Vertex Painting in UDK. Creating seamless and unique environments - My final university project. Damian Lazarski. Reducing seams In this section I will discuss the methods that can be used for reducing texture, shading, material and physical seams in UDK environments.
Texturing principles In this section I will discuss the process of planning and designing the textures for your environment in a way that will allow you to hide the seams with ease. The first step for reducing seams in your environments is to divide the types of your assets into three categories; structural, mixed and organic. Normally, you may think of organic assets as objects that have irregular shapes, such as rocks or trees. The type of texture information will usually dictate what solutions will be best at reducing the seams.
When it comes to creating the textures, you might want to decide right from the start what type of texture you are trying to make. When you are making mixed textures you are not bound by any rules. When it comes to making organic textures, the rules are also more relaxed. Reducing UV seams: Trims. Explosions & Rainbows » Lee Amarakoon. "Garagarape" Frederic Bessy Portfolio. プレプロダクション研究。
初めの企画では、GeForce4ユーザー用、１００メガでダウンロードできるコンテンツ。 少ないモデルと限られたテクスチャー数で、いかにプレイヤーに面白いゲームを提供できるか。 頂点カラーでテクスチャーの少なさをごまかし切れない場合、レンダーカラーで調整。 色々な馬があると見せかけるために、レンダーカラーを利用。 この時点で、インターネット上でレースのビデオを流す事に企画が急転回。 テクスチャーによる、色のバリエーション。 馬具はボディパーツで作成。 CG-Shaderで、頭と足の染みも表現。 ZB Tiling Tut. A wall with uniform bricks running along horizontal rows is a common asset that is easy to create.
Creating nonuniform rough stones that stray away from the horizontal course, such as rubble masonry, is a more challenging matter. The amount of noodling required to make the rubble masonry wrap and tile seamlessly is enough to drive most artists mad. Within Zbrush's vast array of tool options lies a way to create such a wall quickly and painlessly.
We will sculpt a rubble masonry wall as one single tool in Zbrush, departing from the often used method of sculpting individual stones and assembling them into a wall in Maya, Max, XSI, or on your Zbrush canvas. Taking advantage of Zbrush's masking options will make this process fun and painfree. 1. We start by using Photoshop to create a tileable black and white image of a nonuniform stone wall, delineating the space between each uniquely shaped stone.The mortar lines can be irregular but make sure they are clearly drawn with solid lines. Painting an eye (tutorial/exercise) Instructions: The iris is completely round.
For the most part, some of it will be hidden by the eyelid - if you hide only a little, the eye will look widened, shocked and staring (such as in the example I'm painting here), while hiding half or more will give the eye another expression altogether: perhaps indolent, seductive, sly. Like the eyeball, never cease to imagine the iris as a round thing. To make absolutely sure, always paint the full round thing on a separate layer and then simply erase the bit that would be hidden by the eyelid. Like previously mentioned, we see the eyes, and we definitely see if something's messed up.
A non-round iris will make it look alien and crooked - a neat thing if that's what you intended, but not so neat if you are aiming for a natural look. So, pick a dark, random colour (nothing too extreme) and paint in the iris. Ultimate Figure Drawing Course Known to Man by Riven Phoenix. Heads. It's important that you take the time to walk through and complete the Understanding 3D Form tutorial before you're ready to take this next step.
Anyone who thinks they are beyond the basics presented there is kidding themselves, myself included. No matter how good you may be, if you don’t get the basics it will come back to bite you. Step 1. This is the biggy. This step dictates the entire head drawing, and or pose for that matter if you are attaching an entire body to this. The centerline of the face is derived from our cross section. With a minimal degree of shifting of one feature or another, all faces are fairly symmetrical. Drawing1. I know you are all looking at this image and wondering, uh you lost it or something?
I see no fancy colors, no stylized brushwork ugh argh why waste my time with this? Well, I think you’ll all be surprised in where this goes. So here we go. The thought process behind all this is simply, simple form. All great painters of the past worked with this formula. The problem most everyone seems to have with painting the human head is they paint colors that they see them in a photograph, but they don't paint a guy, a 3-dimensional man. What I have done here is construct in 3D, the four basic shapes that make up just about anything the artist is going to draw or paint, the cone, sphere, cube and cylinder. If you look at all these objects in the photos, they are 3d objects photographed 2 dimensionally, i.e. a flat picture plane.
Moving onto our shapes; the sphere, cone and cylinder are all rounded in form. The biggest problem most people have is that they don’t paint in light and dark. Ron Lemen. Drawing Expressions.