By Leigh van der Byl
Growing fascinating and designated surfaces for gadgets and characters in 3D is a strategy many artists locate advanced and complicated. LightWave 3D eight Texturing demystifies this job with an intensive dialogue of ways to take advantage of many of the LightWave 3D instruments to create lovely textures.
* make the most of texturing idea to create any kind of floor you need. * Use a number of the thoughts within the floor Editor to impact your textures. * paintings with textures utilizing vertex colour maps, gradients, weight maps, and photo maps. * manage layers within the Texture Editor. * observe textures with projection strategies and UV maps. * increase your surfaces utilizing photograph filters. * Create steel, wooden, and natural surfaces through operating via a chain of tutorials.,
ON THE CD:
* instructional documents and accomplished examples * Demo models of Deep Paint 3D® and Deep UV™ from correct Hemisphere and BodyPaint 3D R2 from Maxon * versions from numerous artists in your personal use * colour photos of all of the figures within the e-book
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Extra resources for LightWave 3D 8 Texturing
5°, which means that anything over that amount will not be smoothed unless you specify that it should be by changing this amount. It is important, however, to note that smoothing does not affect the actual geometry of an object. Although the object may appear smooth when rendered, sometimes you may still be able to discern the individual polygons along the model’s edge, especially when viewed up close. If you find this happening with your models, you will need to smooth your actual model by adding more geometry.
This works best with very high luminous values. NOTE: For more information on radiosity and its use in illumination, please refer to your LightWave manual. Or you can check out Nicholas Boughen’s lighting techniques in LightWave 3D 8 Lighting. However, the drawback to using radiosity is that it can result in really long rendering times. Anyone who has worked with it before knows that radiosity looks fantastic when used properly, but can often result in unacceptable rendering times, especially when you are working on a deadline.
Figure 4-3 Using Color Color is used in texturing in two ways. First, you use color simply because the object you are texturing is that particular color in real life. You wouldn’t, for example, create bright blue textures for a human, since human skin is not blue. You would use flesh tones instead. So the first manner of color use would be purely using certain colors because that is what color the object is supposed to be. The second use of color is more subjective and artistic. This comes into play when you are given artistic freedom to decide on the colors used for certain props and such in your work that are more flexible in terms of the colors you can use for them.