An Introduction to Computer Graphics for Artists

✍ Scribed by Andrew Paquette

• Publisher: Springer Science & Business Media
• Year: 2014
• Tongue: English
• Leaves: 351
• Edition: 2
• Category: Library

✦ Synopsis

An Introduction to Computer Graphics for Artists is an application-independent, reader-friendly primer for anyone with a serious desire to understand 3D Computer Graphics. Written by a veteran of the computer graphics industry whose previous career included film animation and various spells as Art Director for video games, Andrew Paquette draws on his experiences both as an artist and a manager. Far too often artists, even professionals, lack a basic understanding of the principles of computer graphics. The result is inefficiency and lower quality of work. This book addresses these issues by providing fundamental information in a university course format, with theoretical material, detailed illustrations, and projects to test the reader’s understanding of the concepts covered. Opening with the first and most basic elements of computer graphics, the book rapidly advances into progressively more complex concepts. Each of the elements, however simple, are important to understand because each is an essential link in a chain that allows an artist to master any computer graphics application. With this accomplished, the artist can use technology to satisfy his goals, instead of the technology being master of the artist. All students wanting to learn more about computer graphics from an artistic viewpoint, particularly those intending to pursue a career in computer game design or film animation, will find this book invaluable.

✦ Table of Contents

Preface to the New Edition
Acknowledgments
Contents
List of Figures
List of Tables
Chapter 1: Introduction
1.1 Linear Perspective and Computer Graphics
1.1.1 Linear Perspective and Projection
1.2 Aerial Perspective
1.3 The Influence of Pointillism
1.4 Artists and Expertise
1.5 Technical Contributions of Artists
1.6 The Role of Software in CG
1.7 Conclusion
References
Chapter 2: CG Basics
2.1 Introduction
2.2 World Space in CG
2.3 Interfaces for CG Artists
2.3.1 Navigation Within an Application
2.3.2 Camera Clipping Plane
2.3.3 Object Creation
2.3.4 Selection
2.3.5 Transforms
2.3.6 Hotkeys
2.3.7 CG Components
2.3.8 Snaps
2.3.9 Draw Modes
2.4 Geometry
2.4.1 Components
2.4.1.1 Vertex
2.4.1.2 Edges
2.4.1.3 Faces
2.4.1.4 Vector
2.4.1.5 Normals
2.4.1.6 Nodes
2.4.2 CG Attributes
2.4.2.1 Introduction
2.4.2.2 Materials
2.4.2.3 Textures
2.4.2.4 Texture Coordinates
2.5 CG Lights
2.6 Conclusion
2.7 Study Questions
2.8 Modeling Exercise
2.8.1 Folding Carton : Project Overview
2.8.1.1 Carton Project Instructions
2.9 Alternate Modeling Project
2.9.1 Skyscraper/Reverse Carton
2.10 Conclusion
References
Chapter 3: Observation Skills and CG
3.1 Introduction
3.2 Observation Styles
3.2.1 Schematic
3.2.2 Symbol
3.2.3 Myopic
3.2.4 Substitution
3.2.5 Knowledge
3.2.6 Holistic
3.3 Special Problems
3.3.1 Intrinsic Color
3.3.1.1 White-Balancing
3.3.2 Optical Illusions
3.3.3 Scale
3.4 Conclusion
References
Chapter 4: Measurements and Their Relationship to CG
4.1 Introduction
4.1.1 Proportions
4.2 Dimensions
4.2.1 Linear
4.2.2 Radial
4.2.3 Angles
4.2.4 Surface Curvature
4.2.5 Calculation
4.2.6 Relative and Absolute
4.2.7 Fractal Measurements
4.2.8 Resolution Limits
4.2.9 Measuring Tools
4.3 Reference
4.3.1 Imported
4.4 Likeness
4.5 Conclusion
References
Chapter 5: Scene Preparation
5.1 Naming
5.2 Windows
5.3 Camera
5.4 Work Lights
5.5 Hot Keys
5.6 Conclusion
References
Chapter 6: Modeling 1: Polygons
6.1 Introduction
6.2 Creation
6.2.1 Basic Modeling Tools
6.2.1.1 Geometric Primitives
6.2.1.2 Direct Input
6.2.1.3 Spline Controls
6.2.1.4 Conversion
6.2.1.5 Import
6.2.2 Conclusion
6.3 Modification
6.3.1 Introduction
6.3.2 Adding Vertices
6.3.2.1 Subdivision
6.3.2.2 Extrusion
Edge Extrusion
Vertex Extrusion
Face Extrude Around Edge
6.3.2.3 Face Cutting
Controlled Cuts
Plane Cuts
Subdivision
6.3.2.4 Bevel
6.3.2.5 Smooth
6.3.2.6 Spline Creation
Loft
Extrude
Revolve
Face
6.3.3 Deleting Vertices
6.3.3.1 Delete
6.3.3.2 Collapse
6.3.3.3 Weld/Merge
6.3.4 Booleans
6.3.4.1 Intersection
6.3.4.2 Union
6.3.4.3 Subtraction
6.3.5 Object Types
6.3.6 Box Modeling
6.3.7 Part Modeling
6.4 Conclusion
6.5 Exercise: Alignment Illusion, Part 1
6.5.1 Alignment Illusion
6.5.2 Alignment Illusion Illustrations
6.5.3 Aspect Ratio
6.5.4 Set Camera
6.5.5 Alignment Illusion Solution
6.5.6 Block Out Scene
6.5.7 Build Elements
6.5.7.1 No Box Modeling
6.5.7.2 Large Number of Parts
6.5.7.3 Scope of Project
6.5.7.4 Criteria
Reference
Chapter 7: The Importance of Resolution in CG
7.1 Introduction
7.2 Object-Based Resolution
7.3 Polygons
7.4 Texture Maps
7.5 Bit Depth
7.6 Minimum Resolution
7.7 Curve Detail
7.8 Output Resolution
7.8.1 Print
7.8.2 Film
7.8.3 Video Games
7.9 Level of Detail
7.10 Exercise: Alignment Illusion, Part 2
7.10.1 Resolution
References
Chapter 8: Optimization of CG Models
8.1 Introduction
8.2 Optimization Direction
8.3 Hidden Faces and Open Geometry
8.4 Curvature Detail
8.5 Part Detail
8.6 Incised Detail
8.7 Subdivision
8.8 Vertex Merging
8.9 Relative Value of Structural Contribution
8.10 Resolution Contrast
8.11 Texture Maps
8.12 Opacity Maps
8.13 Silhouette
8.14 Fake Perspective
8.15 Card Geometry
8.16 One-Sided Polygons
8.17 Optimization Testing
8.18 Conclusion
8.19 Exercise: Alignment Illusion Part 3
Reference
Chapter 9: Validation of CG Models
9.1 Introduction
9.2 Likeness Errors
9.2.1 Relationships
9.2.1.1 Scale
9.2.1.2 Curve Fidelity
9.2.2 Distortion
9.2.3 Illegal Texture Boundaries
9.2.4 Open Corners After Extrude
9.2.5 Smoothing Incorrect
9.2.6 Visible Gaps in Polyset
9.3 Technical
9.3.1 Introduction
9.3.2 Aspect Ratio
9.3.3 Bow Tie Faces
9.3.4 Concave Face
9.3.5 Duplicate Edges
9.3.6 Hole Geometry
9.3.7 Isolated Vertices
9.3.8 Lamina Faces
9.3.9 Locked Normals
9.3.10 N-Gons
9.3.11 Non-manifold Geometry
9.3.12 Non-planar Faces
9.3.13 Offset Vertex Order
9.3.14 Reversed Normals
9.3.15 Transforms Attached
9.3.16 UV Distortion
9.3.17 Zero Edge-Length Face
9.4 Construction
9.4.1 Introduction
9.4.2 Coincident Faces
9.4.3 Coincident Vertices
9.4.4 Floating Faces
9.4.5 Leftover Geometry
9.4.6 Misaligned Texture
9.4.7 Origin Offset
9.4.8 Self-penetration
9.4.9 Separated Faces
9.4.10 Spikes
9.4.11 UVs Outside Legal Space
9.5 Optimization
9.5.1 Introduction
9.5.2 Excessive Edge Loops
9.5.3 History Present
9.5.4 Inconsistent Vertex Resolution
9.5.5 Triangle Count High
9.5.6 Edge Pattern Confusing
9.6 Organization
9.6.1 Introduction
9.6.2 Naming Convention
9.6.3 Grouping
9.6.4 Layers
9.6.5 Materials
9.6.6 Node Chart
9.7 Conclusion, Errors
9.8 Exercise: Alignment Illusion, Part 4
9.8.1 Scene Validation
9.8.2 Presentation
9.8.3 Expectations
Chapter 10: Creating and Editing Texture Coordinates (UVs)
10.1 Introduction
10.1.1 Seamless Textures
10.1.2 Undistorted Textures
10.1.3 Efficient Textures
10.2 Projection
10.2.1 Non-manifold vs. Manifold Geometry
10.2.2 Cubic Projection
10.2.3 Cylindrical
10.2.4 Spherical
10.2.5 Scale
10.2.5.1 Map Size Limitations
10.2.5.2 Inconsistent UV Scale
10.2.5.3 Reference Cube
Calculating Texmap Size
10.2.6 Projection Orientation
10.2.6.1 Neutral Poses
10.3 Distortion
10.4 Choices
10.4.1 Mercator Projection
10.4.2 Default Sphere, Cut Poles
10.4.3 Interrupted Mapping
10.4.4 Interrupted Mapping, Tiled
10.4.5 Interrupted Non-tiling, Scaled to Fit
10.4.6 Two Trans-Spherical Projection
10.4.7 Cubic Projection
10.4.8 Geodesic Projection
10.4.9 Cubic Projection
10.4.10 Options
10.5 Editing
10.5.1 Balance
10.5.2 Modeling Technique and UVs
10.5.3 Defining Seams
10.5.4 Zero Map Area UVs
10.6 Packing
10.6.1 Introduction
10.6.2 Overspray
10.6.3 Texture Orientation
10.6.4 Grouping and UVs
10.6.5 Overlapping UVs
10.6.6 UV Resolution
10.6.7 Conclusion
10.7 Reference Maps
10.8 Conclusion
10.9 Exercise: Alignment Illusion, Part 5
10.9.1 Criteria
References
Chapter 11: Shaders and Texturing
11.1 Introduction
11.2 Shaders by Industry
11.3 Specialty Shaders
11.3.1 Hair
11.3.2 Cloth
11.3.3 Water
11.4 Texturable Values
11.5 Textures
11.5.1 Introduction
11.5.2 Monitor Calibration
11.5.3 Photo Maps
11.5.3.1 Perspective/Lens Distortion
11.5.3.2 Shadows
11.5.3.3 Contrast
11.5.3.4 High Contrast Adjacent Pixels
11.5.3.5 Hue Shift
11.5.3.6 Light Gradient/Falloff
11.5.3.7 Atmosphere/Fog
11.5.3.8 Reflected Light
11.5.3.9 Specularity
11.5.3.10 Reflections
11.5.3.11 Blur
11.5.3.12 Occlusion
11.5.3.13 Noise
11.5.3.14 Conclusion
11.5.4 Painted Maps
11.5.4.1 Palette
11.5.4.2 Diffuse
11.5.4.3 Bump
11.5.4.4 Displacement
11.5.4.5 Normal Maps
11.5.4.6 Transparency
11.5.4.7 Specular
11.5.5 Weathering
11.5.6 Terrain Maps
11.5.6.1 Tiling
11.5.6.2 Tile Sets
11.5.6.3 Blend Maps
11.5.7 Relationship of Textures and Model Construction
11.6 Conclusion
11.7 Exercise: Alignment Illusion Part 6
11.7.1 Texture for Pre-rendered Images
11.7.2 Texture for Real Time
References
Chapter 12: Rendering a CG Scene
12.1 Introduction
12.2 Real Time and Pre-rendered Graphics
12.2.1 Perspective Drawing and Rendering
12.2.2 Rasterization
12.2.3 Raytracing
12.2.4 Render Speed
12.2.5 Path Tracing and Radiosity
12.2.6 Render Type Limitations
12.3 Quality Settings
12.4 Render Time
12.5 Lights
12.5.1 Aesthetic Appeal
12.5.2 Artistic Lighting vs. “Realism”
12.5.3 Photorealism
12.5.4 Physical Light Types
12.5.4.1 Key Light
12.5.4.2 Bounce Light
12.5.4.3 Rim Light
12.5.4.4 Fill Light
12.5.4.5 Reflectors
12.5.4.6 Ambient
12.5.4.7 Spot
12.5.5 CG Light Types
12.5.5.1 Ambient Light
12.5.5.2 Point Light
12.5.5.3 Directional Light
12.5.5.4 Spot Light
12.5.5.5 Area Light
12.5.5.6 Volume Light
12.5.5.7 Light Shader
12.5.6 Color Temperature
12.5.7 Histogram
12.5.8 Composition
12.6 Conclusion
12.7 Exercise: Alignment Illusion Part 7
12.8 Exercise: Alignment Illusion Part 7, Real Time Alternate
References
Chapter 13: 3D Animation
13.1 Introduction
13.2 Previs
13.2.1 Storyboard
13.2.2 Animatic
13.3 Basics
13.3.1 Keyframes
13.3.2 In-Betweens
13.3.3 Timeline
13.3.4 Animation Graph
13.3.5 Motion Path
13.3.6 Skeletal
13.3.7 Rigs
13.3.8 Scripts
13.4 Exercise: Alignment Illusion Part 8
13.4.1 Camera Path
13.4.2 Attach Camera
13.4.3 Render
13.4.4 Additional Animation
References
Chapter 14: CG Modeling 2: NURBS
14.1 Introduction
14.1.1 NURBS Defined
14.1.1.1 Boat Splines
14.1.1.2 Auto Design Splines
14.1.1.3 Bezier
14.1.1.4 Rational
14.1.1.5 Uniform
14.1.2 Limitations
14.1.3 Genus
14.1.4 Non-editable Values
14.1.5 Surfaces and Curves
14.2 Curves
14.2.1 Curve Components
14.2.1.1 Control Vertices
14.2.1.2 Degrees
14.2.1.3 Tangency
14.2.1.4 Edit Points
14.2.1.5 Isoparms
14.2.2 Parametric Curves
14.2.3 Tangent Curves
14.2.4 Periodic Curves
14.2.5 Curve on Surface
14.2.6 Curve Boundaries
14.2.7 Internal Control Points
14.2.8 Curve Direction
14.2.9 Curve Intersection
14.3 Topology
14.3.1 How to See Four-Sidedness in Targets
14.3.2 Number of Patches
14.3.3 Patch Layout
14.3.3.1 Patterns
14.3.4 Topology of Tools
14.4 Surfaces
14.4.1 Introduction
14.4.1.1 Flexibility
14.4.1.2 Simplified Curve Display
14.4.2 NURBS Modeling with Primitives
14.4.2.1 Surface Efficiency
14.4.3 NURBS Normals
14.4.4 Appropriate NURBS Subjects
14.4.5 Making NURBS Surfaces from Curves
14.4.6 Curve Direction
14.4.7 Trims
14.4.8 Surface Tension
14.4.9 Tangent Surfaces
14.4.10 Curvature Continuity
14.4.11 Surface Sensitivity
14.4.11.1 Twisting
14.4.11.2 Rippling
14.4.11.3 Shredded
14.4.11.4 Empty
14.4.11.5 Cracked
14.4.12 NURBS and Grouping
14.4.13 Curve Detail
14.4.14 Poly Conversion
14.5 Exercise: Vehicle
14.5.1 Reference
14.5.2 Reference Curves
14.5.3 Build Curves
14.5.4 Patch Creation
References
Chapter 15: CG Modeling 3: Advanced
15.1 Subdivision Surfaces
15.2 Working with Subdivision Surfaces
15.2.1 Box-Modeling
15.2.2 Control Mesh and Surface
15.2.3 Subdivisions and Solids
15.2.4 Conversion to Polys or NURBS
15.2.5 Subdivision Surface Limitation
15.2.6 Conclusion
15.3 Exercise: Vehicle
15.4 Sculpting
15.4.1 Industry Use
15.4.2 Method
15.4.3 Application
15.5 Procedural Modeling
15.5.1 Introduction
15.6 Conclusion
References
Chapter 16: CG Industry Standards
16.1 Summary of Generic Standards
16.2 Game Specific Criteria
16.3 Film FX Criteria
16.4 Conclusion
Appendix
Error Checklist
Projects
Polygon Modeling 1: Carton
Polygon Modeling 2: Design Errors
Polygon Modeling 3: Alignment Illusion
Textures 1: Channel Separation
Rendering 1: Hide the Illusion
NURBS Modeling 1: Patch Layout
NURBS Modeling 2: Airplane
NURBS Modeling 3: Boat Hull
NURBS Modeling 4: Motorcycle
Software
Glossary
Index