio pizza. So, of course, start off with the beauty render. And then what I usually like to do is bring in the mama said viewer next so that they can have a look in their own time. And then I have the basic shots. So we've got out. Or the graphics and more artistic ones. And then a cool little frame here. And then finally, the breakdown shots lost. So you have both have this close up one. Um, I think that close that one should be last s o. They get a nice establishing. So the shot of the axe, and then we can go close up on the details after they've sort of scene the whole thing. All right, so it is easy. Is that so? We just uploaded dragging around, and so you can see it's sort of Flo's monthly. So we have a acts here, and then the marmoset view. Uh um, they can click on it and let it load while they look at the rest of their shops, and they can go back up and have a look in their own time. All the details that we've shown off here, I say we got a nice, laid out shots here. Yeah, uh, cool. Little artistic ones. Nice frame. Getting closer and closer to the details and then finally breaking it down with the poli can and the texture resolution so you can feel free to add descriptions and all that stuff . But in terms of laying it out, this is generally how I would go about it, start with the eye candy and then get into more detail as you go down and go down into the technical stuff. So you finally finishing click on save and publish. Um, I won't be publishing this one as I made this accent a few hours. Ah, probably when you make, um, a portfolio piece, he definitely wanted to be your best work. Um, so this is just sort of run of the mill prop that I would make. I would definitely want to spend more time in a portfolio piece. I'll just save it here. But if you want a preview on the community, click on preview on community and you can see how our, um, peace sort of flies. So after it loads, of course. So we start for that nice shot here, go into the marmoset viewer. You can click on that. Well, it would. And we've got how breakdown Soto. Easy to digest Schultz. We got a close up and finally we got right down, and then you can see Mama's. That view is done. We're gonna have a look at that. Go kill, kill Nice. Alright, guys. So that'll do it for this lesson. Have you guys really got something out of it? Um, taking your presentation to the next level like this. Like adding some props and some little details and stuff like that in really set you apart from just the crowd of people putting up grey backgrounds with their propping it, even if you put on a nice little pedestal and stuff, um, doing that extra 10% can just give you that extra boost to get the recognition that you're looking for. All right, So with that, I look forward to seeing you in some other classes of mine. Um, but it definitely post Ah, any portfolio stuff you've made in the projects and I'll have a look at them and gave you some feedback. Eso Thank you very much on I'll see in the next one. Cheese. But