By David S. Ebert, F. Kenton Musgrave, Darwyn Peachey, Ken Perlin, Steve Worley

The 3rd version of this vintage educational and reference on procedural texturing and modeling is punctiliously up to date to satisfy the wishes of today's 3D portraits pros and scholars. New for this variation are chapters dedicated to real-time matters, mobile texturing, geometric instancing, acceleration, futuristic environments, and digital universes. furthermore, the general authoritative chapters on which readers have come to depend comprise all-new fabric protecting L-systems, particle platforms, scene graphs, spot geometry, bump mapping, cloud modeling, and noise advancements. there are lots of new amazing colour pictures to take pleasure in, in particular during this edition's full-color format.

As within the earlier variants, the authors, who're the creators of the equipment they speak about, offer huge, sensible motives of largely accredited innovations in addition to insights into designing new ones. New to the 3rd variation are chapters by means of famous members: invoice Mark of NVIDIA and John Hart of the collage of Illinois at Urbana-Champaign on state of the art themes now not lined in former editions.

An accompanying site (www.texturingandmodeling.com) includes the entire book's pattern code in C code segments (all up-to-date to the ANSI C general) or in RenderMan shading language, plus documents of many extraordinary full-color illustrations.

No different e-book out there comprises the breadth of theoretical and useful info important for utilising procedural tools. greater than ever, Texturing & Modeling is still the selected source for pros and complicated scholars in special effects and animation.

*New chapters on: procedural real-time shading via invoice Mark, procedural geometric instancing and real-time strong texturing via John Hart, acceleration options by means of David Ebert, mobile texturing through Steven Worley, and procedural planets and digital universes by way of Ken Musgrave.
*New fabric on Perlin Noise by way of Ken Perlin.
*Printed in complete colour throughout.
*Companion website includes revised pattern code and dozens of pictures.

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Additional info for Texturing and Modeling: A Procedural Approach (3rd Edition)

Sample text

The texture function has the usual 2D texture space with the texture image in the unit square. The built-in variables s and t are the standard RenderMan texture coordinates, which by default range over the unit interval [0, 1] for any type of surface. The shading language also provides an environment function whose 2D texture space is accessed using a 3D direction vector that is converted internally into 2D form to access a latitude-longitude or cube-face environment map (Greene 1986). When the texture image is suitable, there is no easier or more realistic way to generate texture patterns.

Team LRN 10 CHAPTER 2 Building Procedural Textures Peachey (1985) and Perlin (1985) described space-filling textures called solid textures as an alternative to the 2D texture images that had traditionally been used. Gardner (1984, 1985) used solid textures generated by sums of sinusoidal functions to add texture to models of trees, terrains, and clouds. Solid textures are evaluated based on the 3D coordinates of the point being textured, rather than the 2D surface parameters of the point. Consequently, solid textures are unaffected by distortions of the surface parameter space, such as you might see near the poles of a sphere.

The first step is to go out and examine Team LRN 24 CHAPTER 2 Building Procedural Textures the real material: its color and color variations, its reflection properties, and its surface characteristics (smooth or rough, bumpy or pitted). Photographs that you can take back to your desk are very valuable. Architectural and design magazines and books are a good source of pictures of materials. Texture Spaces The RenderMan shading language provides many different built-in coordinate systems (also called spaces).

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