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If you're using a Windows version of Netscape Navigator and want to print this page (and still be able to read it), click on the png-printable link at the very bottom of this page. An Open, Extensible Image Format with Lossless Compression ( Not Related to Papua New Guinea, the Pawnee National Grassland, the Professional Numismatists Guild or the "Pack 'N' Go" format)
OpenGL Programming Guide or 'The Red Book' About This Guide Chapter 1: Introduction to OpenGL Chapter 2: Drawing Geometric Objects Chapter 3: Viewing Chapter 4: Display Lists Chapter 5: Color Chapter 6: Lighting Chapter 7: Blending, Antialiasing, and Fog Chapter 8: Drawing Pixels, Bitmaps, Fonts, and Images Chapter 9: Texture Mapping Chapter 10: The Framebuffer Chapter 11: Evaluators and NURBS Chapter 12: Selection and Feedback Chapter 13: Now That You Know Appendix A: Order of Operations Appendix B: OpenGL State Variables Appendix C: The OpenGL Utility Library Appendix D: The OpenGL Extension to the X Window System Appendix E: The OpenGL Programming Guide Auxiliary Library Appendix F: Calculating Normal Vectors Appendix G: Homogeneous Coordinates and Transformation Matrices Appendix H: Programming Tips Appendix I: OpenGL Invariance Appendix J: Color Plates Glossary (not included in this version)
This painting was time-consuming and a lot of hard work. I made sure to save every step so you can all share the pain I went through. Muwahahaha! I start with a sketch(Photoshop--no particular reason. I can draw in both Photoshop and Painter). I lay down some basic colors.
This one was done 50% in Photoshop and 50% in Painter. I just kept both applications open and switched between the two when I felt necessary. I was never a fan of Painter, but I've always wanted to get to know it better. After this painting, I feel more comfortable with it, and should be using it as much as I use Photoshop from now on.
Updated: 22 February 2009 Overview Of Netpbm Netpbm is a package of graphics programs and a programming library. There are over 220 separate programs in the package, most of which have "pbm", "pgm", "ppm", "pam", or "pnm" in their names. For example, pamscale and giftopnm . For example, you might use pamscale to shrink an image by 10%.
Abstract About 3.5 billion years ago the first multi-cellular life-forms emerged. Individual cells that once competed directly against one another formed alliances. This allowed cells to specialize creating highly complex mechanisms such as neural networks and muscle fibers.
Title: Song Hye Kyo Name: Max Edwin Wahyudi Country: Indonesia Software: 3ds max, ZBrush This is a rendering of SongHyeKyo, the Korean actress. I did this one as a challange from my friends, and also because she is my favourite actress. So, making the head accurate was the most important one for me. I made her smile just for fun, but it turned out to be a very difficult process.
wow, she's really getting the likeness! keep it up, it's looking great. you asked for some advice on the shader setup. from my meager understanding, i will try to give you a couple pointers. first, don't try to simulate the skin, try to mimick it. that is, the skin shader isn't an exact simulation, it fakes a lot of things, so it's not going to be "accurate." that's one of the biggest hurdles to get over, theory-wise, i think. second, figure out what kind of lighting you're going to want to use. this is going to play a major part in how the final render looks, and what kind of input the shader is going to require. for instance, in your last update, render 1 is approximately the right light color. render 2 i think is a tad too white and not quite cool enough, and render 3 is substantially warmer, from what i can see of the rest of the image. different light colors, intensities, and positions are going to affect the shader differently.
RBF Dipole Surface Evolution Yuntao Jia, Xinlai Ni, Eric Lorimer, Michael Mullan, Ross Whitaker, John C. Hart Proc. Shape Modeling International, June 2010
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Robert W. Sumner Jovan Popović Abstract: Deformation transfer applies the deformation exhibited by a source triangle mesh onto a different target triangle mesh. Our approach is general and does not require the source and target to share the same number of vertices or triangles, or to have identical connectivity. The user builds a correspondence map between the triangles of the source and those of the target by specifying a small set of vertex markers. Deformation transfer computes the set of transformations induced by the deformation of the source mesh, maps the transformations through the correspondence from the source to the target, and solves an optimization problem to consistently apply the transformations to the target shape.