Master Lighting in Blender 3D | #Series2 | Kaiwan Shaban | Skillshare
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Master Lighting in Blender 3D | #Series2

teacher avatar Kaiwan Shaban, Visual Artist

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

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

    • 1.

      Intro

      2:37

    • 2.

      Light Direction

      2:45

    • 3.

      Light size

      2:24

    • 4.

      Color

      3:45

    • 5.

      Emphasis

      0:56

    • 6.

      Blender Lighting Type

      11:04

    • 7.

      Artowrk #1

      14:06

    • 8.

      Artwork #2

      3:51

    • 9.

      Breakdown

      18:35

    • 10.

      Outro

      1:11

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About This Class

THANK YOU FOR JOINING MY BLENDER MASTERCLASS SERIES #2


In this course, we will talk about LIGHTING which is one of the biggest factors when it comes to any art form. Good lighting can tremendously help your work and take it to the next level.
I will walk you through my workflow and show you the lighting process and the thinking behind the decisions I made so you can truly understand the concepts taught in a practical way.



WHAT YOU WILL LEARN

  • The essentials of effective lighting
  • Characteristics that define light sources
  • Ready scenes and begin the lighting process from scratch
  • How lighting works in the real world
  • All the available lighting tools in Blender and how to take full advantage of them
  • How to break the rules and come up with your own unique style with lighting



Meet Your Teacher

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Kaiwan Shaban

Visual Artist

Teacher

Hi, I am Kaiwan Shaban, a 25-year-old visual artist. I blend digital art and cinematography to create unique and imaginative pieces. Throughout my career, I have worked with prestigious clients such as Apple, Jaguar, Adobe, Mercedes, Audible, and Sony Music, to name a few. I enjoy sharing what I know with the world

Find my digital assets here // https://kaiwanshaban.gumroad.com/

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Transcripts

1. Intro: In the previous series, I walked you through my Blender workflow, including where to start, explaining the basics, and how I created this certain scene. In this series, I'm going to talk about one of the biggest factors in any artistic, lighting. Now you probably know good lighting can tremendously help your work and take it to the next level. Learning the essentials of good lighting is an important skills whether you're doing photography, film making, digital art or simply taking a selfie. In this series, I will explain the essentials of good lighting and help you to take full advantage of it when it comes to creating an artwork in Blender. We'll talk about all the available lighting and cover in details which one to use. Later on, we will dive into my lighting workflow and explain why I make certain decisions. We'll start with two ready scenes and begin the lighting process from scratch and end up with results like these. After that, I'm going over some of my artworks and break down each one of them to demonstrate the motivation behind my lighting and for you to understand the overall workflow. You see when it comes to lighting, you have to be intentional. You cannot just rely on luck by moving around your lights and expect a good result. Sometimes you might just get lucky and make a good mistake, but 99 percent of the time you have to be intentional, and to be intentional with your lighting, you have to understand the lighting in itself. For instance, if you take a look at my artworks, you see right away notice that my lighting convey a type of message and sets a scene. Now, I don't mean they are always super meaningful, but what I mean is they make sense within this scene, and that is called intentional lighting. I believe if we want to take full advantage of lighting and use it artistically, we should first understand how it works in the real-world and in other art forms. This series is inspired by Blender Guru's lighting, a course on YouTube. I personally learned a lot from it, and I highly suggest you guys check it out for more detailed explanations. Now if you are here, I would assume that you are probably interested in my lighting workflow and that's what we will mainly be talking about. But before we do that, we have to go over a few characteristic that define light source. These are light direction, light size, color, emphasis. Without further ado, let's get to it. 2. Light Direction: Hi, guys. Let's get into it. We have light direction, and this cool animation was made also by Blender 3D. As you can see, the direction of the light changes from the left side to the right side. You can see the effect and an impact that it has. We're going to get into light direction in details. For instance, we have this example here. If you put your light directly in front of the subject, it is called flat lighting. This allows us to see a trace outline of certain feature, but it doesn't show depth. As you can see, it's all pretty much highlighted and we don't see much of the shadows. Now let's jump to another example. If you place the light behind the object, aka, rim lighting, this create a silhouette of an object and convey a sense of mystery. I've personally used that technique many times in my artwork, and it's probably one of the techniques I've used the most. These are some of examples, as you can see, and I mainly did it because I love to add a little touch of mystery in my artworks. I don't want to completely give out the story. I want the audience and the viewer to decide what actually happened, or what's about to happen, and things like that. I'm going to jump into another example here. Now if we place the light on the side, this will help create the depth by casting shadows over the side. As you can see, by the way, this is a very huge light and we're going to talk about this later on. But as you can see, this side is beautifully lit and here we can see the shadows. You automatically like to look at this figure. With this lighting we have a beautiful contrast on the right to the left side. Now when it's come to environments, it is essential to consider the time of the day. When it's noon, the sun is directly above and this flatten things and make them look harsher. As you can see here, we have these shadows. But later during the day, you start to create interesting shadows and you're really guiding the viewers to where they will be looking at. This is one example, but obviously you've seen sunset pictures, you've seen other examples. It's just much better than a harsh sunlight here. As you can see, we have these long shadows here and a very soft, subtle contrast shadows here, and this create depth. That's why most of my scenes are pretty much in the evening or at night because I like to play with light, and it gives me so much power in terms of actually direct the viewer where to look at. Also when it's come to environment, it's all about composition. You want to reveal the right form and think about the message you're trying to convey. 3. Light size: In this class, we are going to talk about the physical size of the things emitting light. It's actually one of the simplest and most effective things to apply. Now, to understand better, smaller light source create hard shadows and larger light source creates soft shadows. Here we have comparison. This is lit by a small source of light, as you can see here. This is lit by a bigger light source. As you can see, the difference is huge. This is much softer, better to look at. This is just harsher. Now, obviously it depends on your situation. I'm not saying this is good, this is bad. In fact, sometimes this is better than this if you want to try to focus on the finer details, but we will get to that in a bit. Now, one very important factor to consider here is that this is actually relative to how close the light source is to the subject. A good example of that is the sun. Even though it's huge and it's probably the biggest light source out there, it's still very far away. So to us, it looks like a smaller sized light and that's why it creates sharp shadows. On a cloudy day, the light get diffused by clouds, which are way closer and therefore, relatively bigger light source so they create soft shadows and better portrait image. That's why most photographer, including me, love to shoot on a cloudy day because it offer a delightful natural soft light. Another example is with landscape. Here we have during the golden hour, the light source becomes bigger and the scene looks better. However, that's not the case all the time. Sometimes we want hard shadows for rocky structures like here. We just want shadows like this, so it really depends on what you want to emphasize. Now, for models, if you want to emphasize youth, you can use a larger light source here. If you want to create some drama, then you might want harder shadows. For landscape, if you want to emphasize form, then use a larger light source, and if you want to emphasize finer details, then use a smaller light source. An easy way to remember this, is smaller light source emphasize smaller details and larger light sources emphasize larger details. 4. Color: Ladies and gentlemen, we're talking serious here. We're talking about colors. Light can fall into two camps, and these are natural and artificial colors. Natural light colors include the one on the Kelvin scale. Here we have Kelvin scales, so if you've never seen this temperature chart, a simple way to describe this, basically, these are the colors we see on our daily basis. We have early sunrise, candlelight, electronic flash, blue sky, and so on. It goes from 1,000 Kelvin scales up to 10,000 Kelvin scales. It's good to know about this because it's not only beneficial to know about lighting, but it's good for any art forms. You're into like if it's drawing if it's photography, film-making, these are essential to know about. Here we have two examples from my NFT collection, the pyramid NFT collection. As you can see here, we have a very bluish, dark cold colors. This is the opposite, which is completely orange. Maybe these two artworks are a bit over-exaggerated to show as an example for Kelvin scales, but this is just to compare and show how much of a difference you can make just by changing colors of your scene. You might have noticed that my approach with this type of lighting is to make these colors play off each other in the same scene. This is done by making the environment blue and adding warmness to the subject or desirable parts of your image you want to draw attention to. As you can see here, I mainly use these orange tones in parts where I want you to look at. Here we have this window, here we have this fire, here we have this tram or train, whatever you can call it. It actually works because these are complementary colors. I would highly suggest you to actually experiment with this color wheel. If you don't know where to find, you can go to Adobe color and write down color wheel. I might also just put a link in the class project, that would be even better to find, but yeah, it's really essential to experiment with this color wheel. You might even find your own colors. There's not only complementary, there's also split complementary. There's all these color harmony rules, so Check it out. The second cam that light colors falls into is artificial colors, and those signal location and symbolism, that's because they're emitted from a man-made sources and are not usually found within nature. This example here we have some of the screenshots and photos I took from playing this game called Cyberpunk, I probably familiar with it. These are some great example of artificial colors. Here we have pink, we have some mixture of blue, green. Here we have another example of this neon blue sign and then here, this whole mixture of red, green, blue, it's pretty vibrance and it could be your type of things. It could be the things you actually like and you want to pursue this type of lighting. But these are just the difference between artificial and natural colors. In conclusion, when it's come to colors, it really depends on what you want to say. If you want neutral, keep it wide. If you're going for a natural look, then go for some hot, cold Kelvin scale. If it's center around location and symbolism, then use vibrant Kelvin scale colors and in addition to a man-made ones like purple or pink, or green. In my approach in artworks, generally, I try to extenuate natural colors to create a unique blend of natural-looking scenes. 5. Emphasis: We briefly talked about some of these points before and we know that you need light with the shadows to create contrast and emphasis. It is really important to note that light intensity decreases over distance. There is an inverse relationship between distance and the light intensity. As the distance increases, light intensity decreases as well. This is because as the distance away, light becomes spread over a wider area. To demonstrate better, let's talk about fall off. The further away something is from the light source, the less fall off will get. An example of that would be sun. It's so far that the subject will experience almost no fall off and it will be totally lit the same way. On the other hand, the closer you bring the light, the more fall of you will get. This helps create more contrast and in turn more emphasis. 6. Blender Lighting Type: In this class, I'm going to talk about Blender lighting types. Here we have the actual example live. We have this statue. I've already made a couple lighting example here. For example, we have this big side light here, key light. Here, we have the rim light on the back. What we are going to do in this video is to explain all these type of lights that I've used and just to basically understand the possibility that you have using Blender. If you press Shift and A on your keyboard, here you have four different types of lights which are point, sun, spot, and area. Let's start with point. If you click on it, you basically should have your point light here. I'm just going to drag it and put it right around our subject, which is our statue model. [LAUGHTER] The best way to explain point would be point lamps emit light in all directions, as you can see. For instance, if I back it off a little bit and then just add more power here, by the way, you have all these adjustments that you can play with. You can change the color of your light, you can change the size of your light. We talked about this, the bigger your light source is the softer it becomes, as you can see. I'm just going to keep it right there. Here we have our max bounces. It's very cool to have all these different options. Now, if you ask me, why we would use point light and when we would use it actually? Point lamps can actually be useful in scenes where there is a small source of light or let's say like a candle or to illuminate one side of the scenes as we have right now. If I, let's say, just put this point light here and make it a little bit bigger and we have a nice soft light and then if I turn on my right side, you have something like this. It's not actually bad. This is before. In this scenario, you can use it as a fill light. But you can definitely play around with this light. But the more you experiment with it, the more you will understand how it works. Another thing to know is that your lighting is depending on the scenario that you have. First of all, what you are creating, you have to think about how the light would react in the real world. In that way you can decide which lighting would be the right choice. Let's jump to the second one, which is the sun. I'm just going to delete this point light and I'm going to hide this big side. I'm going to Shift A, Sun. I'm just going to move it a bit. Here, I'm just going to move it to the side. I believe the default power for the sun would be around 1,000. This is a bit too much, so I'm just going to bring down the sun light a bit down. I think this is normal. If you ask me, why would you use the sun lamp here? Basically, the sun lamp, as it sound, acts like actual sun in 3D space and it's quite powerful. You can actually move it around depending on how and where the sun is coming. You can see the shadow is pretty harsh as we talked about it in the previous videos. I'm just going to do it a bit this way. This is more like a sunset situation. Usually, the sun when it's setting, it's around this area, and that's why we have a little bit softer light. But this basically acts like a sun. You can also use it to eliminate one side of the scene as we're doing it right now. You can leave it like this and play around. You can also change the color to something like this. Maybe it's over-exaggerated, but I think that the sun color would be around a bit whitish but between whitish and with orange somewhere here. Our scene is not the best example to use the sun, but you get the point. It's really powerful. It acts like a sun. The shadows are harsh. If your lighting scene is based on daylight, this is a great choice. Let's delete that and let's get back to our scene here. The third option we have is spot. Here, as you might see, I might not explain it very well, but basically the light is emitted from this range. I'm going to just explain the definition. As it look like, the spot lamp emits light through a cone. This is a cone in a specific direction. You can move the direction too. Let me just quickly add some more power and then I'm just going to make it a little bit down and maybe even move it around like this. I'm just going to add more and more power to make it available and show the impact that it has. This cone can have between zero and 180 degrees of amplitude. Since this lamp only emits light in the direction you specify, it's best to use on parts on the scene that where you want to illuminate a small area or an object without affecting other object nearby. This is a similar situation. For example, here, we don't want the background to be lit, we just want to focus on the object. Here, it gives you a proper result. You can even make it lower. You can even go further by making it even closer. Yeah, I think it's pretty understandable. It also has a very nice effect with the volumetric lighting. You guys, once you use it, I think it's pretty self-explanatory. Now I'm going to delete and jump to the next one, which is area. The area light basically simulates light originating from a surface or we can say surface look-alike emitter. Basically, if you see here, the light direction comes out of this surface emitter. We have tons of example that we can use this type of light. For example, we have a TV screen or a window, and so much more. I personally use this light for my car scenes to emit the inside, the indoor of the car. It works pretty well because it gives you a very nice and realistic look just the way it works in real life. In this scene, if you just put it on top, you will have a very nice soft light. If you add more sides, it will be even softer. I'm just going to add more power to it and see how it's going to affect our scene. I'm just going to tilt it by pressing "R" on my keyboard. It's a pretty nice light that we have and it's also directional. It also work as a softbox light, I would say, softbox lighting. That's what we did with the side area lighting here. So if we have side, this big sidelight gives you a very nice soft light here on the side. Then I did the same with the rim light on the back. I used area. It's pretty cool. The next thing we want to talk about is object itself. Now that we are done with these four different types of lighting, I have to say I might not have explained all of these lighting properly because there's a lot to it. There's a lot to discover once you're starting to use it. I think the more you use it, the more you understand how it works. I think personally for me, the objects are a huge deal when I can actually emit one of these objects. For example, I want to emit this statue. I want it to be the source of light itself. You can simply do that by going to the Shading tab here. If you have your texture viewport on, you can see this is the actual texture, but what we're going to do, we're going to replace that, so let's delete all of this. This is the actual texture that we have. It's already been done. What we're going to do, we're going to delete all of that. Then we have no texture whatsoever, it's just a black statue now. We're going to do Shift A and search for emission. Basically, put emission to surface, and you have something like this. If you go to the viewport, you can actually make this a light source itself. Now if you add more string to it. This is not a perfect example. There's no details and there's nothing whatsoever. But, for example, you can create artificial sun using this technique. You can do a lot of stuff once you have the control and the ability to add light and emit any object in your scene. It's a great option. I just wanted to share that also because I personally use that a lot. I use the exact technique to add car lights in my scenes. You might have seen it before. The next things that I want to do here is to talk about world. Here we have this section called world. This is another way to lit your objects just by adding the world texture. I can actually add a ready sky using Blender kit. I'm just going to choose one of these and I'm going to try to go with a higher resolution. Click "Okay" and we should have it ready. What's great about this, you can easily change the mood of the day just by changing to different environment. This also gives you a very realistic natural light. Here, I believe we already have it by now. If I actually just hide this plane behind and I'm just going to turn off this light. I'm just going to move the statue around this. I'm going to add more light. It's not the best example, but if I'm going to use one of my skies here. Here, I have some different options. For example, here, I'm going to use this one. It does gives you a very natural light. This is if you're looking to add a natural light to your objects, nothing artificial. You can also add more to it. Obviously, you can add different lighting within your scenes, but just to know that this has a lot of effect on your object. The sky can have a lot of impact. Let's change to a more vibrant and happier one. As you can see, this changed the light completely. It's more of a backlight right now and frontlight, so just everything is flat. Definitely experiment with different environments so you can actually see the lighting impact on your scene. 7. Artowrk #1: In this class, I'm actually going to be showcasing my lighting workflow, and this is one of the examples, is actually one of the artworks I made a while ago and it's probably one of my personal favorites, and we will have this scene without any lighting, and by the end of this class we should end up with something like this, after we do all the lighting. Now here if we go to Blender here we have the final project, this is how I rendered, this how it looked, not exactly. Let me actually turn on the haze, so haze makes a lot of difference, so this is the final result on Blender, and then obviously I did a lot of tonings, and then obviously if you've seen my first series, you will understand that after I render my artworks, I usually jump to Lightroom and change up the tones and just make them look more clean, and just better overall, so that what exactly happened and that's how I ended up with something like this. You probably notice that I changed the orange color here and I added more blue. But yet, this is my process. This is how I do it but I think it's a pre-clear and I also recommend you to definitely use Photoshop and Lightroom in your advantage once you render because most of the time you won't be able to perfectly, everything will then blender or maybe that's just me. Let me disable the haze. Now before we get into the actual, this is basically with all the external light that we have, but we're going to remove all the lights and we're going to start over. But before we do that, we need to ask a few question to understand the process of lighting better. Now, in this case, in this scenario, you have to ask how many light sources we need. Here we have a few lighting sources. First of all, we have a light behind this thing in the kitchen, let me actually draw, so here as you can see, one light source is coming, and that way we are creating a beautiful, nice rim light in the back, and here we have another source of light, which is the cigarette lighting self, and then on the storage, we have another lighting coming out here, that way it shows us some details of what's happening there, and here I used sun lamp as a source of heavy blue light coming in, and all of these, in a way it means something and I'll get to that in a bit. Here we have another source of light which is the open sign, here we have a little bit of these backlight in the car, shows a bit of mystery out there, and yeah, these are the pretty much the main source of lights, and that way you create a very interesting result. This is what it looks like within Blender, and we're going to start removing all of these light. Now I'm going to get back to this and I'm going to explain why I went with this look and what I was trying to go for. Now, if this is your first time seeing my works, I like the combination of these two colors, the blue and orange, and you can pretty much see that in most of my artworks. Here in this case, what I was trying to do is, I wanted to emphasize the feeling of being safe in the indoor, mini bar you can say, and this warmness empathize it. As you can see this, here we have outside which is full of blue and cold and that way is also in a way empathize the darkness and the mystery outdoors. It works pretty well together, and that was pretty much the main idea when I started adding lights. All right, enough talking, I'm going to get back to Blender right now and I'm going to start deleting all the lights that we have here and start from over, start from scratch. Now here we have all the lights, the external lights, so I'm just going to delete one by one, here we go, then we have point for the cigarette light lighter, and then we have sun, which is the outdoor lighting, and here, these two lighting from outdoors comes usually from this lighting emissions that we have in the backlight, I'm just going to turn it off, and I'm going to show you exactly how I did that, and also I'm going to be doing the same thing for this opening sign here. As you can see, now the only available lighting we have it's from the environment texture, the actual environment which is I'm going to show you, it's an actual sky, I'm just going to show you here how it looks like. Obviously, I made the strength. The strength is not a lot, so just for the purpose of adding some natural light to it. This is pretty much it, and that's the only available lighting we have. The strength is 0.2 which is not a lot, it doesn't affect the overall scene much, which I like. Now, let's get back to what we have here. Just going to get back to our scene, our viewport here. Just going to go with Blender. Now let's start by adding the first light source which is going to be an area, and then I'm just going to make it a little bit bigger obviously, and then I'm going to go right away indoor, make it a little bit smaller. Now keep in mind, it's not going to be the same exact result, but this is just a way to show you how I do my lighting. Where's the lighting? Here's it. I thought I just lost it. Now, what I'm going to do, I'm going to go to the shading tab here, where you have all these adjustments, and I'm going to change the color to this oranges look they usually go for, and I'm just going to add more power to it, and I'm going to pretty much go in all in here. It's a bit hard to find the right movement to it. Yeah, I think that's done well. Now let's see where is it. I'll make sure it's global transform orientation. You know what? I should have turned on the toggle x-ray, that way I can see better through all these layers. Now that's much better. Go there, and then up here. That's what we needed. Now, this way it's an illusion, there is no actual lamp, but in a way you make the audience think that there is an actual lamp there. Now what I'm going to do, I'm going to just duplicate this, I'm going to do the same thing on the back of storage here. I'm going to hold Shift D and then you basically have another one, and then you can do the same thing. Let's get back to it. Here we have our storage, and frame back. Now that we have two light source, I'm going to add another one, which is going to be the cigarette lighter within her hand. Shift A, and this time I'm going to add a point light, that way we have a better illumination of the light, more realistic one, we can say. We can take it to within her hand. I'm just going to get closer to see where is it. Now we can see we already have some light on her face. This is also a really good trick to lit her face. You have to give yourself a reason. You cannot just add lights however you want, to give them a reason to do so. I'm just going to add the same color here. By the way, the final result, as you can see here, I added the light actually manually on Photoshop, and also the smoke is also manual. That's why it's good to know Photoshop because you can add all these small details within your scene. I think it looks pretty nice here. Now that we have three light sources, I'm going to add our sun lamp, and I'm going to use it like an ambiance light coming outdoor, that bluish dark color. So I'm just going to add sun sun here, and I'm going to direct it to the mini bar. I don't know if you even call this mini bars, it's more like a train bar. What I'm going to do, I'm going to also bring down a little bit the power. I'm going to change it to this kind of blue. Once we have the haze here, I've turned it off right now. I'm also going to show it to you how you do it. Now when you have the haze, you can see this bluish light is spreading over your scene, which is a really cool way to add. Now it's good that the haze is on so you can actually know what kind of power you should go with. I think one would be good. I like the results so far. Just going to disable haze. Now that we have our blue ambiance light outside, I'm going to add this simple light source, the emitted one. This is one of the example here, the neon sign. If you click on it here, I guess all of them is connected. If you click on it, I'm going to show you how you can actually add this emission light, it's the same process that I showed you in one of the previous videos. Basically, you choose your material, and you delete whatever you have here. You keep the material output and then Shift A. You look for emission, and then you change your color to whatever color you want and then you add strength. That way if you can get to the render view port, and if I start adding the emission to this neon sign, you can see that we now have lighting. The more you add, the more it reflect to the surrounding objects. We're going to do the same thing with the back-light of the car. I'm just going to try my luck. Here at the back-light, they're usually red, so I chose red. I'm going to add more strength, and that way we have a nice reflection on the floor too. Pretty much that's it. That's what I did for this artwork, and probably it took longer than I expected. It's pretty understandable what I do, I really tried to add depth to my scene by adding different lights, but also not just out of nowhere. It has to mean something. These are intentional lighting. If you turn on the haze now, you have a much better look combining all these lights. I'm just going to turn off this. I basically render something like this. Then I used Lightroom and Photoshop in my advantage to enhance it even further. But I'm also going to show you how I created this haze. Basically, to create this haze, I'm going to start over. I'm going to go Shift A, and then I'm going to go to Cube. I'm going to create a cube. Press S and scale it up, somewhere like this. Hold the middle click on your mouse, and then S again. Then just scale it this way on the right side. Then middle click again, and then S, and then scale it this way. Now we have a black box with all the indoor lighting that we have. We blocked all the lighting that comes from environment, but that's going to go away once we add the shading. Now that we have our box, I'm going to go to shading, and then we will wait a little bit to see the results. Then on shading we will create new tab here. I'm just going to call Volumetric. I'm just going to go with volume. Here I'm just going to delete, this is the default shading principle BSDF, I'm going to delete it, and then shift A and look for volume, like principal principle volume, but also volume scatter works too. I'm just going to go with principle volume, and then link it with volume. Here the intensity is way too much now. The whole scene is black, so I'm just going to put around 0.02 something. As you can see now, you have haze, and haze is a great grade tool you can use in your cinematic scenes. It really gives it a really nice depth. Obviously, if you think this is way too dark, you can also add more exposure here on your color management, which I think it's a good idea. Yeah. Guys, this is it. In the next video, I'm going to play with more examples. Again, guys, keep in mind that this might not be the exact result as this. It's probably even better now, the one I did. But yeah, I just wanted to show you how I do my lighting workflow, and I think it's a bit clear now. Hope it's clear. Anyway, I see you in the next video. 8. Artwork #2: Hi guys. In this class, we have another example to play with here. This is the scene, as you can see, and this is the rendered viewport. If you go back to the solid viewport, you can see it's not a very complicated scene I basically added these cubes to add a bit of texture and just like leading lines towards our model here. What I did, I used this cube at the end as you can see. I use this cube just as emitted. It's in a way, the metaphor, it's like a door is a latent door. That way we create a silhouette of this model. Now let's get back to the main scene here. Now let's get back to the render viewport. I'm going to start over. What I did basically, first of all, I'm not going to recreate the whole scene. I'm just going to create the light I made here. I'm going to delete this cube over here by pressing X. This is how it looks like without our main light. This blue light mainly is coming from the background, which is flat blue. Basically, the reason I'm adding the blue light for the environment is just to have the combination of blue and orange. It just looks much better when you have a combination of colors, especially complimentary colors. What I'm going to do when I get back to our cameras scene, I'm going to shift A and I'm going to create a cube. We have the cube. What I will be doing, basically I'm just going to press S and then middle click. I'm just going to pan out the cube a little bit this much. Then press middle click again and then just scale it up like this. Obviously, we might change the size and a bit, but I'm going to press Z. I'm going to delete this. Here we have our cube. Then slowly take it. Sometimes it's just worky to move around. [LAUGHTER] Make sure you high the cube and keep it just slightly out. It's like let it out and then I'm just going to also make it in the middle. Now that we have our cube there, now all we need to do is go to the shading tab and create New and then let's just call it light. Then I'm going to delete this principle, BAZF I'm just going to add, I'm going to search for emission. Before we do anything, let me just turn on the render viewport and turn off these so we can see what we're doing. Then I'm going to link it on with surface, and boom, you have the light coming out from wall, just like a dimensional portal, whatever you can call it. I usually change the color towards a bit orange around this area here. You can also add more to have more reflection on the ground and on the sides and that's it, guys. Obviously, you can play around with the cube. You want to change the size, you want to change the position. You can do whatever you like. That's it, guys. In the next video, I'm just going to break down some of my works. I think is going to be fun to see why I do certain things and what is the motivation behind my decision. See see you in the next one. 9. Breakdown: This is more like a bonus video where I'm going to review some of my works and actually breakdowns, the reason, and the choices I've made, and why I made those decisions in terms of lighting. These are some of the photos I wanted to diversify, but some of them look very similar in terms of lighting, so I'm just going to start. The first photo that we have, probably actually this is the one. Here, first, we have to ask a few questions, how many light sources we have in this artwork? You can probably tell there's only one main light source. The bluish tones that we have here comes from the environment texture, the sky itself and that's the power of these natural colors you get from environments. That's why it's really important to choose the right environment for your scenes. As you can see here, if I go here and draw, the look I was trying to go for, obviously, maybe this is a bit over-exaggerated, but I wanted to have a strong light coming out from the car, the indoor, and I also tried to add some reflection here. In a way, it creates some depth to the foregrounds and we have these nice reflections over here. I also suggest you to do that if you are using some lights, reflections definitely gives a lot of aesthetic vibe and a really cool tone to your images and you can probably see that a lot in my other artworks. I obviously used a huge cube with the volumetric haze to create some depth in my scene. Obviously, this lighting creates a very mysterious vibe, is only one lighting source. When you look at this artwork for the first time, your eyes directly goes to this area which is the light source. You might be wondering what light tools I used. I actually used a point light. I know that probably area light lamp would be a better choice for this, but I really wanted this over-exaggerated light coming out to create this nice reflection. Again, it depends on what you want. The look you want to go for, so I use point light for this, but obviously, you can use area, I would say, to have a more realistic light. We're done with this one. I'm going to go to the next one. Now you might notice, again, pretty similar. We have reflection, a nice water texture here, but we have a couple of light sources and let me just point that out. We have draw tool here. First light source, we have this gas station logo, which also creates this nice reflection and then we have a couple light source in the gas station itself here and then we have backlight. All of these lights in a way create a very aesthetic vibe to the whole scene. Again, this bluish tone, it comes from the environment texture, so you have to notice these environment textures are really important for your scenes. Pretty much, that's it. What I did, I used the same technique for the backlight to emit them, emit the backlight itself and I added these reddish colors. They might look orange a bit, but that's because when I enhance it on Photoshop, I played with the colors to match with the bluish here, but other than that, it looks pretty cool. Now, let's jump to the next one. I'm going to try to talk briefly about each one. Pretty much here, I did the same thing with the headlight. I used an orange beautiful light. That way we can create really nice reflection on the ground and also this rim light to this bag. Also, if you can see even his face is in a way, is lit and a little bit of his side, which makes it more realistic. We have the shadow here, so really light has a huge role in my artworks as you might see. Also, use this haze cube over here to create some depth, and then we have this mountain. Also, natural light again, which would give you this nice reflection on the car and just the surrounding area. Nothing that's special. [LAUGHTER] I'm just going to go to the next one. Here, we have a very interesting artwork. I personally really like this one, mainly because of these small details. Here, we have the crow, here we have a police officer, and this one source of light, I would say yes, is one source of light and I did that with the area lamp. I just directed it the way that the light would actually be directed and it went really well. I was surprised by the result when I rendered it. We have this really nice, an illumination of the light on this grass over here and also the reflection on the water. You can tell that I love these reflections here. Here, we have some small reflection of the light on the car, which gives it even the extra depth that we're looking for. I know this is not related to the lighting part, but these blurry foreground trees really create the really nice step to the overall image. Here, we have the grass also blurry, so the main attention, the main focus goes to the main elements that are important in the scene, which is the police officer, the crow, and the lighting here. That's pretty much it. Here, this one. Again, one source of light and we have this natural bluish tone from the environment texture, the HDRI. What I did, I just used the UV sphere and I added some VDB, the Cloud simulation, and I just used this as an emitted object, and boom, that's it. That's pretty much it. I'm just going to jump to the next one. Obviously, I mean, a composition is important the way you position your model car. All of this you have to have some background knowledge to be able to do this. This artwork obviously is you can tell we have only one source of light. We can say a couple source of light here, but mainly it's this huge blast out window that is filled with light. Maybe it's just over-exaggerated version, but that's how I really like to use lighting in my scenes. The look I was trying to go for is basically I wanted to showcase that the safety, maybe it's just lame, but I wanted to resemble the indoor as a safe place and outdoor it shows this character, this mysterious character, which is comfortable outdoors, which also this bluish dark tones resemble to the darkness and a scary, mysterious place. Now, I might repeat mysterious a lot, but pretty much most of my artworks concept are related somehow, like silhouettes and mystery characters, so that's pretty much what I do. In terms of technicality, what I did basically, I used the cube and I scaled it up to the size of this window and I lit it with emission orange as usual. That way, we have this nice glowy look and we have this nice reflection on the body of the car, and so on. Let's jump to the next one. Here, obviously, we also have one source of light and it's just a fire. I believe I used point lamp for this one. I used the VDB, but the VDB didn't come with an actual light, so I had to illuminate it in a way where it actually looks realistic, so I just added a very powerful point lamp here. That way, we see a very nice rim light on his body and on his face too. I really like this artworks, probably one of my favorite and pretty much that's what happened. The look I was trying to go for, obviously, this is just my color theme. I really love combining the blue with orange, and I wanted to showcase the warmness of the fire and resemble that within this color. Obviously here, as I mentioned, these foreground grass really add some beautiful depth to the overall scene and I highly suggest you to add these blurry. Obviously, you can play with your camera and just bring down the aperture and you have these nice elements in the foreground. What I would've done differently in this artwork, probably I would have added more trees in the background because it would just be more realistic, but I did this artwork like 6-7 months ago, so I will pass on that. Here we have an interesting artwork, obviously. There's one light source and is this sun that I believe I downloaded it from BlenderKit and I just added a very powerful emission to it and that's it. That's all I did and obviously, I created the scene too and that's the only source of light. I wanted to have a very realistic sunlight and that was the look I was trying to go for and that way, we have a very nice, I would say shadow of our model, very nice shadow form of the car here, and also all these details created very interesting scene overall. Here again, we have reflections. Obviously, you can tell I'm obsessed. That's pretty much it. I also added this flare within Photoshop, so actually, I do a lot of things in Photoshop, like I add this noisy texture on in Photoshop. I actually have a pack if you are interested, you can take a look at quinproduction.com. I have a pack of textures and I pretty much use them all the time. I also have light overlays, this is the light overlay volume 2, anyway, I'm just going to stop there. Just going to jump to the next one. So here we have an interesting one, so basically what I did, I created this wall, about window but I created this studio look alike and I created a cube filled with emission with this color, and then the color actually the light itself that didn't come to the other side, so I had to add a area line as a rim light behind this model and that's why we have a really nice highlights around her body. I highly suggest you do that to just add that extra depth. Otherwise the character would have been completely black, so that's just one trick that you need to know. Anyway, let's jump to the next one, you've follow me on Instagram, you've probably seen a lot of these, I really like to add light and the showcase the details inside the car and then also the headlight obviously, the back-light I didn't use it this time here, but yeah, the character is blurry again, very dis mysterious looking scenes. The idea, the concept is like something probably has happened here, the car is still on and the viewer can actually portray the way they want to see it, but that's the mystery that I'm talking about. Like I really like to leave the backstory to the audience. To talk about some technicality basically, I use an area lamp here in the middle in a way to create this realistic light that coming from the roof, and then we have this back-light that reflect the ground and we have this grass over here just to add some realism. Let's jump to the next one. Yeah, this is probably one of my favorite, there is, I think two light source that we have here. First is the sun lamp obviously, this really powerful light that comes here, and what I had to do, I had to block the whole scene, so from the back everything I just opened this part and this part and here, the light illumination comes only from this side and that way we have a really interesting light that creates a very nice highlight here over the cars and a very sharp shadows and I really like to go to this look. I'm highly inspired by Blade Runner scenes, the oranges cinematography by Roger Dickens, and I've been obsessed with this color theme. You can probably tell by now that this is more like a thing for my artwork, this color theme. Yeah, I use this interesting character, the position is really nice in my opinion that's create a very mystery character, it's more like a silhouette, but we can still see some details. Some technicality would be basically I use the sun lamp as I mentioned, but I also use another area lamp just over this area just to add a bit of boost to the whole scene, and that way we have more light to the ground too, and that way we also have a really solid rim light on the character. Yeah, that's pretty much what I did, I also probably used Hayes as a cube that way we have a nice soft sun coming in to the indoor, let's jump to the next one and similar load set. I really love this. look, let me just go to the draw and we obviously have one light source here which is this very long cube that I created in a way that the reason I wanted to go for this in a way it shows like a portal, the artwork title is final destination, final departure actually and obviously we only have one light source here so the look I was trying to go for was basically to create like a portal here and the artwork title is actually final departure and there's just one light you can see that, that sometimes less is more. You can see the highlight here, the rim light over the character and the car is very nice and I wanted to make it clean as possible, not in terms of texture because it's pretty dirty with textures and I love it, but in terms of adding elements. This is one light source, the technicality behind this is basically adding one long cube and emit that cube to the orange color and also I added a haze and that way it creates a very nice, smooth look. Actually, it's not only one source of light, there's two source of light which is the backlight I forgot, it's a bit of reddish look here, and we have the reflection here. So it's a really nice extra touch that we have here. Let's just go to the next one. This artwork is in terms of lighting, I try to go a little bit the extra mile so what I did, the technicality part behind this haze, obviously I used Hayes as a cube of volumetric and the shading tab, and I put a sun lamp behind this wall and I directed it through this way in the indoor. Then I added another light source, indoor the car, we can see the details inside, and then I created this emitted light, the headlight of the car, obviously the reflection, water textures pretty nice here and I added this character which creates, because of these headlight, we can see the shadows and highlights really well-lit, and overall, we have a very interesting scene. Maybe this is more like a visually pleasing scene, but again all the lights have been intentionally used. I just didn't add any lights for whatever reason. As you can see, we've seen scenes like these type of hates coming into the indoors and we obviously have lights into the car and also headlights. What matters the most when you use lighting in your advantage, try to be intentional. Sometimes it doesn't have to be very super meaningful but if you're looking to create something visually pleasing, try to know the motivation behind your light. Speaking of motivation, I should have talked about this artwork. Same thing that we have a very nice lit background, but if I didn't add the area lamp, then it wouldn't make much of a nice scene and we wouldn't have much depth here, we wouldn't have highlights here. That way I added an area lamb, that way we have this nice rim light, but the motivation itself, the light motivation comes from the background, which is this orange lit studio looking background. I just wanted to mention that out. We obviously have similar artwork, so I'm not going to go in details again, but here we have a couple light source, obviously these white windows, combination of red and white, I also really like this and then we have Silhouette character standing near the car, a reflection texture. What I did with this, I created a very thin surfaces planes and I added a mission to it and the shading tab and I try to add them it's nearly like slightly, a little bit over the windows here, and that way we also have a very realistic, nice-looking shapes of the window, and I did the same thing, same process for the backlight, a little bit red, and we have a really nice looking scene. Now, last but not least, we have this artwork. This probably also my top 10 favorite artworks. Back to the intentional light, I wanted to illuminate the light coming from the tram and these light that comes out from this tram is basically illuminating the reflection here that we see on the car and also on the ground. We have this light, indoor light again in the car and far away we have the small window light which creates depth. It creates a very nice-looking scenes as you zoom back and see the overall scene. So obviously here we have texture again, added in Photoshop, we have some wires just to create more details and the environment texture is the blue lit light. Pretty much same thing. Basically I use point light inside the train, I used a couple point light, one here, one here, and one here and then I use the same technique as I did for this artwork, for the Windows, but I just used them really far away and that way you probably don't see much detail, but there are like buildings next to each other, and also an area light, area lamp indoor the car and pretty much that's set in terms of lighting. For the record, you probably noticed that this motion has been added manually in Photoshop, so just something I want to mention, by the way guys, this is it, I thought would be fun to just break down some of these artworks and I hope they are helpful, I hope they give you some understanding of my lighting workflow. 10. Outro: We have finally come to the end of this series and I hope you found something useful to add to your toolbox and hopefully inspired you to create your own unique artworks with the techniques I showed you. Before I let you go, I want to leave you with some advice to reiterate on what we have gone over. First thing first, is that you have to be intentional. You really cannot break the rules unless if you have understood them. In order to get creative with your lighting scenes, you have to get a solid understandings of how light works. The second tip I want to give you is, analyze your favorite artworks and scenes and pinpoint what you really like about them and that's how you will get a good idea of why these certain creative decisions are made. Last but not least, don't be afraid to try new things and get creative with. I really can't wait to see what you guys are going to create with the techniques I showed you, so make sure to tag me on Instagram if you ever decided to post. Also follow me everywhere at its K1 to be updated for the next upcoming series. Finally, I just want to thank you so much for making it all the way and I hope you enjoy this course and I will see you in the next one.