The Top Ten Tips of Texturing

One way to create dirt has already been covered, and that's photo overlays. Those are great for general wear and tear on your texture. If you want small specific details, you'll need to use other techniques. Below are a two techniques I frequently use, one for dust and dirt, and one for rust. Dust and dirt can be done very quickly with a solid brownish layer and a layer mask. Rust is a bit more tricky. I used to handpaint rust, but it always had a bit of a cartoony look, and I was never able to get crispy rust that looks convincing and real. That was until DennisPls shared his technique with me, which I've been using ever since. Good damage placement only requires one thing: logical thinking. That can be chipped paint, scratches, rust, etc. There is a sure chance that you'll find dust and dirt in such an area. This doesn't only work for small borders. The front of the forklift (1) is the area that will suffer the most, and will therefore have more damage than other parts.

Minecraft: Top 10 Alternative Texture Packs For those that wish to move beyond the medieval realm of vanilla Minecraft! Take note, many of these texture packs change how the Minecraft world looks considerably, it's very easy to get confused. I would recommend using these only for single player, creative worlds, or as a fundamental server requirement to avoid potential misunderstandings. Some of the texture packs will recommend additional mods to download, so be sure to follow their instructions. 10. Craft Boy If you're as old as I am, you remember the days spending hours playing games on your brick Gameboy earning neck cramps and replacing the 4 AA batteries that it required. Download here. 9. Have you ever wanted to go to the moon? Download here. 8. A drastic change from regular Minecraft, many blocks look nothing like what they were originally. Download here. 7. Another sci-fi pack, only this one takes you to a strange alien world. Download here. 6. Enrich your Minecraft experience! Download here. 5. Download here. 4. Download here. 3.

(A Semi-Official) Python FAQ Zone This effbot zone, a sister site to the Python Tutorial Wiki, contains a copy of the standard Python FAQ. This site replaces the version hosted at infogami. This site is being used as an editing and staging area; “stable” versions will be published over at python.org at regular intervals, once all the tools are in place. Note: We’re rebuilding. Sorry for the mess. To contribute, you can: Review an article, and add comments and suggestions if you find something that can or should be improved.Show me a random article! It’s perfectly okay to just read an article, of course.

I built a space station... Hey guys, check this out. Built a space station in some of my spare time. Features include a launch pad, solar array, storage room and functioning garbage disposal, crew quarters, rec room and bio-lab! Built using the sci-fi texture pack on the group collaborative build the League of Extraordinary Builders. The Overview: Spoiler: Launch Pad: Crew quarters: Rec Room: Bio-lab: Storage and disposal: Feedback is always appreciated. Digital Artform: Avoiding Ugly Color Falloff in 3D A standard shader has a boring color falloff. Most painters, when rendering a surface which turns away from light, will identify (or invent) a reason to introduce a shift in the hue of a surface as it darkens. One way you can do this in 3D is to map a color ramp to light falloff. A standard shader, in this case a cyan-colored Lambert shader, is usually implemented inside the renderer as a multiplication of a base color and a grayscale Lambert falloff. When color falls off in this way, it can go through muddy, dull midtones. If you remap the falloff with a ramp, you can give it a richer look. Start with a Surface Shader node. Add a ramp. Add a Lambert to the V-Ramp. The Lambert falls off through shades of gray. (I chose the V input because the ramp defaults to a V-ramp. Here's a default ramp. Here's a render of the objects using the default ramp. Adjust a pleasing falloff into the ramp... ...and you'll achieve a pleasing falloff in the lighting of the rendered objects.

Getting Started in Digital Art « Concept Cookie Hello and welcome to the Concept Cookie Getting Started in Digital Art Series! It’s finally here! The Getting Started in Digital Art has arrived and is ready for the viewing. In this course, Tim Von Rueden takes a look at the first steps to begin understanding digital art! The entire course is less than a hour long and is a crash course for becoming more familiar with the basics of digital art from the technical side of setting up, installing, and locating options, to more artsy perspectives on lighting, color, and material basics. Citizen members can download each of the HD videos. The handouts can either be downloaded individually on each of the respected tutorial pages or you can download a .pdf containing all of them in one file: HERE This course was meant to help both beginners just picking up a tablet for the first time or for someone that wants to pick up some tips or reminders on working in digital art.

Digital Artform: Hue Falloff in Maya Lights The typical CG light only loses luminosity as it rolls off from direct to oblique illumination. That can look dull. Here's a technique for introducing angle-based hue falloff into the light for a richer look. The basic idea is to calculate the "facing ratio" not of the camera's view of an object, but of the light's view of the object, and to map that light facing ratio through a ramp and back into the light's color attribute. Here's a brief overview: 1) Get the world position of the point being shaded by using the samplerInfoNode. 2) Get the world position of the light using the lightInfo node. 3) Subtract (1) from (2) to get a vector from the surface point to the light. 4) Get the surface normal in camera space using the samplerInfo node. 5) Convert the surface normal to world space using a vectorProduct node set appropriately. 6) Take the dot product of (3) and (5) using another vectorProduct node set to "dot product" -- this is the light facing ratio.

Leading Game Environment Artist Showcases Techniques Behind God of War 3 and City of Heroes If you’re seriously interested in 3D environment modeling, or are perhaps even considering it as a career path, then you may want to check out this instructional DVD by Nate Stephens, Senior Environment Artist at Respawn Entertainment. With 10 years of experience as an environment artist in the video game industry and a resume that includes work for God of War 3, City of Heroes, and StarCraft Ghost, Stephens is a veteran in the field. In the DVD is a tutorial that details the process of transforming concept art into a fully rendered game environment model via Maya. Taking concept art originally developed by concept artist Cecil Kim, Stephens identifies the forms and structures of environments, blocks them out and proceeds through the modeling process — touching on the key concepts, tools and techniques needed during continuous refinement. For more information, visit the official website.

Spline Doctors Environment Modeling for Games "It's not hard to find Nate's 3D levels and scenes in God of War franchise. His massive epic environments that were masterfully modeled and sculpted in Maya has been praised by critics and fans worldwide. I have worked closely with Nate for more than 5 years at Sony. He's truly one of the most experienced and talented 3D environment artists I've met. This DVD will guide you through how Nate will translate my 2D concepts into 3D game assets. I recommend highly for anyone who wants to take a peek at high-end AAA game production - Cecil Kim Lead Concept ArtistSony Santa Monica Studios "I had the pleasure of Art Directing Nate on God of War 3. - Ken Feldman Art Director - God of War 3 "Nate is an Environment Artist that offers the whole package. - Stig Asmusse Creative Director - Sony Santa Monica Studios