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Titlebook: Computer Graphics for Artists: An Introduction; Andrew Paquette Textbook 20081st edition Springer-Verlag London 2008 3D.Animation.CG art.C

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书目名称Computer Graphics for Artists: An Introduction
编辑Andrew Paquette
视频video
概述Packed with exercises.Designed to help the reader strengthen his ability to use 3D graphics through practice.Includes supplementary material:
图书封面Titlebook: Computer Graphics for Artists: An Introduction;  Andrew Paquette Textbook 20081st edition Springer-Verlag London 2008 3D.Animation.CG art.C
描述.Computer Graphics for Artists: an introduction is an application-independent, reader-friendly primer for anyone with a serious desire to understand 3D Computer Graphics...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.
出版日期Textbook 20081st edition
关键词3D; Animation; CG art; CG artist; Editing; Fundamental; Learning; Lighting; Modelling; Textur; Texturing; Train
版次1
doihttps://doi.org/10.1007/978-1-84800-141-1
isbn_ebook978-1-84800-141-1
copyrightSpringer-Verlag London 2008
The information of publication is updating

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Measurementst overtly take any measurements, your actions caused measurements to be taken. When you scanned the carton, the scanner used a consistent pixel to linear dimension ratio, commonly known as ., or DPI. By doing this, the exact dimensions of your scanned carton become embedded in the resulting image. I
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Basic Modeling Tools no one else has, but the basic set is the same from application to application. This chapter explains what these common tools are and how they work (Fig. 5.1)..The purpose of these tools is to quickly arrive at certain types of shapes that would be difficult to describe without them. You could lite
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Resolutionts. Most of the images were 3–5 m on a side, and sometimes more. The pictures were of flies, the hairs on a fly’s leg, a tiny bug clinging to a hair on a fly’s leg, the hairs on that insect’s leg, and the miniscule bug clinging to its leg hairs, then the hairs on that bug’s leg, and all blown up to
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3D1: Checklist and Projectsou must know and understand most, if not all, of the material presented so far. It is not enough to memorize the data, you have to be able to rotate it in your mind and apply it to different situations. The concepts described so far are the underlying principles of CG, and how an artist uses CG to a
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Optimizationso a goal. Sometimes, efficiency demands more information in a file, such as in longer, more descriptive object names within a scene. An efficient file will not contain unnecessary information, but it will not be missing crucial information either. You do not want to cut out every single triangle ar
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UV Editingat an artist succeeds or fails to make the best use of the pixels available for texture maps. In the first section of this book, different projection methods were described as an introduction to concepts related to UV editing. To illustrate the different projection methods, some discussion of editin
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