ACKNOWLEDGMENTS |
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xiii | |
Preface |
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xv | |
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xvii | |
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xvii | |
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1 VISUAL COMMUNICATION, GOOD DESIGN, AND AESTHETICS |
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1 | (26) |
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3 | (2) |
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5 | (15) |
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5 | (2) |
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7 | (2) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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12 | (1) |
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Color Relativity and Color Constancy |
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13 | (2) |
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15 | (1) |
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16 | (4) |
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20 | (6) |
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26 | (1) |
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2 REALISM, PHOTOREALISM, AND WHEN BEING CONVINCING IS BEST |
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27 | (18) |
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28 | (8) |
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30 | (2) |
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Aerial Perspective and Perspective of Disappearance |
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32 | (1) |
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33 | (3) |
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36 | (4) |
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36 | (1) |
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Two Dimensions, Not Three |
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36 | (1) |
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37 | (3) |
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40 | (4) |
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44 | (1) |
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3 TECHNICAL ISSUES: THE DIGITAL ENVIRONMENT AND DELIVERY MEDIA |
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45 | (26) |
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46 | (19) |
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46 | (1) |
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47 | (1) |
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Color Space or Color Gamut |
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48 | (4) |
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52 | (1) |
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53 | (8) |
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Using Gamma as a Design Technique |
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61 | (1) |
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61 | (1) |
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Contrast Ratio and Ambient Light |
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62 | (1) |
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63 | (2) |
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65 | (3) |
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68 | (1) |
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69 | (2) |
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4 MATERIALS: TECHNOLOGY AND USE |
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71 | (20) |
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72 | (2) |
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What Does a Computer Think a Material Is? |
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74 | (3) |
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It Is All About Light: Some Physics |
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77 | (2) |
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What Does the Software Think a Material Is? |
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79 | (2) |
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81 | (1) |
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82 | (2) |
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84 | (1) |
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The Use of Image Maps and Procedural Maps |
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84 | (2) |
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86 | (2) |
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88 | (1) |
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Image Editing and Rendering |
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89 | (1) |
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90 | (1) |
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91 | (20) |
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Surface Shaders: General Description and Examples |
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92 | (6) |
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98 | (2) |
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Light Response Attributes: The Big Three |
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100 | (5) |
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100 | (1) |
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101 | (3) |
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104 | (1) |
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Other Common Shader Attributes |
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105 | (4) |
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Bump Mapping and Displacement |
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105 | (1) |
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Transparency, Refraction, and Translucency |
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105 | (3) |
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108 | (1) |
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108 | (1) |
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109 | (1) |
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110 | (1) |
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6 MATERIAL CREATION INTERFACES |
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111 | (26) |
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112 | (9) |
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115 | (6) |
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121 | (6) |
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126 | (1) |
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Maya Hypershade and Attribute Editor |
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127 | (9) |
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133 | (3) |
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136 | (1) |
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7 IMAGE MAPS AND PROCEDURAL MAPS |
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137 | (40) |
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138 | (18) |
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138 | (2) |
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140 | (3) |
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143 | (5) |
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148 | (3) |
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151 | (5) |
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156 | (19) |
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157 | (4) |
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161 | (6) |
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167 | (8) |
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Summary-Comparing the Two |
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175 | (2) |
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8 PULLING IT TOGETHER: INITIAL TUTORIAL |
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177 | (46) |
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3ds max Tutorial: Using the Material Editor |
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179 | (14) |
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Lightwave Tutorial: Using the Surface and Texture Editors |
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193 | (15) |
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Maya Tutorial: Using the Hypershade and Attribute Editor |
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208 | (13) |
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221 | (2) |
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223 | (42) |
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Some (Very Simple) Physics |
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224 | (3) |
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Models of Illumination: Local Illumination |
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227 | (1) |
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Models of Illumination: Global Illumination |
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228 | (7) |
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228 | (2) |
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230 | (3) |
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233 | (2) |
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3ds max Tutorial: Raytracing |
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235 | (6) |
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3ds max Tutorial: Radiosity |
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241 | (6) |
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Lightwave Tutorial: Raytracing |
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247 | (3) |
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Lightwave Tutorial: Radiosity |
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250 | (5) |
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Maya Tutorial: Raytracing |
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255 | (4) |
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259 | (1) |
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3ds max Tutorial: High Dynamic Range Image-Based Rendering |
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259 | (2) |
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Lightwave Tutorial: Lightwave High Dynamic Range Image-Based Rendering |
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261 | (2) |
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263 | (1) |
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263 | (2) |
10 COMPLEX MATERIALS |
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265 | (40) |
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267 | (1) |
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Double-Sided Surface Material |
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267 | (1) |
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Multiple Surface Materials per Mesh Surface |
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268 | (1) |
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Superimposing More than One Surface Material, Shader, or Texture |
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268 | (3) |
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269 | (1) |
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269 | (1) |
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270 | (1) |
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Double-Layer SpecularShaders |
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271 | (1) |
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Making Metallic Materials |
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271 | (1) |
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Material Types for Compositing |
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271 | (1) |
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272 | (1) |
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272 | (1) |
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3ds max Tutorial: Tutorial 10A: An Outdoor Scene |
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273 | (6) |
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Lightwave Tutorial 10A: An Outdoor Scene |
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279 | (7) |
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Maya Tutorial 10A: An Outdoor Scene |
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286 | (7) |
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3ds max Tutorial 10B: Fresh Mountain Tea |
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293 | (4) |
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Lightwave Tutorial 10B: Fresh Mountain Tea |
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297 | (4) |
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Maya Tutorial 10B: Fresh Mountain Tea |
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301 | (3) |
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304 | (1) |
11 MAPPING AND UNWRAPPING |
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305 | (40) |
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306 | (2) |
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308 | (8) |
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One Solution: Projection Mapping |
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308 | (2) |
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Another Solution: Explicit UV Mapping |
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310 | (2) |
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312 | (2) |
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314 | (2) |
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Image Maps May Look Weird |
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316 | (1) |
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Some Specific Software Information |
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316 | (5) |
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316 | (2) |
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318 | (2) |
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320 | (1) |
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3ds max Tutorial: Creating the Read |
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321 | (5) |
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Lightwave Tutorial: Lightwave |
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326 | (4) |
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330 | (5) |
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3ds max Tutorial: Creating the Body |
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335 | (4) |
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339 | (3) |
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342 | (2) |
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344 | (1) |
12 RENDERING |
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345 | (28) |
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346 | (5) |
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350 | (1) |
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351 | (3) |
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351 | (2) |
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353 | (1) |
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354 | (1) |
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354 | (1) |
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355 | (2) |
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3ds max Software-Specific Information |
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357 | (4) |
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357 | (1) |
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358 | (1) |
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359 | (1) |
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359 | (1) |
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359 | (1) |
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360 | (1) |
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361 | (1) |
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Lightwave Software-Specific Information |
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361 | (4) |
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361 | (2) |
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363 | (1) |
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363 | (1) |
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364 | (1) |
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364 | (1) |
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365 | (1) |
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Maya Software-Specific Information |
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365 | (5) |
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365 | (1) |
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366 | (1) |
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367 | (1) |
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368 | (1) |
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369 | (1) |
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369 | (1) |
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370 | (1) |
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370 | (3) |
A ABOUT THE CD-ROM |
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373 | (2) |
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373 | (2) |
BIBLIOGRAPHY |
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375 | (4) |
INDEX |
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379 | |