Transcripts
1. Trailer: Are you also a fan of emotional paintings showing people with interesting light setups? And do you feel so inspired to see all these pictures in the internet? But when it comes to your own planning, you are again too attached to the reference of another artist. But you want to paint something original that no one has painted before. You want to realize your own visions and become flexible and planning, try out creative light setups and compare them to choose the one you like most. You also want to build small set-ups and see where the shadow casts on the subject. In short terms: You want to stage your subjects in a creative way. With this software, you will become so productive and fast and learn a lot about light itself just by making everything as playful as you like it. The rendering includes the shadows and alpha mask, so you can also edit it separately from the lights in Photoshop if you want. Don't worry, you definitely don't need any previous 3D and knowledge at all. Just have the desire to try something new so you can become a pro at realizing your own visions. I use it every time for planning my paintings. Once you have completed this course, you will have the necessary tool to easily plan your paintings in 3D so you can create the artwork you always wanted to paint. I will also show you how to get new ideas for getting creative on painting.
2. Introduction: I'm Julie Boehm, a fine art painter, passionated film maker for dance films photographer and bodypainter from Germany. Since I graduated from the art academy 10 years ago. I've been working on effectively planning my artwork for my exhibitions. I've tried a few 3D softwares, just like cinema 4D and blender. But I always always missed the playful, intuitive approach where I can see and vary the output right away. Realistic rendering is so time-consuming for yourself and learning it and for the computer. So last year I came across Set.a.light 3d by chance, which actually has a target group of photographers in the photo studio. However, it turned out to be one of my favorite tools for planning my paintings on films. After taking this course, you will have the tool to plan the paintings and concepts you always wanted to paint with your own references in realistic rendering. I will show you the software, explained how to get started and then you can start yourself. Become a professional alround planner and surprise every one with your brilliant art works. Let's go.
3. Class Project: First of all, the most important thing, practice makes perfect. We are not in school where you have to learn boring things by heart. So don't just look at the course and then put it aside. The most effective way to learn the new methods is to follow my step-by-step instruction practically, then you can get creative and apply your own ideas. Load your models into the set, adjust their clothes, the poses, load some additional set items if you like. And then set the light , then just press the export button, and that's it. And please just don't leave your work in a folder on your PC dare to share your steps with us here so you get the feedback you deserve. On the project page. You can share your thoughts and project with me and get feedback. My recommendation is to use Canvas because it's free and easy to use. You can use templates and also upload your own images to create your posts. I would love to see what you create. You will see how great it is to get constructive criticism in exchange for your own encouragement, rock your dream , share it, and become a master of your art.
4. Download the free test software: And now we come to the preparation of the software. You will need to start this course, go to set.a.light website https://www.elixxier.com/ and download the free version and for installing, choose the studio mode, because that's the one we will use for our projects in the course. After that, you can still decide it if you want to buy it or not. And if you watch my course until the end, I will give you a little present discount code on this software. So let's get started.
5. Overview set.a.light: Here we start with set.a.light 3D. When you open the software, you will have a dialogue with different sizes of rooms. I often choose the large room because then I have more space for creating my sets. You can change it later anyway. So here we are in set.a.light with a default model. When I hit the mouse button on the right-click and tilt here, I can turn. Same happens with this tool. And with this tool we move with the middle wheel and Zoom is with the wheel. So I only use the mouse for navigating. Here we can select our studio, we can even make it bigger. And we would like to have width of ten meters. You see, it's getting more high and the ceiling as well. And we can even tuned and we can set dexterous or the floor. So it's up to you what you would like to have an even here you can have, you'll know when it's purple. You can even have a proper wooden floor. So I really like and how intuitive this is here. And this is our camera. And we see on this side what the camera's looking at. When we change to another position and the camera is somehow off. And there is this tool and get directly forwarded to the model. This is that we don't see the tripod. For some purpose we need. This is when we want to have that direction. You can also change it here. And this is the focal point concept. So most important for the camera here, you can assume that only works for the zoom lenses. Because when you have fixed lenses, like there is no zoom. Okay. And going back, you can always hit here. So we go, can go back to the very beginning. So now for our setting, we have also a top view when we have problems of navigating. So here we can put and position the lights. And here's the same like with the camera. We can put all the time on the models. And here we can switch. The flash head. You will get out over time. What is what? And it's this solo mode is only in this slide, or you can also switch off. And here you can change when you want to have like spot ours, something else can change it really easily. And also with this, just change it here. And here you can change intensity and new lights. You can scroll here. What you find interesting. And I would recommend to try out different lines, different intensities, different bulbs, flesh heads, and whatever. Mono light and some analyte you have in the photo studio, speed light. As it's a photograph or a software as normally. You kept the speed lights for past shooting like action shooting and all this kinda stuff are nearly love the light blaster I will show you later because there we can project something on the model and when you want to go back. So here is every time you have the modes and to change, and you can always remove from the side. So I always keep it on the set list because this we can also switch off. And you also have the same conditions, settings you can set. And when you regard to the model. We can also change a lot. And every time I go in satellite, there's something new I discovered. So that's so amazing. What's the developers of the software? And I would really recommend you getting the software because now it's not so much known than the nominal communities of the artist, but on your MOOC photograph for us, but I can tell you It's also be kept for planning your art films and of course, your paintings. That was an overview of the technical settings you can put into your set. And the next video I will show you how you can change the model.
6. Customize your subject: Here we wanted to change the model. We just click on the model and then we can switch to one of those models when we would like. But I just keep now Victoria, what is a default model And we can change her hair. We can change, even when we have changed her hair here. We can change the color and any kind of variation you would like to have. It can let her dressed up in different things and different T-Shirt. This goes for every version there are different version, wide version, other versions you can even say hand shoes you want or gloves you want. And you can decide the hardness where you can see the reflection here changes. And the same is with also like here you can put her some nylons and making a really freaky costume. Give her some funny socks. Put on some glasses. Or no glasses. Eye color, you can change it when you go closer or you hit another lens. And this is just the probability of that render will be much better. So we click on her and we can make are also more natural. Without too much makeup. We can add gloss to her skin. We can make her skin tone darker. We can make her even darker with another type model, or we can make her like a mannequin with any color you want to choose. So I keep her with a normal style. Here. You can even change her style. And now we're coming to the pose. So there are some presets for the poses you can just select. And it gets into this position that are mostly model poses. Default pauses here you can say, please look with your head into the direction. You can also say, you can look away. So she will look away. And also right here, I hit "Look at me" the head turned to me, or only the eyes. And here you can mirror. That are different modes, different presets for sitting, lying and standing. And you can also make your own presets here when you have put the posing mode on. And then you can change anything here. So I would share, start with this pose. And you can make her turn the head. And always keep in mind when you have locked this, the head won't turn. That kept me nuts at the beginning I started this. So it's very easy, handy. And you will find out how to pause your model the way you want to have it. And for here, you can also say for the size of her body, you can change their shape and make it the one, how you want to have it. And what's very handy. Very details. Here. You can change anything. You can see? It's really funny. That where the settings for the model, and I hope you got an inside, what for possibilities you have there to change for your perfect protagonist. In the next video, we are coming to the props and the backdrop and all additional items we can add to make this set even better.
7. Props and export: Now we come to the video where I show you how you can set your props to build beautiful sets. Of course, we don't only have this set, we can also add another background I really loved to do. And with this you can even change the background. So even to our picture, like here, we have the picture. We can put behind one tumor growing the wave can make her move going. But I always take that top view because it's easier. And with the camera we need her on the beach. So a little bit more light from this side. And now you can see this is inside of course, we can also position that. like this very easily. You can check out what's, there are lots of props as well. You can mix with the chair. It is just fun. Put it to the beach You can see there are plants. There are so many things here you can use as a prop. I also used a lot of these that are very fancy. So first of all, we want to save our project and tests. And each time you make hit enter, it will generate a snap. And snap means cannot like a snapshot and you can export this snap here. You can say like as a photograph, that's very helpful. So you know what lights you used here. You will get to see and share your measurements. But you can also just share your picture. And you keep the quality and hit export and test. And then it's rendering until you got your pictures. And it's really amazing because you can even render out masks and avatar. In this lesson, we learned about how to start building new sets and also how to export. And then the next video we'll come into one of the most important thing in planning your references. The lights, starting with some basic setups and getting more creative.
8. Portrait Light setups: Here are some easy examples to start with for your portrait lighting, the most common lighting setting is the Rembrandt light. I used the beauty dish in a high position on the left side to create a triangle on the models cheek on the right side. And this slide creates a soft direct effect. This line set up is very inexpensive. You'll only have one died and a stereo pour that reflects the light from the other side. And so the reflector on the opposite side feels the shadowy side. You can also do this with some reflector with golden foil, but that also changes the color of the reflection. There are different sizes of reflectors in set.a.light. And with this huge reflector, you can even lighten up the full body. And now we are coming to the set hours where you can use two lights. And the first one is the flat line set up what is on the adoption of the split slide was reflector on the place where you had the reflector, you use the second light and soft box for the setup and you position both light sets of the same power, each of the subject and the same height at distance and angle. This way, you almost get no shadows on the model. And now we're coming to a more artistic light setup. It's very similar to the flat light setup. The only difference is moving the evenly positioned lights slightly behind the subject, and that creates a striking shadow in the middle. This setup works also very well with male models. And as a dance model, I know that a lot of photographers for dance photography here, because when you're using the huge strip lights on each side, it gives a really interesting artistic look. The next slide setup is called butterfly. And for this you have to position one line above and directly in line with the center of the models phase. Notice how does an event shadow under the nose? I also find it gives you a quiet sacred feeling to get the soft light from above. The next slide set up, I use a lot because it creates a very nice atmosphere behind your model. It also separates her from the background, the key light with background light, use a simple Rembrandt setup on the left side and position the second light behind the model pointing at the background. You can adjust the strength and angle to vary the intensity of the gradient. For the key light with a rim light, there is only one change you can do. Use the same setup like before. Just turn the light behind her for 180 degree so that it is the angle that it catches the edge of her hair. For the high key set up. We want everything to look soft and glowing. So you can set the big highlight behind the model. And for the front side, we just use the light setup we had at the flat light. Just even that the model up and use similar lights in front on the same height and intensity. And now we are coming to my favorite part. Let's get more creative with more lights and colors. You might already know this setup, that's also called the three-point setup from all the videos you see on YouTube. And people are lightening up like this. So you have on the left side the key light we already know on the right side the fill light. And behind the model we got the hair light to separate your model and more from the background. You can even put some colors to make it more interesting. And on the left side will be the fourth slide. We will do some effects with a bank lied. I said that effect to orange. So we've got a little bit of split toning in our picture. And with the back lighting on the left side. That's also the part where you can't even get more creative because they are in set.a.light. You have the gobo. And with a gobo you can add some stencils that are already there in the software to protect some shadows in the background. So you can simulate the window or a tree or something else what is there. Just check it out and try it, what fits best to your concept. There is also one stencil that is just a circle. And I often use this for simulation of a situation when someone is on stage. So you always got that kind of flights spot on the model. And I would bring the gobo light more forward, saw that the light also hits the model. Now you've got the possibility play with so many lights, like there is no limit set. And you can even try out like I did here, that I'm under lighting what is very mystical, very experimental and set colored lights around the model. Let it rock. Make your sets crazy and creative to find new ideas and ways of creating your art. All my light setups I uploaded for you in the resources and you can check it out. So try it out and have fun. For the upcoming lessons I wanted to show you some fundamental design rules with the hands on tools in set.a.light. This way you will learn practically how to build interesting sets and light setups.
9. Design rules: Camera Perspectives: The most important thing in your work as what you are able to express to the viewer. Emotions are created by perspective or camera angle, composition of the picture, pose of the model, colors and the lighting mood with which you can experiment. To give you an idea how great conceptual approach to your new artwork can be I will give you a quick run-through of design rules. Let's start with the camera's point of view. Often an exciting image is created by an unusual perspective or uptake. That's why I strongly advise you to play around with it in set.a.light. You already know the most commonly used perspective. It's what you see in the mirror every morning, the normal perspective. It is a most neutral The camera and the models are at the same height. The second perspective is more interesting. The high angle shot captures the actor from a higher position. This position makes sense if you want to play with a status, in this case, the woman Amy is inferior. Or you want to show what gives an overview, and should show the ground. The low angle shot: With this type of camera angle the lens is in a lower position than the subject. With a low angle shot, you can emphasize his superiority of a person or make other objects appear more powerful. The Dutch Angle: with this type of camera angle, the lens is in an oblique position to the protagonist. You can also combine this perspective with a low angle, high angle shot. It's often used in advertising spots and dynamic surreal scenes, was an oblique view. you can emphasize tension, assuming atmosphere, our dream. Definitely an interesting perspective for the viewer. In combination with distortions in wide angle optics, it looks even more surreal. I also think that this perspective is good for fantasy things. Whether it's Normal Perspective, High Angle, Dutch Frame or Under Perspective Create your reference with intention. And always think on what is the emotional impact on the viewer's eye. The next video, I will give you some examples for the design rule of the composition. Starting with the golden ratio , the symmetry. The foreground framing. The frame and repeating states, and the guiding lines.
10. Design rules: composition: I suggest three guidelines for the composition. The golden ratio helps you to position your subject in a way that it is harmonic for the composition here in the middle of the spiral where the focus should be for the viewer. A little more simplified, a separate template that arranges everything naturally. It's called the rule of thirds. And you can already see it here. in set.a.light in the preview use the lines as a reference to position your objects, then your composition is very well-balanced. But if you place your subject right in the middle, everything seems more artificial and surreal that this can be also intentional, like in this case with the angel. Another way to lead the viewer's eye to the main subject is to put it in some kind of frame. You can do this very easily in set.a.light with a picture wall in the foreground, or by building other props around your model. I also like when you have repeating shapes in the picture like here with a circle of the pattern, that the gobo projector throws on the wall. And then the same shape again as a foreground breakthrough. In this example, you can see a texture I saved as a PNG with alpha channel, so I can get this breakthrough. Guiding lines are also great for directing the viewer's eye. Here you can see the rhythmic lines of the ribbons directing the viewers gaze to the model. So you can live out set.a.light very intuitively and try out the individual rules of composition. Here is a summary of the composition chapter. And the next two lessons we are coming to one of my most favorite subjects. I will show you the relevance of color contrasts and their interaction in set.a.light 3D for your references.
11. Colours: Complementary colour contrast: Let's move on to the color choice. You can determine this by the environment in light and background, or what your model is wearing. I want to show you my favorite representatives of contrast types with examples in set.a.light, the most exciting is the complimentary contrast. It goes once across the color wheel and thus forms the most glaring contrast to the other color. It's an exciting effect when these colors are next to each other, try it out. I show you some examples. We start with a combination of blue and yellow. On the right side, you can see the result of my work in set.a.light 3d. Let's go through step-by-step. So we are here in set.a.light with the default model. And the first thing I do is setting the light. I'm turning into a yellow because we want to have the color contest with blue and yellow in the front you can see me turning on the beauty dish with blue. And then I changed the model type because I wanted to have a brown skin model. And posing the camera into the angle, I setting the light from the bank. And I wanted to eliminate all distractions. So she's wearing a top without shoulders, here adding more glossiness to the skin. And now changing to the posing mode of the model and putting her arms and head into the right direction. I want to have on my picture. For the next step, you have to have the studio mode of satellite because n you can import your own pictures you created. You can put in the picture wall from the props Tanner, and then change the texture to the picture you created in Photoshop. It's important then for this case of the hearing, and you save it as a PNG with an infection. When you only have the test version, you can also load picture walls. It's only limited to what they have already there in the library of satellite 3D. Now only I lock the object, I finished positioning, and then I take the tough to manage my other objects because it is more easy than on the left side. Why you sometimes don't know where you'll put your objects in 3D. The software is very into tooth and you can just play around like me. I changed here the model to a real break skin model because it looks more natural to me if I have a women with an African style and anatomy. You can also change the body proportions. Because here I want to review to put the focus on the earring and remake her neck long and elegant. So I also tried to put another like that, just focus on the hearing. And I noticed that there is a lot of light also coming on the shoulder, so I position to blocker there to get the effect that only the hearing gets eliminated by the spotlight. And then I noticed such as Taft, position the spotlight more high so I don't need the block at all. So I deleted for the very last thing, I added some light behind her, add a little bit of blue atmosphere there. Then you hit the Export button. And now you can also choose which settings you want to have, the quality. And also if you want to have a message out figure to make the finishing and Photoshop, but you don't need to edit it in Photoshop because after all, it's just a reference for your painting. So here just give you a short inside how I would edit it. Make the Polish in Photoshop to get the perfect odd put out here. Sometimes the figure that got masked out is missing some items like here with the earrings. I am adding it after watts, so double-check it and just use this mask out of our PTA 500 mask of putting a little bit more light behind the model. And I'm also adding some vignette, and that's it. And now we are coming to the second. The example with red and tokens as the representative colors for these complimentary contrast combination. My design, this inspired by the sixties when you had a high trend on combining these complimentary colors. So here we are back in the satellite studio and I'm adapting my model and the lens. This time, I wanted to go with us to focus and dread so fast as selected to occur as have fall my model. And you need to wear because I don't lie to see too many clothes that are distracting. And then I'm back to the mode to get the right position further ordering with the hints. My first idea that came in mind was giving you read close. But then I changed my mind because I didn't like so shape of the troughs so much. And I decided to do it later in Photoshop with colors of the red. Hence, here I'm setting in the ball. And this ball will also get tacos later for the contrast. After way of working and looking all the time and this took his hair, I changed it to know Heritage bolts, but very nice sphere, like a head piece on her head. Because I really like the repeating shapes in the design. She's holding the ball and on the head It's a similar shape at the complimentary color of red. Here again, at adding atmosphere. And the colors behind her was a separate light. And the color of turquoise . Also from both sides now as she gets kind of framed by turquoise light. Here I'm creating a red avatar to mask it out for the gloves that are more elegant than the gloves in set.a.light 3D. And the fun part: Push the export button. And for this purpose with the gloves, Photoshop is necessary and the little bit more of masking out with the Magic Tool lasso. But as I said, it totally depends on your concept. If you need Photoshop or not. Here I am just editing the hands of the model and turning them, red, combining both pictures together and adding a vignette. And after a while I got the idea. I could also give her some beautiful glasses and earrings of red spheres. So I changed some items on the main subject. And that's the final result of this set, combining the complimentary colors, red and turquoise together. We're coming to my last example of the complimentary contrasts section, the combination of green and violet. First of all, I had in mind innocent girl with blonde hair standing in the forest or a green surrounding. I edited this girl. The flower is also picture wall that I prepared in Photoshop before. So I wanted to have a more blurred out abstract background to focus on the main subject. And also the flower should be more like a highlight and contrast and very strong in color because it should be the focus of the picture. So I changed to this rose As a repeating shape I gave her this beautiful top, also in the same color of the flower. Here I'm adding some colored light as a frame with yellow to confer a sunny feeling. You can also check out the different models and change them. They all come with different makeups and different dresses, hairstyles, everything. So you can play around. There is a lot and set.a.light to work with. And even for the props gallery they add all time new items. And you just need to check it out. You can change the sizes of them. Of course they are just house plants yet. But, I guess they will add more of it soon. And as you can see me here playing with some of the house plants or the garden plants in the background. I keep them blurred, so they don't get too much in focus because they are also not so realistic. I would just put them as a kind of a decor element framing the model. Just get creative with the tools, play with what is there in set.a.light, and also get creative with lenses. Because you can blur out the things you don't like so much when they are crisp, like in this case, the leaves. And intuitively, you will learn a lot about photography and which lens you should put on, with which shutter speed and how open the letter should be to get your perfect output. Now pressure, just have fun. But there's not only the complimentary contrast, also the warm and cold contrast and the light dark contrast, as well as the quality contrast gives a nice effect for your reference of your upcoming artwork.
12. Colours: More colour contrasts: Here we come to the second part of the color contrast: choice of colors. You have probably heard of warm and cool colors. He has expanded view of the color wheel. You can call all the colors on the left side as cold, that means green, blue and a bit of yellow. And all those on the right side means yellow, lilac, purple and red as warm. This color wheel also shows which colors can be mixed from which ones. So in the middle, you have the primary colors. And further out the gradations. Here, I show you how I built my first example with a warm cold contrast of red and blue in set.a.light. Behind my model, I put the biggest highlight. And then for the front side, I had a beauty dish set with a blue gel. And on the left side there is a gobo with the mask number 12, what is just kinda of a circle to let her face gets through the blue color. As a contrast. I chose red as the color of the lipstick. And it took me some time to get the right position of the lights and her head. So we will speed up the process. As a repeating shape and highlight in the warm color of red, I set a red circle behind her head. I positioned it so that the shadow and the light of the shape of the gobo was continuing in this graphical shape of red behind her head. There was still something missing. So I also put some glasses with a white frame. As I had so many circles in this picture, I decided to build a black circle around the model. When you don't have the pro version of satellite and you can't enter your own picture walls I would suggest you can also edit later in Photoshop, just putting this black frame afterwards. Here's another example where I experimented with a rim light and the backlight to get the warm, cool, contrast with yellow and blue. This example also shows it can be very easy to get this one cold color contrast. Take a light bulb with a yellow, orange wire and eliminate the background more like it would be with cool moonlight. Warm and cold contrast can be perfectly combined with other content contrasts. Namely shady cold, in contrast to sunny warm, or heavy cold to warm and light. Moreover, this painting by Claude Monet shows that you can visually bring your main subject into the foreground if you emphasize it with warm colors and immerse the landscape behind in atmospheric blue. That's also what makes my motif so three-dimensional If you reverse this contrast, the result is rather abstract image with little three-dimensional perception. In this way, the contrast not only has an aesthetic, but also a contextual meaning for the relevance of your art. Did you recognize something in this picture? Exactly, here you will find the hidden spiral of the golden ratio again. And with such a well composed picture, you can simply also switch off the color. But then emerged is the light dark contrast that can only consist of colorless tones. The last contrast I would like to introduce you is the quality contrast. Here you determine where the viewer should look with the area that has the highest saturation of your color tone in the image. Also, the less saturated areas you put around the color you have chosen in the image, the more it will glow. In our case, it's the yellow jacket of the woman. Here you can see my setup I had in set.a.light and I started with a pink layout because I also try it out this combination, but I prefer the yellow one. Any prop you find in set.a.light you can also tend to with the color you like. In this case, a little bit of rose for the board. I wanted to set our strong, our highlight on the jacket. So I also put a reflector with a pink colored gel on the model. Some last changes for the furniture and then tinting to a yellow and that was it. I hope you now feel like experimenting with design rule is to increase the quality of your self-made references with color contrasts, composition and creativity. In the next video I will show you how you can get a little closer to the ideas for your art work. With the possibilities of today: artificial intelligence.
13. Shortcut AI : If you're still struggling with your render results for planning your painting, I have another easy great tool for you, the artificial intelligence style transfer apps and web services. I often use them for quick iterations when I don't quite like the reference yet. And I need new ideas about what shapes, srtoke and ductus the artwork can get in the first place. There are tools where the styles are predefined, or services where you have to load in the style you want to adapt to your image. Let's start with the simplest: Do you know Prisma? It's an app for your phone or tablet where you can quickly style and image and predefined artistic styles. I normally upload my exports from set.a.light to my Cloud Dropbox. And from there I can easily transform them into Prisma and later bring them back to my computer via Dropbox. The app is free at the moment. And if you want an HD export or more stlyes you can get it for little money in a subscription. But I often find the SD export is the most interesting, because it consistently leaves out all the details that you can later take over from your original reference any way. Similar filters are now also available in Photoshop. There, they are called Neural filters, but I haven't really warmed up to them yet. I also think this filter is still under development because the performance is not good. Prisma is much faster and very intuitive. From time to time I google under the terms: Style transfer or Neural filter. You will always find new sites and services that offer such thing as Neural style art web page, what is still in beta. I can add my own painting as a style for the reference I created in set.a.light. This way you can have a quick idea of how the reference could look in your style. I also often use this tool for the communication with my customer bookings. I normally send a board to them and they choose some mockups they can select from. I like to keep it as low quality preview. It keeps you a flexible in the creation of your high-quality artwork. Use the tools and also do your research what comes out recently, because there's a lot of development ongoing now. And even I use this tool from my short film "Paris you got me". A scene where I wanted to create moving pictures with a style of Monet's umbrella woman. I didn't had so much time like they had during the production of "Loving Vincent" where they had to paint every frame as an oil painting. In any case, it's fun to experiment with it. So I hope, you now, also feel inspired to use AI as a shortcut also in the pipeline of the production of your references. I have now added one of my favorite subject as a bonus video, the emotional impact of colors in your art. Let's jump to the next lesson.
15. The emotional effect of colors: The emotional effect of colors. Which color comes closest to what you want to express in your painting. Colors have a strong emotional reference to what we feel in our work of art. To visualize the effect of each color, I blend in examples of my artwork from the fields of painting and illustration, body painting and photography to illustrate the feeling of the color and the artistic realization. Let's start with the first color: blue, as a positive and calm color. It stands for security, peace, confidence, and intelligence. But it can also stand for coldness, fear, and the strong feeling of masculinity. Turquoise stands for spirituality, healing, and protection, but also for envy and feminity, Green is associated with freshness, environment, something new, money, fertility, healing, and Mother Earth, but also for envy or jealousy and guilt. With a color of yellow, you feel something bright and sunny, full of energy. And it's the color to spread joy, happiness, and warmth of the hearts. The negative effect of yellow is irresponsible and unstable. I did more research on the unstable aspect and I came across something astonishing. There are people with four color receptors who can distinguish in yellow color ranges in a similar way like bees. You also have this kind of super eyes. Then you should recognize 39 colors here. Such people are called "Tetrachromates" and I am one of them. Violet is a royal, noble color. It conveys luxury and wealth. The negative sides are that it seems mysterious and capricious. Pink is healthy, happy, feminine, sweet or passionate and playful. But it also has the image of being overdone. It is the color of naivety and immaturity. Red is the color of love, passion, energy, power, strenght, heat and desire. Negatively, it can also evoke anger and it's a warning color. With orange, you feel more courageous and confident. It's also a color of success. It's negative image stands for ignorance and slovenliness Brown is a friendly and natural color. It stands for the Earth, the original and the long-lasting, but it's also conservative and docmatic. Gold embodies wealth and wisdom. A painting looks valuable and traditional with the use of this color. You can also see this effect in many baroque catholic churches. Just like the negative side that was also represented by the church at the time ago, Egoistic and self-righteous. White conveys goodness, innocence, purity and freshness, but also isolation and emptiness. Also a super color I like to use in my work is silver. It is at the same time, glamorous and can emphasize high-tech and it's graceful and smooth. However, as a negative effect, it can seem indecisive and non-committal due to its neutrality. Black is a color associated with protection, elegance, nobility, femininity, and drama. It also stands for death and mystery. Now you've got a lot of inspiration of I using your colors and I'm already looking forward to see your new artworks. We almost reached the end of this course in the last video, I will show you also one of my favorite tools, in set.a.light: the community. Here you can see the setups from other artists, download them, adapt it, experimented with it to make it your own, for your own artworks.
16. Finding new ideas with Set.a.light: Now, as we created all these sets on our own, there is still a very interesting tool in set a light to find new ideas: The community. You can open it in the right tab of the bar here. And there you have different tags of what you could see. And here is kind of a library of other photographers that uploaded their artworks here into the community. I also have my profile here and I can open my setups here. When you bought the studio version. You can also download my set ups, like click on the setup and then you can, you have a button to download it. And here you can switch to this setup. Now you have total insights how I created this sets of the artwork I hope you enjoyed my course and as little gift, I will give you my discount code for set.a.light3d. It's this code you can enter at the checkout in set.a.light and then you will get 15 % off paying. I highly recommend getting the full version of the studio because then you have more option in customizing your set. Uploading your own work into the community can just click on the community button and say: Upload. Then you always first have to render the shot. And you can go here to switch and navigate for how you want to have the preview in the gallery. And you can hit "next" and take the other side. It gets saved here. Maybe more closer so you can already see in that thump what lights are used. of course you can also adjust the brightness of the studio and the fields of view for the lens. And then, pose the top view And here you can switch on what is the main light. In my case, it was the front one. And then I just hit "upload" And here you can name it Up to three categories you can take, that will be the categories people will find you a picture later. You can also upload the final artwork. This needs to be 800 by 600 pixels minimum and 1600 by 1600 , pixels maximum 2 MB. And here is your project description. Then you will find your setup in your profile and this list. And people will find it with these category tags. And there is also like, you know, already from Facebook, people that follow you and like here at setups. So it's really handy tool for finding new ideas because you also adapt the setups of other artists and make it your own. I hope you enjoyed my last lesson in this course about the amazing tool of using the community of set.a.light 3d. And you are ready to start your own work uploading. And I see you there in the community. Don't forget to use the code Julie-15 and you will get 15 % off the software. And I'm ready to say goodbye to you.
17. Recap : I hope you liked my course of planning your future paintings with an easy and intuitive tool in 3D. Now you have all knowledge how to set up portrait light in the studio. You can set your light in a creative way. with gels, different backgrounds, projections, gobo. You know what makes a good composition and camera perspective, how to create color contrasts, and what colours, you can combine, which colours you should use to make the best for your message. What is interesting? What is the meaning behind , how you can plan and emotional painting? And you also got so many possibilities to get inspired by Set.a.light community. You also know some tools how you can boost your productivity in using artificial intelligence, you know how to deal with your customers, giving them some visual references of different styles you could paint. So it's less work for you and better visual communication. I would be so happy when you share your work with us here. Load your models into the set, adjust their poses , load some additional set items if you like. And then the light. Then just press the export button and that's it. When you have some further question, just leave a comment and a nice review. Don't forget front of me to get updates about my new courses and see you next time.
18. Bonus: Timelapse Video painting : And here comes my bonus video file. It's a full-time time-lapse of the painting "Projected" I also prepared in Set.a.light 3D. I hope you get inspired by the process. And I'm already looking forward to see what you come up with prior future artworks. Thanks for taking my class. See you next time. Bye.
Julie Boehm, Painter and Filmmaker
