COMPOSITION
DESIGN
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Public Work – A search engine for free public domain contentRead more: Public Work – A search engine for free public domain contentExplore 100,000+ copyright-free images from The MET, New York Public Library, and other sources. 
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How to paint a boardgame miniaturesRead more: How to paint a boardgame miniaturesSteps: - soap wash cleaning
- primer
- base-coat layer (black/white)
- detailing
- washing aka shade (could be done after highlighting)
- highlights aka dry brushing (could be done after washing)
- varnish (gloss/satin/matte)
 
COLOR
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Is it possible to get a dark yellowRead more: Is it possible to get a dark yellowhttps://www.patreon.com/posts/102660674 https://www.linkedin.com/posts/stephenwestland_here-is-a-post-about-the-dark-yellow-problem-activity-7187131643764092929-7uCL  
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Akiyoshi Kitaoka – Surround biased illumination perceptionRead more: Akiyoshi Kitaoka – Surround biased illumination perceptionhttps://x.com/AkiyoshiKitaoka/status/1798705648001327209 The left face appears whitish and the right one blackish, but they are made up of the same luminance. https://community.wolfram.com/groups/-/m/t/3191015 Illusory staircase Gelb effect 
 https://www.psy.ritsumei.ac.jp/akitaoka/illgelbe.html
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3D Lighting Tutorial by Amaan KramRead more: 3D Lighting Tutorial by Amaan Kramhttp://www.amaanakram.com/lightingT/part1.htm The goals of lighting in 3D computer graphics are more or less the same as those of real world lighting. Lighting serves a basic function of bringing out, or pushing back the shapes of objects visible from the camera’s view. 
 It gives a two-dimensional image on the monitor an illusion of the third dimension-depth.But it does not just stop there. It gives an image its personality, its character. A scene lit in different ways can give a feeling of happiness, of sorrow, of fear etc., and it can do so in dramatic or subtle ways. Along with personality and character, lighting fills a scene with emotion that is directly transmitted to the viewer. Trying to simulate a real environment in an artificial one can be a daunting task. But even if you make your 3D rendering look absolutely photo-realistic, it doesn’t guarantee that the image carries enough emotion to elicit a “wow” from the people viewing it. Making 3D renderings photo-realistic can be hard. Putting deep emotions in them can be even harder. However, if you plan out your lighting strategy for the mood and emotion that you want your rendering to express, you make the process easier for yourself. Each light source can be broken down in to 4 distinct components and analyzed accordingly. · Intensity 
 · Direction
 · Color
 · SizeThe overall thrust of this writing is to produce photo-realistic images by applying good lighting techniques. 
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What is OLED and what can it do for your TVRead more: What is OLED and what can it do for your TVhttps://www.cnet.com/news/what-is-oled-and-what-can-it-do-for-your-tv/ OLED stands for Organic Light Emitting Diode. Each pixel in an OLED display is made of a material that glows when you jab it with electricity. Kind of like the heating elements in a toaster, but with less heat and better resolution. This effect is called electroluminescence, which is one of those delightful words that is big, but actually makes sense: “electro” for electricity, “lumin” for light and “escence” for, well, basically “essence.” OLED TV marketing often claims “infinite” contrast ratios, and while that might sound like typical hyperbole, it’s one of the extremely rare instances where such claims are actually true. Since OLED can produce a perfect black, emitting no light whatsoever, its contrast ratio (expressed as the brightest white divided by the darkest black) is technically infinite. OLED is the only technology capable of absolute blacks and extremely bright whites on a per-pixel basis. LCD definitely can’t do that, and even the vaunted, beloved, dearly departed plasma couldn’t do absolute blacks. 
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About green screensRead more: About green screenshackaday.com/2015/02/07/how-green-screen-worked-before-computers/ www.newtek.com/blog/tips/best-green-screen-materials/ www.chromawall.com/blog//chroma-key-green Chroma Key Green, the color of green screens is also known as Chroma Green and is valued at approximately 354C in the Pantone color matching system (PMS). Chroma Green can be broken down in many different ways. Here is green screen green as other values useful for both physical and digital production: Green Screen as RGB Color Value: 0, 177, 64 
 Green Screen as CMYK Color Value: 81, 0, 92, 0
 Green Screen as Hex Color Value: #00b140
 Green Screen as Websafe Color Value: #009933Chroma Key Green is reasonably close to an 18% gray reflectance. Illuminate your green screen with an uniform source with less than 2/3 EV variation. 
 The level of brightness at any given f-stop should be equivalent to a 90% white card under the same lighting.
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Black Body color aka the Planckian Locus curve for white point eye perceptionRead more: Black Body color aka the Planckian Locus curve for white point eye perceptionhttp://en.wikipedia.org/wiki/Black-body_radiation  Black-body radiation is the type of electromagnetic radiation within or surrounding a body in thermodynamic equilibrium with its environment, or emitted by a black body (an opaque and non-reflective body) held at constant, uniform temperature. The radiation has a specific spectrum and intensity that depends only on the temperature of the body. A black-body at room temperature appears black, as most of the energy it radiates is infra-red and cannot be perceived by the human eye. At higher temperatures, black bodies glow with increasing intensity and colors that range from dull red to blindingly brilliant blue-white as the temperature increases. (more…)
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PBR Color Reference List for Materials – by Grzegorz BaranRead more: PBR Color Reference List for Materials – by Grzegorz Baran“The list should be helpful for every material artist who work on PBR materials as it contains over 200 color values measured with PCE-RGB2 1002 Color Spectrometer device and presented in linear and sRGB (2.2) gamma space. All color values, HUE and Saturation in this list come from measurements taken with PCE-RGB2 1002 Color Spectrometer device and are presented in linear and sRGB (2.2) gamma space (more info at the end of this video) I calculated Relative Luminance and Luminance values based on captured color using my own equation which takes color based luminance perception into consideration. Bare in mind that there is no ‘one’ color per substance as nothing in nature is even 100% uniform and any value in +/-10% range from these should be considered as correct one. Therefore this list should be always considered as a color reference for material’s albedos, not ulitimate and absolute truth.“ 
LIGHTING
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Photography basics: Exposure Value vs Photographic Exposure vs Il/Luminance vs Pixel luminance measurementsRead more: Photography basics: Exposure Value vs Photographic Exposure vs Il/Luminance vs Pixel luminance measurementsAlso see: https://www.pixelsham.com/2015/05/16/how-aperture-shutter-speed-and-iso-affect-your-photos/ 
 In photography, exposure value (EV) is a number that represents a combination of a camera’s shutter speed and f-number, such that all combinations that yield the same exposure have the same EV (for any fixed scene luminance). The EV concept was developed in an attempt to simplify choosing among combinations of equivalent camera settings. Although all camera settings with the same EV nominally give the same exposure, they do not necessarily give the same picture. EV is also used to indicate an interval on the photographic exposure scale. 1 EV corresponding to a standard power-of-2 exposure step, commonly referred to as a stop 
 EV 0 corresponds to an exposure time of 1 sec and a relative aperture of f/1.0. If the EV is known, it can be used to select combinations of exposure time and f-number.Note EV does not equal to photographic exposure. Photographic Exposure is defined as how much light hits the camera’s sensor. It depends on the camera settings mainly aperture and shutter speed. Exposure value (known as EV) is a number that represents the exposure setting of the camera. 
 Thus, strictly, EV is not a measure of luminance (indirect or reflected exposure) or illuminance (incidentl exposure); rather, an EV corresponds to a luminance (or illuminance) for which a camera with a given ISO speed would use the indicated EV to obtain the nominally correct exposure. Nonetheless, it is common practice among photographic equipment manufacturers to express luminance in EV for ISO 100 speed, as when specifying metering range or autofocus sensitivity.
 The exposure depends on two things: how much light gets through the lenses to the camera’s sensor and for how long the sensor is exposed. The former is a function of the aperture value while the latter is a function of the shutter speed. Exposure value is a number that represents this potential amount of light that could hit the sensor. It is important to understand that exposure value is a measure of how exposed the sensor is to light and not a measure of how much light actually hits the sensor. The exposure value is independent of how lit the scene is. For example a pair of aperture value and shutter speed represents the same exposure value both if the camera is used during a very bright day or during a dark night.
 Each exposure value number represents all the possible shutter and aperture settings that result in the same exposure. Although the exposure value is the same for different combinations of aperture values and shutter speeds the resulting photo can be very different (the aperture controls the depth of field while shutter speed controls how much motion is captured).
 EV 0.0 is defined as the exposure when setting the aperture to f-number 1.0 and the shutter speed to 1 second. All other exposure values are relative to that number. Exposure values are on a base two logarithmic scale. This means that every single step of EV – plus or minus 1 – represents the exposure (actual light that hits the sensor) being halved or doubled.Formulas(more…)
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Photography basics: Solid Angle measuresRead more: Photography basics: Solid Angle measureshttp://www.calculator.org/property.aspx?name=solid+angle A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well. http://en.wikipedia.org/wiki/Solid_angle http://www.mathsisfun.com/geometry/steradian.html A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon). http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle. http://www.numericana.com/answer/angles.htm The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon. More info http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy Angular Size The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree. The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin. 
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What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…Read more: What’s the Difference Between Ray Casting, Ray Tracing, Path Tracing and Rasterization? Physical light tracing…RASTERIZATION 
 Rasterisation (or rasterization) is the task of taking the information described in a vector graphics format OR the vertices of triangles making 3D shapes and converting them into a raster image (a series of pixels, dots or lines, which, when displayed together, create the image which was represented via shapes), or in other words “rasterizing” vectors or 3D models onto a 2D plane for display on a computer screen.For each triangle of a 3D shape, you project the corners of the triangle on the virtual screen with some math (projective geometry). Then you have the position of the 3 corners of the triangle on the pixel screen. Those 3 points have texture coordinates, so you know where in the texture are the 3 corners. The cost is proportional to the number of triangles, and is only a little bit affected by the screen resolution. In computer graphics, a raster graphics or bitmap image is a dot matrix data structure that represents a generally rectangular grid of pixels (points of color), viewable via a monitor, paper, or other display medium. With rasterization, objects on the screen are created from a mesh of virtual triangles, or polygons, that create 3D models of objects. A lot of information is associated with each vertex, including its position in space, as well as information about color, texture and its “normal,” which is used to determine the way the surface of an object is facing. Computers then convert the triangles of the 3D models into pixels, or dots, on a 2D screen. Each pixel can be assigned an initial color value from the data stored in the triangle vertices. Further pixel processing or “shading,” including changing pixel color based on how lights in the scene hit the pixel, and applying one or more textures to the pixel, combine to generate the final color applied to a pixel. The main advantage of rasterization is its speed. However, rasterization is simply the process of computing the mapping from scene geometry to pixels and does not prescribe a particular way to compute the color of those pixels. So it cannot take shading, especially the physical light, into account and it cannot promise to get a photorealistic output. That’s a big limitation of rasterization. There are also multiple problems: - If you have two triangles one is behind the other, you will draw twice all the pixels. you only keep the pixel from the triangle that is closer to you (Z-buffer), but you still do the work twice. 
- The borders of your triangles are jagged as it is hard to know if a pixel is in the triangle or out. You can do some smoothing on those, that is anti-aliasing. 
- You have to handle every triangles (including the ones behind you) and then see that they do not touch the screen at all. (we have techniques to mitigate this where we only look at triangles that are in the field of view) 
- Transparency is hard to handle (you can’t just do an average of the color of overlapping transparent triangles, you have to do it in the right order) 
 
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