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Hello! and welcome to the second part of the
stylized perspective tutorial... all right and
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here's one more really good example of how a
predefined artistically shaped perspective helps
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to shape the lines. again we can perceive it as
a lens effect or as a space effect, it's up to us.
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Matt has taken a picture of quite boring subject
but then painted it in a very fantastic fashion
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by adding flow to it. and what's interesting
once again is... what kind of lens would you need
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in Blender to recreate this warped perspective?
it's pretty hard to tell, because it's an artistic
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perspective that you *invent* to get a specific flow.
you'd have to bend geometry to get this effect
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sadly the usual implementation of the 3d space in
3d editing software is that the space is flat. it's
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a traditional zero curvature flat space, euclidean
space, absolutely predictable. so we will need to
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bend the geometry itself. well, not a big deal,
we can do it. so let's have a look at an example
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in Blender. here we have an approximation of the
scene, how it looks with a usual camera without any
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artistic twist, so how can we bring the geometry a
little bit closer to what we see in the sketch in
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terms of perspective? let's try the lattice object.
Shift A, Lattice. well we can accomplish this effect
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in various ways but lattice is one of the easiest,
so i'm going to scale the lattice... uh... vertically
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like this, so it encompasses the geometry and
uh i'm going to roughly position it like this
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and then we just need to go over into the lattice
tab within the modifier settings and tweak the
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resolution of the lattice. what we're gonna do
is use this three-dimensional object to bend
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all other meshes within the scene by tweaking
the control knobs on this lattice but before we
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need to select all the pieces of geometry and
bind them to the lattice. so let's go like this,
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then shift select the lattice
object as the last one in the stack
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Ctrl P to parent and parent to lattice deform. now
the setup should be ready for tweaking, we can go
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Tab to enter the edit mode for the lattice object,
select a bunch of points in the orthographic mode
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and... and push them in whatever direction we'd like
with the help of the G key to move. and so you can
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notice that it works kind of like the force field
that spawns across the entire scene and as if it
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bends the space, even though it doesn't bend
the lighting. technically we're not changing
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the curvature of the space itself, but it looks a
little bit like this, like the perspective effect.
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and that's a decent substitute to... to having a
proper system for manipulating this space itself.
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all right so that was one of the approaches of
artistically shaping the... reality =O by the way these
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images are from the Matt's paid course from the
CtrlPaint shop from the design series which
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i really recommend you to watch also and also the
free digital painting videos he has on the site.
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golden stuff i say! but let us go a little bit
deeper into the rabbit hole of the artistically
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warped perspectives where things become stranger
and stranger as we go down. the space may get broken
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or angular or spherical, hyperbolic, something like
that, crazy stuff, basically that's the movement
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to the right side and to the top of the Hjalti's
chart towards non-representational and stylized
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perspectives. reality is flat and you
may say boring (but not necessarily)
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while in the abstract land the x y and z axes
uh can be twisted like this... or there can be no z
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axis but, instead you get an A axis for example.
yeah it's like x y and... Anarchy. i made it on the
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fly. and in the stylized part of the spectrum you
you can get something like x and y without z or
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something like that. really generalized. so let's
say uh what if we want to push our perspective
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over there in terms of positioning it on the
Hjalti's chart? hmm, what can it be? let's talk about
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artistically warped and impossible perspectives.
one of my favorite games art-wise the Day of the
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Tentacle and here we can see how the perspective
has been broken in every way, but with style.
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the visual flow or the flow of two-dimensional
shapes and lines is created by warping the 3d
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perspective in an artistic manner. in stylized
art you can set your own rules for space and
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perspective. this is truly liberating. and here's
a quick exercise to nail down the concept. first
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of all it's a 22 millimeter lens, as if it matters
something in such a broken perspective, but anyway
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this is a wide angle lens and the rest is bending
the geometry. the same story over and over again,
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the walls for example... we can keep them curved to
follow the sketch. there are no straight surfaces
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in the scene whatsoever, no flat surfaces either
except maybe the floor so it's like we're looking
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at this imaginary world through a super peculiar
lens so to speak. and according to this lens...
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and at the same time to the sketch obviously which
is the screenshot from the Day of the Tentacle...
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the wall can have a little bit of this angle built
in. the objects in the foreground look like we are
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using the fisheye lens even though we're not. but
that's the logic of the non-euclidean space that
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predefines everything we do in 3d, if we're about
to follow the sketch for that matter. so to follow
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this logic to its... logical conclusion we need
to shape all the objects according to the
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shape of the space in the scene even if it means
angling the objects in a very strange way indeed :)
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like this... skewing the walls a bit,
giving every surface a slight twist
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to make sure there are no normal looking places,
like here for example, it's too flat, let's turn it
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to the camera a little bit. so the key takeaway
from this video i hope is that even though the
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camera in 3d can show things in a pretty normal
way, we still can achieve a pretty interesting
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artistically infused perspectives with the
help of some manipulations with geometry.
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and of course it's super helpful to have such
things pre-planned in in the sketch, because
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sketching allows to test the perspective
ideas in a very quick fashion, to not get
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bogged down by the limitations of the
flat 3d space in 3d editing software.
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