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| Introduction: What Is Texture? | |
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| A Handkerchief in Bed Can't Be Found | |
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| What You Can Expect from This Book | |
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| What You Should Know | |
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| What You Will Need | |
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| About This Book's Approach to Software | |
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| A Final Word | |
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| The Fine Art of Seeing and Dissecting | |
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| Exercising Your Artistic Eye | |
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| Take an Art Class | |
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| Look Around | |
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| The Benefits of Exercise | |
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| Materials and Textures Defined | |
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| The Art of Interviewing: Working from Macro to Micro | |
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| Identify the Object: What Are You? | |
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| Identify the Most Important Feature: What Is Your Essence? | |
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| Identify the Material: What Are You Made Of? | |
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| Identify the Light Source: How Can I See You? | |
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| Identify the Location: Where Are You? | |
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| Identify the Appearance: What Do You Look Like? | |
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| Identify Tactile Quality: What Do You Feel Like? | |
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| Identify the History: What's Your Story? | |
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| Become Attuned | |
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| Exercises | |
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| Reference Materials, Textures, and Practical Stuff | |
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| Basic Materials | |
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| Basic Textures | |
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| Creating a Morgue | |
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| Your Own Photographs as Reference | |
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| Magazines as Reference Sources | |
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| Other Reference Gold Mines | |
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| Photo Gallery | |
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| New York Brick Bundle | |
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| South of France Water Trough | |
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| Green Painted Door | |
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| University Avenue Near Twilight | |
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| An Office Door | |
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| Restaurant Wall | |
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| Look and Collect | |
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| Exercises | |
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| Color Theory | |
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| Additive Color Mixtures | |
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| Subtractive Color Mixtures | |
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| Color Qualities | |
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| Hue | |
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| Saturation/Intensity | |
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| Value/Brightness | |
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| Color Schemes | |
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| Complementary Colors and Compositions | |
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| Triadic Palettes and Compositions | |
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| Analogous Palettes and Compositions | |
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| Monochromatic Palettes and Compositions | |
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| Warm and Cool Colors | |
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| Colors--Psychology and Physiology | |
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| Red | |
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| Orange | |
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| Yellow | |
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| Green | |
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| Blue | |
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| Violet/Purple | |
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| White | |
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| Black | |
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| The Practical Side | |
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| Study Paintings in Museums | |
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| Exercises | |
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| Paintings | |
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| Evolution of a Style | |
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| Subjects that Inspire | |
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| The Paintings | |
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| Morning Sun Edward Hopper (1952) | |
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| Poor Artist's Cupboard Charles Bird King (1815) | |
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| The Old Cupboard Door William Michael Harnett (1889) | |
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| Sumptuous Still Life with Parrot Jan Davidsz de Heem (1660) | |
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| Woman 1 Willem de Kooning (1950-52) | |
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| Young Woman with a Water Jug Johannes Vermeer (1660-67) | |
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| Wiesental--Grassy Valley Gerhard Richter (1985) | |
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| Princesse De Broglie Jean-Auguste-Dominique Ingres (1853) | |
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| Nicolaes Ruts Rembrandt Harmensz Van Rijn (1631) | |
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| Bouquet of Garden Flowers in a Pitcher Johann Wilhelm Preyer (1831) | |
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| Blond Girl, Night Portrait, Lucian Freud (1980/85) | |
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| Study and Question | |
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| Exercises | |
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| Making Decisions | |
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| Ask the Right Questions | |
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| The Questions | |
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| The Project | |
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| What Pre-Production Materials Are Available? | |
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| Bibles | |
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| Pre-Vis Movies | |
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| Storyboards and What to Ask from Them | |
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| What Pre-Pro Materials Do I Have to Work With? | |
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| Which Style Is Appropriate? | |
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| Realistic | |
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| Hyper-Real | |
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| Stylized | |
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| Simplified | |
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| Graphic | |
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| Fantastic | |
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| Get the Client's Impressions | |
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| Who Is the Target Audience? | |
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| What Is the Intended Medium? | |
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| TV | |
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| Film | |
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| Web | |
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| Print | |
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| CD-ROM Games | |
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| Do You Have All the Information You Need? | |
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| The Project: Technical Preparation | |
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| Texture Mapping Concepts | |
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| Color | |
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| Transparency | |
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| Specularity | |
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| Luminance | |
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| Reflectivity | |
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| Bump | |
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| Displacement | |
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| That's Not All Folks | |
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| General Concepts | |
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| The Bandana: A Simple Tile and Scanned Texture | |
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| Applying the Texture to the Geometry | |
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| Rendering and Shading | |
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| Steel Braided Hoses: A Small Tileable Texture | |
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| Making the Pattern | |
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| Texturing the Tile | |
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| Creating the Bump | |
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| Shader and Final Texture Maps | |
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| The Tire: Adding Detail with Displacement Maps | |
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| Pre-Production | |
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| Making the Displacement Map | |
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| Creating the Tile | |
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| Color Map | |
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| Bump Map | |
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| Shader Stuff | |
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| Axle's Face: Texturing Polygons | |
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| Preparing Polygons for Texturing in 3D | |
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| Pre-Production | |
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| Creating the Bump Pattern | |
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| Creating the Color Map | |
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| Final Maps | |
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| Shader Stuff | |
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| The Goggles: Procedural Textures | |
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| The Strap | |
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| Shader Stuff | |
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| The Casing for the Lenses | |
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| Adding a Dirt Layer Using a Layered Shader | |
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| The Mask | |
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| Creating Color Variation | |
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| Creating Dust Using Snow | |
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| The Lenses | |
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| Adding a Dirt Layer Using a Layered Texture | |
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| Adding Iridescence | |
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| Shader Stuff | |
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| The Car Body: Complexity of Texture | |
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| Pre-Production | |
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| Color Map | |
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| Making the Decal | |
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| Making the Panels | |
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| Final Maps | |
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| Shader Stuff | |
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| The Fin: Texturing Uneven Surfaces | |
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| Pre-Production and Design | |
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| Placement of Axle's Logo | |
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| Placement of Side Graphic | |
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| Final Maps | |
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| Final Render | |
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| Shader Stuff | |
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| Axle's Chest: Sculpting, Painting, and Projections | |
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| Pre-Production | |
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| Creating the Sculpey Texture | |
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| Painting the Sculpey Imprint | |
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| Shader Stuff | |
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| Projections Across Many Surfaces | |
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| Lugz Commercial Power Station: Projection on Multiple Surfaces | |
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| Preparing the Texture | |
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| Applying the Projection to All the Surfaces | |
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| Wrap-Up: Some Things to Think About | |
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| Now That the Project Is Done | |
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| Your Place in the Pipeline | |
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| Modeling | |
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| Effects | |
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| Animation | |
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| Lighting | |
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| Rendering | |
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| Compositing | |
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| Final Thoughts | |
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| Reading List | |
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| Index | |