I fell in love with this wallpaper and wanted to create a piece of art with it. Adding wood to the back and trim for the frame makes it a custom removable piece that is flush with the wall. Years ago I did this for a client and it turned out beautifully. (You can see details on that project here: Elmhurst Living Room)

The beaded trim is painted the same color as the wall (Benjamin Moore Silver Cloud) to give it a seamless look. We are using this same trim for the frame for the TV (coming soon) and as an accent on the mantel.

Lighting Wallpaper Download

Download File 🔥 https://cinurl.com/2yGB8I 🔥

**UPDATE** Linking a few items that I am frequently getting asked about ? I LOVE the wall sconces but they have since been discontinued. I will include a few similar options. As always reach out with any questions!

Hi Connie, thank you for your comment! The cord hides behind the panel but the plug would be too thick in the outlet to cover it. A bench, baskets, or sometimes a small ottoman hides the outlet so it is out of sight. However, when designing this, we knew once our baby started moving we could easily tuck the cord behind the panel if needed ?

Wallpaper Engine supports real-time lighting and reflections on 2D scenes. This requires you to enable either the Lighting or Reflection options in the material settings of an image layer. These two functionalities work well together but, as always, try to not enable both of them if you do not really need them to keep the performance impact as low as possible.

In order for 2D images to get a perception of depth that is used for lighting and reflections, we need to make use of a normal map. Normal mapping is a common approach in video games to give flat textures a perception of being three-dimensional. Wallpaper Engine comes with a normal map generator that you can use to easily generate a normal map for your image layers.

In order to get started, select your image layer that you want to apply real-time lighting and / or reflections onto. This works best if your specific character or object is its own layer, we highly recommend using foreground separation to first separate any character or object from the background before you continue, if you have not done so already.

After selecting the layer that you want to create the normal map for, scroll down on the right-hand side and click on the Configure Lighting & Reflections in the Materials section towards the bottom. Now, enable the Lighting or Reflection option (or both) to reveal additional options, including the normal map generator.

Click on the Generate button in the Normal map section to open up the normal map generator. You can now tweak the normal map to match your specific object better, though the default options should already work well for most cases. You can find a detailed description of all the options below.

After enabling the Lighting option for your layer, you will have noticed that it immediately turned dark. This is because your scene, by default, is lacking any significant light source. You will need add the appropriate light sources to your scene and adjust them accordingly. To do this, click on Edit at the top of the browser and then Add Light. You can move the light sources around just like any other object in the editor.

For now, we simply add two light sources to our scene and use the color picker to select colors directly from our wallpaper so that the light color matches the contents of the image. You can see this process in the following video:

Keep in mind that Wallpaper Engine limits the maximum number of lights per scene to four light sources for performance reasons. You should use individual light sources only as needed. Instead of lighting your scene with many individual lights, you should adjust the ambient lighting of your scene, see the next section for more information.

You will also need to take ambient lighting into account that Wallpaper Engine adds to your scene. This ambient lighting that Wallpaper Engine adds to your scene can be configured in the Scene options on the left-hand side. Open the scene options and adjust the ambient illumination to your needs, we change the Ambient Color to a slightly whiter tone to make it a little brighter but you can choose any color you want here to give your whole scene a certain type of glow.

Another important thing to consider: By default, Wallpaper Engine will have a gray background color behind and around your scene. Under normal circumstances, this does not matter, but with reflectivity and lighting enabled, the background color can influence the lighting of your scene in the editor and when users choose a wallpaper alignment option where the background color becomes visible.

This can be addressed by adding a Metallic map to the image layer of our character, just below the Normal map that we added in the beginning of this tutorial. Simply press the Paint button in the Metallic map section that we have seen before.

The Metallic map allows us to paint which areas are shiny like metal and which areas are not. Since our example character is wearing a shiny armor, we start by painting the whole mask with a value of around 120 - 150 to give it an overall shine. We then continue by painting the face and all cloth areas of our character with a value of 0. This removes any metallic look from these particular areas.

We then move on and paint areas that we want to highlight with a very high value of 255, such as the sword and shield of our character. These elements will now appear very shiny and metallic while the face now will be much less reflective.

Please note: If you leave the metallic map empty, you will also find an additional Metallic slider below the list of maps. If your character or object is very metallic or not metallic at all, you can also just adjust this slider value accordingly instead of taking the time to paint the complete map.

After having added the metallic map in the previous step, the result is already pretty good. We can further improve the look of the surfaces by also creating a Roughness map. The roughness map affects the scattering of the reflected light, essentially it defines how blurry the reflection is. You can use lower values in the range of 10 - 50 for metallic surfaces, something less reflective such as cloth and skin can be set to values from 200 and up. For the roughness map, we do not recommend using very low values around 0 or very high values around 255 as these tend to not look very realistic, though they might be useful in more abstract concepts.

In our case, the roughness map looks rather similar to the metallic map but it lets us further emphasize certain parts of the image by tweaking the reflection further. We started by painting the entire mask with a value of around 70 followed by values around 200 for the skin and cloth elements and values from around 10 - 50 for areas where we wanted to add a strong shine to the image, such as the helmet of our character and the sword. See the following video of the mask we have drawn for our character as we show you the mask overlayed to the image layer, followed by the end result.

Please note: If you leave the roughness map empty, you will also find an additional Roughness slider below the list of maps. You can also just adjust this slider value accordingly instead of taking the time to paint the complete map.

Additionally to the previous maps, you can also add a Reflection map. A reflection map is often really not necessary and you can leave it out altogether but it can be helpful in certain edge cases to tweak individual parts of the reflections. You can also reduce the overall reflections by lowering the Reflectivity slider below the list of masks.

In our example, we noticed a slight glow at the top of the helmet decorations. We add a Reflection map, and as a very first step, we paint the whole map in white (at a value of 255) to ensure the reflections we have created previously stay as they are. We then set the value to 0 and paint the helmet decorations in black and save the reflection map. Looking at the helmet decorations now, the minor glow that was previously present has now disappeared entirely.

If you have created a normal map and painted the other material maps as needed, the lighting on your wallpaper should already look pretty good. However, at this point, all the light in the scene is static, be sure to check out our guide on advanced lighting tips to learn about different ways you can make the lighting a bit more complex and interactive:

The first one was for our builtins in our reading room. We used the Billy Bookcase to form the foundation for the entire builtins and it worked out so well! The second was another IKEA Billy Bookcase hack in our laundry/mudroom. My favorite part of this project was using paintable textured wallpaper on the door fronts. It really took it to another level and was super easy to do! This project is another IKEA Billy Bookcase hack using wallpaper, but on the inside this time and with lights!

I went back and forth for over a month on what I wanted to do with this piece. I was so indecisive that I asked for people to vote on what they thought over in my Instagram stories. I was torn between adding wallpaper to the inside or painting the entire thing dark green to match the she shed walls. The majority of people voted for the wallpaper and I decided to actually listen this time. I picked out this gorgeous wallpaper from Rifle Paper Co, well it actually picked me it feels like. I love this wallpaper so much that I am going to use it in our half bathroom as well. 152ee80cbc

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