Download Computer Graphics for Artists: An Introduction by Andrew Paquette PDF

By Andrew Paquette

Jam-packed with workouts, this booklet is an application-independent and reader-friendly primer for somebody with a major wish to comprehend 3D special effects. starting with the 1st and most simple parts of special effects, the e-book speedily advances into a growing number of advanced ideas. all the components, notwithstanding easy, are vital to appreciate simply because every one is an important hyperlink in a sequence that enables an artist to grasp any special effects software. With this entire, the artist can use expertise to fulfill his/her ambitions, rather than the expertise being grasp of the artist.

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Extra info for Computer Graphics for Artists: An Introduction

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A spike is a vertex that has been pulled away from the main body of the model, without detaching it (Fig. 4). 4 A spike. Most often, spikes are less obvious than this You should not have any spikes in your object. If you have even one, your model cannot be used as is and must be fixed before delivery. Bow-tie faces. An n-sided face (usually a quad) that has been twisted so that its normals, if triangulated, would be facing almost 180° away from each other (Fig. 5). 5 A bow-tie face The easiest way to picture this is to imagine a square of cloth stitched to two rods on either side.

Fold your carton into shape using your application’s transformation tools. Do not cheat by creating a carton in its folded state to begin with. If you do, you will miss some of the learning opportunities present in this exercise. Folding the carton will require you to properly set the fold axis for each fold. Whenever this axis corresponds to any of the six major axes of world space, your job will be fairly easy. If the folds are not aligned to these major axes, it will be more difficult because you will have to define the axis yourself (Fig.

32 Chapter 1 UV coordinates editing (Fig. 40 Two examples of a finished UV layout. The example on the left is for the inside and outside of a two-piece carton. The example on the right is for a one-sided one-piece carton Both examples are correct, but the mapping technique utilized on the left requires some prior experience. The example on the right is more in the spirit of the project, which is in part designed to demonstrate how easy UV mapping can be if the artist starts with an unfolded version of the model.

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