Surfaces

From ShadeCamp

Even simple objects can be used to create realistic images through the use of surface attribute settings. In this chapter, we will introduce each item in the Surface window, and explain the specific setting procedure with examples.

Contents 1 The Surface Window 1.1 The Surface Window Initial 1.2 Basic Settings 1.2.1 Do Not Inherit Checkbox 1.2.2 Diffuse Color Box 1.2.3 Diffuse Slider and Text Box 1.2.4 Specular 1 Slider and Text Box 1.2.5 Specular 1 Color Box 1.2.6 Specular 1 Size Slider and Text Box 1.2.7 Specular 2 Slider and Text Box 1.2.8 Specular 2 Color Box 1.2.9 Specular 2 Size Slider and Text Box 1.2.10 Reflection Slider and Text Box 1.2.11 Reflection Color Box 1.2.12 Transparency Slider and Text Box 1.2.13 Transparency Color Box 1.2.14 Refraction Slider and Text Box 1.3 Effects Settings 1.3.1 Roughness Slider and Text Box 1.3.2 Anisotropic Slider and Text Box 1.3.3 Fresnel Slider and Text Box 1.3.4 Metallic Slider and Text Box 1.3.5 Metallic Color Box 1.3.6 Glow Slider and Text Box 1.3.7 Glow Color Box 1.3.8 Soft Glow Slider and Text Box 1.3.9 Back Light Slider and Text Box 1.3.10 Back Light Color Box 2 Texture Mapping 2.1 Layer Pull-down Menu 2.2 Overlaying Multiple Maps 2.3 Solid Texture Mapping 2.4 Image Mapping 2.5 Loading Images 2.6 References to Movie Files 2.7 Mapping Image Resolution 2.8 Mapping Image Size 2.9 Memory Consumption Issues 3 Mapping Settings 3.1 Pattern Pull-down Menu 3.1.1 Striped 3.1.2 Checked 3.1.3 Spotted 3.1.4 Marble 3.1.5 Wood 3.1.6 Log 3.1.7 Wave 3.1.8 Ocean 3.1.9 Cloud 3.1.10 mage 3.2 Attribute Pull-down Menu 3.2.1 Diffuse 3.2.2 Specular 1 3.2.3 Specular 2 3.2.4 Reflection 3.2.5 Transparency 3.2.6 Bump 3.2.7 Mask 3.2.8 Environment 3.2.9 Glow 3.2.10 Back Light 3.3 Projection Pull-down Menu 3.3.1 X, Y, and Z 3.3.2 Wrap 3.3.2.1 Closed Line Object 3.3.2.2 Disk 3.3.2.3 Sphere 3.3.2.4 Extruded Line Object 3.3.2.5 Extruded Disk 3.3.2.6 Revolved Objects 3.3.2.7 Curved Surface 3.3.2.8 Polygon Mesh 3.3.2.9 Proportion of a Wrap Mapping Image 3.3.3 Cylinder 3.3.4 Sphere 3.4 Projection Mapping and the Local Coordinate System 3.5 Blend Pull-down Menu 3.5.1 Normal 3.5.2 Alpha Blending 3.5.3 Add Blending 3.5.4 Subtract Blending 3.5.5 MulNotely Blending 3.5.6 Max Blending 3.5.7 Min Blending 3.6 Mapping Slider and Text Box 3.7 Mapping Color Box 3.8 Size Slider and Text Box, M, R, -,and + Buttons 3.9 Turbulence Slider and Text Box 3.10 Softness Slider and Text Box 3.11 Height Checkbox 3.12 PremulNotelied Alpha Checkbox 3.13 More Button 3.14 Info Button 3.15 Picture Box 3.16 Horizontal Flip, Vertical Flip, Switch Axes Checkboxes 3.17 Invert Checkbox 3.18 Smooth Checkbox 3.19 UV Correction Pull-down Menu 3.19.1 Interpolating an Image Aligned with the Length 3.19.2 Interpolating an Image Aligned with Control Points 3.20 Repeat Pull-down Menu 3.21 Reset Button 3.22 M and R Buttons 3.23 Modify Checkbox 3.24 Crop Area Setting Dialog Box 3.24.1 Setting the Area: Mask Mapping Images, Adding Margins 3.24.2 Picture Box 3.24.3 Crop Area Setting Handle 3.24.4 Top, Bottom, Left and Right Text Boxes, and Adjust Arrows 3.24.5 Scale Pull-down Menu 3.24.6 Default Button 3.25 More Shading Dialog Box 3.25.1 Origin Text Boxes 3.25.2 Current Position Button 3.25.3 No Shading Checkbox 3.25.4 Do Not Cast Shadow Checkbox 3.25.5 Do Not Show Shadow Checkbox 3.25.6 Black Key Mask Checkbox 3.25.7 White Key Mask Checkbox 3.25.8 Smoother Shading Checkbox 3.25.9 Do Not Reflect Other Objects Checkbox 3.25.10 Local Coordinates Checkbox 3.25.11 Pseudo Caustics Slider and Text Box 3.25.12 Pseudo Caustics Brightness Slider and Text Box 3.25.13 Pseudo Caustics Bump Slider and Text Box 3.25.14 Pseudo Caustics Aberration Slider and Text Box 3.25.15 Aberration Slider and Text Box 3.25.16 Default Button 4 Setting the Color 5 Setting the Shading Parameters 6 Setting the Mapping Pattern 6.1 Mapping Slider 6.2 Turbulence Slider 6.3 Projection Pull-down Menu 6.4 Mapping an Image 6.5 Mapping Multiple Textures 6.6 Creating a Label 6.7 Mapping Projected Images 7 Inheritance of Surface Attributes 8 Master Surfaces 8.1 Using and Saving Master Surfaces 9 Duplicating Master Surfaces 10 Creating a New Master Surface 10.1 Points to Watch Out for 11 Sticker Mapping 12 Surface Subdivision 13 Other Surface Attributes Settings

The Surface Window

In the Surface window, you can set the color, shading parameters such as reflection and transparency, and texture, for a selected object. Choose Surface from the View menu to display the Surface window.

The Surface Window Initial

View In the initial state, all controls except the Create and Load buttons are inactive (if a master surface exists, the Use button is also active). This is because by default, an object will inherit the surface attributes of its parent part or object. You can enable all the surface attributes settings by clicking the Create button.

Basic Settings

Do Not Inherit Checkbox

Before each surface attribute you will notice a checkbox. By turning this checkbox on, the attribute will be enabled for the currently selected object and it will no longer inherit the attribute of the parent part or object. If you click the color box to the right of each surface attribute slider and select a color, the Do Not Inherit checkbox will turn on automatically. By switching this checkbox off, the attribute will be inherited from the parent object or part.

Diffuse Color Box

You can set the diffuse color by clicking in this color box. You can also drag a color from another color box. The new diffuse color appears in the color box.

The color of the light is white.

Diffuse Slider and Text Box

Drag the slider or set an appropriate value in the text box to set the brightness of the Diffuse color. These are activated when the Diffuse checkbox is on.

The Diffuse color values are 0, 0.5, 1, 1.5, and 2, from the left.

Specular 1 Slider and Text Box

Drag the slider or set an appropriate value in the text box to set the Specular 1 intensity.

The Specular 1 values are 0, 0.25, 0.5, 0.75, and 1, from the left.

Specular 1 Color Box

Drag in a color to set the Specular 1 color.

The color of the light is white.

Specular 1 Size Slider and Text Box

Used to set the Specular 1 size.

The Specular 1 sizes are 0, 0.25, 0.5, 0.75, and 1, from the left. Too large a value highlights the border between light and dark sides, since the shadow is displayed.

Specular 2 Slider and Text Box

Used to set the Specular 2 intensity. Specular 2 simulates the surface of coated materials. Specular 1 is larger and slightly less intense to simulate the painted surface of the base, while Specular 2 is smaller and very intense to simulate a coated surface. Specular 1 and Specular 2 are independent.

In the top example, Specular 2 is set to 0, 0.25, 0.5, 0.75, and 1, from the left. The value of Specular 1 is 0.7 and its size is 0.1, while the size of Specular 2 is 0.8 for all. In the bottom example, Specular 1 is 0.5 and its size is 0.2, while the value of Specular 2 is 0.

Specular 2 Color Box

Used to set the Specular 2 color.

Specular 2 Size Slider and Text Box

Used to set the Specular 2 size.

Reflection Slider and Text Box

Used to set the intensity of Reflection.

In the top example, the Reflection value is set to 0, 0.25, 0.5, 0.75, and 1, from the left. The Diffuse color is black and the Reflection color is white. In the bottom example, the Reflection value is 1 for all, while the Diffuse color is set to white, 25% gray, 50% gray, 75% gray, and black, from the left.

Reflection Color Box

The color used for Reflection is set here.

The color of the light is white.

Transparency Slider and Text Box

Used to set the Transparency of the object.

In the top example, the Transparency value is set to 0, 0.25, 0.5, 0.75, and 1, from the left. The Diffuse color is 50% gray and the Transparency color is white. In the bottom example, Transparency value is 0.9 for all, while the Diffuse color is set to white, 25% gray, 50% gray, 75% gray, and black, from the left.

Transparency Color Box

The color used for transmission is set here.

Transparency color is added to the pattern and shadow behind the transparent object. The color of the light is white.

Refraction Slider and Text Box

Used to set the index of Refraction of transparent objects.

The Refraction value is 1.0, 1.1, 1.2, 1.3, and 1.4, from the left.

Effects Settings

Roughness Slider and Text Box

Roughness is only used for images rendered with Path Tracing. The degree of surface Roughness used for reflection and transmission is set here.

In the top and bottom examples, the Roughness value is set to 0, 0.25, 0.5, 0.75, and 1, from the left. The top example is for the reflection case and the bottom is for the transmission case.

Anisotropic Slider and Text Box

Used to set the ratio of Anisotropic reflection. The size of an object's specular setting can be set for the UV direction. This setting allows you to express the specular surface attribute spreading in a certain direction on materials with delicate and regular bumpy surfaces, such as brushed metal and glossy cloth.

Examples of specular surface spreading in accordance with the Anisotropic setting. The Anisotropic value is -1.0, -0.8, 0, 0.8, and 1.0, from the left.

Fresnel Slider and Text Box

Used to set the ratio of Fresnel reflection. When you look straight down at the water surface from above a lake, for example, you can see under the water because of reduced reflection. You cannot see under the water so well when you look from the side, because the surrounding landscape is reflected. This phenomenon is called Fresnel reflection, where the reflection rate or transparency degree is affected by the angle with which we see the border of materials.

In this example, the Fresnel value is 0, 0.1, 0.3, 0.5, and 1.0, from the left.

With this setting you can increase the quality of materials that transmit light, such as glass or plastic substances.

Examples of transparent objects. The Fresnel value is set to 0, 0.15, and 0.30, from the left.

Metallic Slider and Text Box

Used to set the intensity of the metallic effect. Using random virtual specular reflection without light on the object surface, a glossy metal surface can be simulated. The result of the Metallic setting is the same as that of Wrap in the Projection pull-down menu, with the spotted pattern reflecting the environment attribute.

In the top example, the Metallic value is 0, 0.25, 0.5, 0.75, and 1, from the left. The Diffuse color is dark blue and the Metallic color is white. In the bottom example, the Metallic value is 1 for all, while the Diffuse color is set to white, 25% gray, 50% gray, 75% gray, and black, from the left.

In these examples, mirror, copper, steel, gold, and gold-plated surfaces are expressed, from the left. Specular and Reflection settings are important for these metal textures. The top spheres are created using Specular 1 and Specular 2, and Metallic is added in the middle ones. The bottom spheres use Reflection instead of Metallic. As for metals, the metal-specific color is set using the specular and reflection colors.

Metallic Color Box

Used to set the color of the metallic effect.

The color of the light is white.

Glow Slider and Text Box

Used to set the intensity of the Glow.

The Glow value is 0, 0.25, 0.5, 0.75, and 1, from the left.

Glow Color Box

Used to set the color of the Glow.

The color of the Distant Light is white, with an intensity of 0.3.

Soft Glow Slider and Text Box

Used to set the size of the glare. For the intensity and color of the Soft Glow, the intensity and color of Glow is used.

The Soft Glow value is 0, 0.25, 0.5, 0.75, and 1, from the left. The Glow value is set to 1 for all.

The Glow value is 0, 0.25, 0.5, 0.75, and 1, from the left, while the Soft Glow is set to 1 for all.

Soft Glow simulates the dazzle of light. It actually simulates the highlight on a surface when a distant light is located on the Eye point side. In this case, a sphere in the field of view has a completely round highlight at the center, regardless of the sphere's location. The intensity and size of a highlight may be considered constant when the focal length around the center of the field of view is very long. In the case of a cylinder, the highlight is naturally linear in shape. For Soft Glow, the intensity and color of luminescence substitutes for the intensity and color of a highlight, and the size of the highlight is controlled by the intensity and sharpness of the Soft Glow. To simulate the dazzle of a light, set the Diffuse color to black and the Highlights to 0. If there are some objects behind or in the background, you should make the object somewhat transparent. When the Glow value is 0, the Soft Glow will have no effect.

The Glow value is set to 1, Soft Grow value to 1, and Diffuse color to black, Specular 1 and 2 to 0, and Transparency to 1 for all. Each sphere has a different Glow color.

This example uses the Soft Glow. One sphere and 14 revolved open lines are combined. Glow mapping was also used.

Back Light Slider and Text Box

Used to set the intensity of the back light. Reflects light originating from the back of the object (as seen from the Eye point) off the surface of the object. If Transparency is set, the light originating from the back of the object can pass through it to other objects in front of the object. Back Light simulates light originating from the back or inside of the object (light bulb, lamp shade, etc.) reflected on the surface of the object.

The Back Light value is 0, 0.25, 0.5, 0.75, and 1, from the left. At the center of every sphere there is a point light with Light color set to yellow. Because the shadow is displayed, the point light inside the sphere is not reflected on the back object.

Back Light settings are the same as above, but the point light inside the sphere is reflected from the back object, since no shadow appears on the back object.

The Back Light value is 1 for every sphere, while the Transparency value is 0, 0.25, 0.5, 0.75, and 1, from the left. The point light inside the sphere is reflected from the back object, although the shadow is shown.

Back Light Color Box

Used to set the color of the Back Light.

The light comes from one Distant Light. The color of the Distant Light is white, with an intensity of 0.3.

Texture Mapping

The surfaces of real objects are often relatively irregular because of the type of material they are made from, as well as due to joints, paint, combinations of materials, dirt, flaws, etc. Shade allows you to easily simulate irregular object surfaces by “pasting” solid textures and images, together with an attribute such as diffuse reflection, shading, specular reflection, transparency, holes and highlights, onto the surface of an object. Attributes with these patterns are called Textures.

The available patterns and attributes.

When you turn on the Mapping checkbox, the Pattern pull-down menu is activated. Choose an item other than None from the Pattern pull-down menu to enable an extra set of controls used for texture mapping.

Layer Pull-down Menu

The number of the texture layer is displayed, and you can choose any layer number for setting a texture. When you choose a texture layer for which a texture is applied, the Pattern pull-down menu next to this menu shows the name of the pattern. If no texture is set, None is displayed in the Pattern pull-down menu. To set multiple textures on top of one another, choose … and then select a new pattern. There is no limit to the number of textures that you can apply in one surface.

Overlaying Multiple Maps

You can overlay texture mapping layers. Synthesis is carried out for each attribute. Lower numbers in the Layer pull-down menu correspond to lower layers. Blend pull-down menu allows you to select the Synthesis method of layers.

Ref: For the synthesis of images, refer to the section “Blend pull-down menu” below.

Ref: For the synthesis of textures, see also the “Black Key Mask” and “White Key Mask” sections in “More Surface Attributes dialog box” below.

Ref: For the replacement of surface attributes, refer to Chapter 10: Boolean Operations.

Solid Texture Mapping

A mapping technique using three-dimensionally defined color patterns generated by the program based on random numbers is called Solid Texture Mapping. This mapping technique is not affected by where the object's surface faces or how an object has been created, and patterns are continuous even at the junctions of surfaces. Because the patterns are generated by the program, there is no need to worry about memory consumption, as with image mapping, nor about degradation due to insufficient resolution.

In solid texture mapping, the local coordinate system acts as the reference for the mapping position. If a pattern has an axis and center, the axis and center is aligned to the coordinate axis and the origin of the local coordinate system.

Solid texture patterns Striped, Checked, Spotted, Marble, Wood, Log, Wave, Ocean, and Cloud are provided, and can be selected from the Pattern pulldown menu. You can change the degree of softness and roughness in certain patterns, though values other than the defaults will affect the rendering time.

As with the Image pattern, solid texture patterns are mapped in conjunction with the selected attribute (Diffuse, Specular, Reflection, Transparency, Bump, Mask, Environment, Glow, Back Light, and Weight).

Image Mapping

Image Mapping pastes a 2D image from an image file onto an object surface. Several methods (Parallel Projection mapping, Cylinder projection mapping, Sphere projection mapping, and Wrap mapping) are available, depending on how the image is to be applied. As with the case of solid texture patterns, images are mapped in conjunction with an attribute (Diffuse, Specular, Reflection, Transparency, Bump, Mask, Environment, Glow, Back Light, and Weight).

Loading Images

When you select Image from the Pattern pull-down menu and click the Picture Box, the box is activated to read the image. The image can be loaded using the contextual menu, or copy and paste

Image file formats that can be read:

• Bitmap file (BMP)
• GIF
• PICT file (.pct)
• Targa file (.tga)
• QuickTime Movie file (.mov)
• AVI Movie file (.avi)
• Shade object file (.shd)
• TIFF file (.tif)
• Raw file (.raw)
• HDR file (.hdr)
• OpenEXR file (.exr)
• PFM file (.pfm)

In addition to the above file formats, the following formats are supported through Apple QuickTime: .SGI, 8BPS, BMPf, JPEG, MIFF, PNGf, PNTG, TPIC, qtif.

Some AVI movie files may not be supported on Mac OS X.

When pictures are read from a Quick Time Movie file or an AVI Movie file, a mapped image of the first frame is used when rendering a static image. In creating an animation, the images from the movie file correspond frame by frame with the rendered animation. If there are more frames to render than images to read, the last image is repeatedly mapped until the end of the animation; if there are less frames to render than images in the movie file, the animation file uses as many as it needs. A rendered image must exist in a Shade object file used for mapping.

References to Movie Files

Reading images from movie files generally tends to result in bigger file sizes. Because of this, the images are not pasted into the document, but the path to the folder where the movie file is located is saved. If the movie file is moved, an alert box will appear. In this case, reload the file.

Mapping Image Resolution

The resolution of an image to be used in texture mapping refers to the number of pixels, and is not converted into units such as DPI, centimeters, or inches. DPI information in an image will be ignored, since only the number of pixels is important.

Mapping Image Size

If the image is too small (too few pixels), then the individual pixels of the image may be visible in a rendered image. In this case, the image should be recreated with more pixels. Although there is no “most suitable” number of pixels for each scene, generally, the formula (image size when the image is rendered) x (largest proportion at which the object is displayed) may act as a reference. It might also be effective to provide a different size image for each size at which an object is displayed.

Memory Consumption Issues

In image mapping, because image data is stored in memory, using a large image will consume more memory. This rule does not hold true for animation files movie files.

Mapping Settings

Pattern Pull-down Menu

Used to select the type of Pattern for the selected layer.

Striped

This pattern has regular stripes perpendicular to the local coordinate axis and is generated by the program. By selecting X, Y, or Z from the Projection pull-down menu, you can select the direction of the stripes.

Example of a rendered object with X, Y, and Z selected, from the left.

Checked

A pattern generated by the program. By selecting X, Y, or Z from the Projection pull-down menu, you can select the direction for a two-dimensional pattern; a three-dimensional pattern can be created by choosing Wrap in the Projection pull-down menu.

Examples of the rendered object when X, Y, Z, and Wrap is selected in the Projection pull-down menu, from the left.

Spotted

Generated by the program, Spotted is a threedimensionally defined irregular shading. Using the Softness slider, you can specify the smoothness of the shading. In particular, using this with the Bump attribute enables simulation of shading for a bumpy object surface with irregular changes. When this pattern is used with the Environment attribute, a reflected amorphous highlight can be simulated.

Examples of a rendered object with Diffuse, Bump, and Environment applied, from the left.

Spotted is applied to the Environment attribute in all these examples. Origin of the mapping is located at the center of the sphere. X, Y, Z, and Wrap is selected in the Projection pull-down menu, from the left.

Marble

Generated by the program, Marble is a threedimensionally defined irregular shading. By choosing X, Y, or Z from the Projection pull-down menu, you can select the direction of the coordinate axis for this pattern. You can also specify the degree of turbulence using the Turbulence slider.

Examples of rendered objects with X, Y, and Z selected, from the left.

Wood

Generated by the program, Wood is a threedimensionally defined irregular shading. By choosing X, Y, or Z from the Projection pull-down menu, you can select the direction of the coordinate axis for this pattern. You can also specify the degree of turbulence using the Turbulence slider.

Examples of rendered objects with X, Y, and Z selected, from the left.

Log

Generated by the program, Log is a three-dimensionally defined irregular shading with an axis or a center. By choosing X, Y, or Z from the Projection pull-down menu, you can select the direction of the coordinate axis for this pattern, or create a radial pattern from the center axis by choosing Wrap. You can also specify the degree of turbulence using the Turbulence slider.

Examples of rendered objects when X, Y, Z, and Wrap is selected, from the left.

Wave

Generated by the program, Wave is a threedimensionally defined shading using a sine-wave pattern with a center. You can specify the degree of turbulence using the Turbulence slider. In particular, when applied with the Bump attribute, you can simulate shading on the object's surface using a sinewave pattern.

Left: Diffuse attribute. Right: Bump attribute.

Wave applied to the Environment attribute in all 4 examples. Origin of the mapping is located at the center of the sphere. X, Y, Z, and Wrap is selected in the Projection pull-down menu, from the left.

Ocean

Generated by the program, Ocean is a shading pattern in which multiple waves are irregularly laid on top of each other. You can specify the degree of turbulence using the Turbulence slider. In particular, when applied to the Bump attribute, you can simulate the surface of the sea.

Left: Diffuse attribute; Right: Bump attribute.

Ocean is applied to the Environment attribute in all 4 examples. Origin of the mapping is located at the center of the sphere. X, Y, Z, and Wrap is selected in the Projection pull-down menu, from the left.

Cloud

Generated by the program, Cloud is an irregularly distributed pattern. In particular, when applied to the Bump attribute, you can simulate shading on the surface of an object appearing as wrinkles with discontinuous height and irregular changes.

Left to right: Examples of rendered objects with Diffuse, Bump, and Mask applied.

Even though the size in the direction of each axis cannot be specified, the result can be modified by matrix-transforming the local coordinate system. These are the results when an object is contained in a part that is magnified five times in the X axis direction (left), Y axis direction (middle), and Z axis direction (right)

Cloud is applied with the Environment attribute in all these examples. The mapping origin is located at the center of each sphere. L to R: X, Y, Z, and Wrap is selected in the Projection pulldown menu.

mage

Image mapping uses a two-dimensional image loaded from a file. Using the Blend pull-down menu (located just below the Layer number pull-down menu), you can select a synthesis method used to blend images. The Projection pull-down menu allows you to select the direction of projection for parallel projection mapping (X, Y, or Z), Wrap mapping, Cylinder projection mapping, or Sphere projection mapping.

Attribute Pull-down Menu

Used to select the type of attribute to be applied to the current layer.

Diffuse

Reflects a pattern onto the Diffuse mapping set for the object surface.

Striped reflected onto Diffuse.

Checked reflected onto Diffuse.

Spotted reflected onto Diffuse.

Marble reflected onto Diffuse.

Marble with a Turbulence value of 0 reflected onto Diffuse.

Marble with size 0 and a Turbulence value of 0 reflected onto Diffuse.

Wood reflected onto Diffuse.

Wood with a Turbulence value of 0 reflected onto Diffuse.

Log reflected onto Diffuse, with Wrap selected from the Projection pull-down menu.

Log with a Turbulence value of 0 reflected onto Diffuse, with Wrap selected from the Projection pull-down menu.

Wave reflected onto Diffuse.

Wave with a Turbulence value 0 is reflected onto Diffuse.

Ocean is reflected onto Diffuse.

Ocean with a Turbulence value of 0 reflected onto Diffuse.

Cloud reflected onto Diffuse.

Specular 1

Reflects a pattern onto the Specular 1 mapping set for the object surface.

Striped reflected onto Specular 1.

Checked reflected onto Specular 1.

Spotted reflected onto Specular 1.

Marble reflected onto Specular 1.

Marble with Turbulence value of 0 reflected onto Specular 1.

Wood reflected onto Specular 1.

Wood with a Turbulence value of 0 reflected onto Specular 1.

Log reflected onto Specular 1.

Log with a Turbulence value of 0 reflected onto Specular 1.

Wave reflected onto Specular 1.

Ocean reflected onto Specular 1.

Cloud reflected onto Specular 1.

Specular 2

Reflects a pattern onto the Specular 2 mapping set for the object surface.

Reflection

Reflects a pattern on the Reflection value and Reflection color specified for the object surface. The color of the object surface on which the Reflection is reflected is combined with the color of the pattern by mulNotelicative synthesis. If the Reflection setting is 0, the Reflection mapping will have no effect.

Striped reflected onto Reflection.

Checked reflected onto Reflection.

Spotted reflected onto Reflection.

Marble reflected onto Reflection.

Wood reflected onto Reflection.

Wood with a Turbulence value of 0 reflected onto Reflection.

Log reflected onto Reflection.

Log with a Turbulence value of 0 reflected onto Reflection.

Wave reflected onto Reflection.

Ocean reflected onto Reflection.

Ocean with a Turbulence value of 0 reflected onto Reflection.

Cloud reflected onto Reflection.

Transparency

Reflects a pattern on the Transparency value and color and the projected shadow color specified for the object surface. The color of the object surface on which the Transparency is reflected and the shadow is projected is combined with the color of the pattern by mulNotelicative synthesis. If the Transparency setting is 0, the Transparency mapping will have no effect.

Transparency applied with no mapping set.

Striped reflected onto Transparency.

Checked reflected onto Transparency.

Spotted reflected onto Transparency.

Marble reflected onto Transparency.

Marble with a Turbulence value of 0 reflected onto Transparency.

Wood reflected onto Transparency.

Wood with a Turbulence value of 0 reflected onto Transparency.

Log reflected onto Transparency.

Log with a Turbulence value of 0 reflected onto Transparency.

Wave reflected onto Transparency.

Wave with a Turbulence value of 0 reflected onto Transparency.

Ocean reflected onto Transparency.

Ocean with a Turbulence value of 0 reflected onto Transparency.

Cloud reflected onto Transparency.

Bump

A relief effect can be obtained using a pattern to “emboss” a surface. The gradations in the pattern are transformed into “height” along the normal vector to the surface, and the surface is shaded accordingly. Bump mapping is only pasted on the surface; it will not affect the outline of an object, or a shadow projected onto other objects. In the case of image mapping, when a color image is used, the colors are transformed into 8-bit (256-shade) gray scale by a simple arithmetic mean of the R, G, and B data. Memory consumption can be reduced by converting the color image to grayscale beforehand.

Striped reflected onto Bump.

Checked reflected onto Bump.

Spotted reflected onto Bump.

Spotted with a smaller size reflected onto Bump.

Spotted with a size of 0 reflected onto Bump.

Marble reflected onto Bump.

Marble with a Turbulence value of 0 reflected onto Bump.

Wood reflected onto Bump.

Wood reflected onto Bump with the Flip checkbox on.

Wood with a Turbulence value of 0 reflected onto Bump.

Log reflected onto Bump.

Log with a Turbulence value of 0 reflected onto Bump.

Wave reflected onto Bump.

Wave with a Turbulence value of 0 reflected onto Bump.

Ocean reflected onto Bump.

Ocean with a Turbulence value of 0 reflected onto Bump.

Cloud reflected onto Bump.

Cloud with a smaller size reflected onto Bump.

Cloud with size 0 reflected onto Bump.

Image reflected onto Bump. (Figure A)

In Figure A above, image 1 shown below is applied to the left sphere, image 2 to the middle sphere, and image 3 to the right sphere. The grayscale pattern of the image affects the Bump mapping.

1. Gradation between white and black changes smoothly.

2. Gradation between white and black changes linearly.

3. Gradation between white and black changes rapidly.

Mask

Cuts holes in a pattern through the object surface. The holes will also affect the Alpha channel and any shadows.

Striped reflected onto Mask.

Checked reflected onto Mask.

Spotted reflected onto Mask.

Marble reflected onto Mask.

Marble with a Turbulence value of 0 reflected onto Mask. The top sphere has the largest value of the Mapping slider.

Wood reflected onto Mask.

Wood with a Turbulence value of 0 reflected onto Mask. The top sphere has the largest value of the Mapping slider.

Log reflected onto Mask.

Log with a Turbulence value of 0 reflected onto Mask. The top sphere has the largest value of the Mapping slider.

Wave reflected onto Mask.

Ocean reflected onto Mask.

Ocean with a Turbulence value of 0 reflected onto Mask. The top sphere has the largest value of the Mapping slider.

Cloud reflected onto Mask.

Environment

Reflects a pattern onto the Diffuse mapping of a virtual sphere that encloses an object, then reflect that reflection onto the object surface. Of the patterns generated by the program, when patterns such as Spotted, Wave, Ocean, and Cloud, which have no axis, are applied to the Environment attribute, the virtual environment is cylindrical and uses the selected axis if X, Y, or Z is selected in the Projection pull-down menu. When Wrap is selected, the virtual environment becomes spherical. The reflection will appear similar to Reflection mapping, but there is no need to use the Reflection setting for the object surface. The pattern will be displayed even if that source's intensity is zero. Cylinder and Sphere projection cannot be used if the pattern is an image. If the resolution of the image is too low, the Smooth checkbox can be effective, especially for use on a plane surface.

Striped reflected onto Environment.

Checked reflected onto Environment.

Spotted reflected onto Environment.

Marble reflected onto Environment.

Marble with a Turbulence value of 0 reflected onto Environment.

Wood reflected onto Environment.

Wood with a Turbulence value of 0 reflected onto Environment.

Log reflected onto Environment.

Wave reflected onto Environment.

Wave with a Turbulence value of 0 reflected onto Environment.

Ocean reflected onto Environment.

Ocean with a Turbulence value of 0 reflected onto Environment.

Cloud reflected onto Environment.

The above image reflected onto Environment. This image is rendered with the Panorama checkbox on in the Rendering Options dialog box.

Note: For details on Panorama, refer to the “Panorama” section in Chapter 11: Camera Settings.

Glow

Reflects a pattern onto the Glow mapping set for the object surface.

In this example only the Glow and Transparency attributes are applied and no mapping is set. Inside this hexahedron an Area Light is located alongside each of the planes, and this example is rendered with the Path Tracing method.

Striped reflected onto Glow and Transparency.

Checked reflected onto Glow and Transparency.

Spotted reflected onto Glow and Transparency.

Spotted reflected onto Glow and Transparency, with a smaller Softness value.

Marble reflected onto Glow and Transparency.

Marble with a Turbulence value of 0 reflected onto Glow and Transparency.

Wood reflected onto Glow and Transparency.

Wood with a Turbulence value of 0 reflected onto Glow and Transparency.

Log reflected onto Glow and Transparency.

Log with a Turbulence value of 0 reflected onto Glow and Transparency.

Wave reflected onto Glow and Transparency.

Wave with a Turbulence value of 0 reflected onto Glow and Transparency.

Ocean reflected onto Glow and Transparency.

Ocean with a Turbulence value of 0 reflected onto Glow and Transparency.

Cloud reflected onto Glow and Transparency.

Back Light

Reflects light originating from the back of the object off the surface of the object.

In this example only the Back Light and Transparency attributes are applied and no mapping is set. A sphere with Point Light and Soft Glow set is located at the center of this hexahedron, which is rendered with Ray Tracing.

Striped reflected onto Back Light and Transparency.

Checked reflected onto Back Light and Transparency.

Spotted reflected onto Back Light and Transparency.

Marble reflected onto Back Light and Transparency.

Marble with a Turbulence value of 0 reflected onto Back Light and Transparency.

Wood reflected onto Back Light and Transparency.

Wood with a Turbulence value of 0 reflected onto Back Light and Transparency.

Log reflected onto Back Light and Transparency.

Log with a Turbulence value of 0 reflected onto Back Light and Transparency.

Wave reflected onto Back Light and Transparency.

Wave with a Turbulence value of 0 reflected onto Back Light and Transparency.

Ocean reflected onto Back Light and Transparency.

Ocean with a Turbulence value of 0 reflected onto Back Light and Transparency.

Cloud reflected onto Back Light and Transparency.

Projection Pull-down Menu

X, Y, and Z

These are the Parallel Projection mapping choices.

Among the built-in patterns generated by Shade, for the two- or three-dimensional patterns which change along an axis, you can select the axis along which the patterns change by choosing X, Y, or Z in the Projection pull-down menu. This mapping is effective for the Striped, Checked, Wood, and Log patterns.

When a program-generated pattern that has no axis is applied to the Environment attribute, you can select the virtual environment axis by choosing X, Y, or Z in the Projection pull-down menu. This mapping is effective for the Spotted, Wave, Ocean, and Cloud patterns.

For images, select the Parallel Projection mapping axis by choosing X, Y, or Z in the Projection pull-down menu.

In Parallel Projection mapping, a computer-generated 2D pattern or a 2D image of a finite size is projected in parallel with the X, Y or Z axis of the local coordinate system to which the object belongs. The direction of projection can be changed by rotating the local coordinate system. Parallel Projection mapping can be used with any type of object.

Z axis Projection mapping: The up-arrow shows the Y-axis positive direction, the rightward arrow shows the X-axis positive direction, and the downward arrow shows the Z-axis positive direction.

Wrap

This setting chooses Wrap mapping.

You can use the program-generated patterns that change along the center. This is effective for the Checked and Wood patterns.

When a program-generated pattern that has no axis is applied to the Environment attribute, Wrap uses a spherical virtual environment. This mapping is effective for the Spotted, Wave, Ocean, and Cloud patterns.

Wrap mapping can also be used for images.

In Wrap mapping of an image, the four corners of the rectangular picture are aligned to the four corners of the object, and the image is interpolated. You can either interpolate the image by aligning the object with the vertical and horizontal length of the entire picture or by aligning the image with control points. using the UV correction pull-down menu. Wrap mapping is carried out using the geometrical information of the object itself, not the coordinate system, as the reference. As a result, the orientation of the mapping does not change when the object is moved or transformed. Although there is no distortion caused by the direction the object faces, in some cases a different type of distortion resulting from the difference in the vertical and horizontal proportions may result. Wrap mapping of an image aligns the four corners of the image with the four corners of the object, and therefore it cannot be used unless the four “corners” of the object can be uniquely specified.

Wrap mapping on a curved surface

Note: The UV correction pull-down menu will be described later.

Closed Line Object

Wrap mapping can be applied to closed line objects if they are composed of 4 anchor points with no tangent handles. Of course, those 4 points must be on the same plane.

If a closed line object has more or less than 4 anchor points, or if any of its anchor points has tangent handles, the Wrap mapping cannot be applied to the object. However, it will be available after transforming the object into a curved surface.

These are Wrap mapping examples for a rectangle (left), a closed line composed of 4 points on the same plane (middle), and a closed line composed of 4 points not on the same plane (right). In the right example, although the object is displayed, it may appear differently depending on the light source or camera location.

All three examples are closed line objects composed of 4 points on the same plane, but the rendered results for the middle and right are uncertain, because the object is intersecting itself. The top image is a rendered result, and the bottom shows the Perspective view.

From the left: A rectangle, a closed line object composed of 5 points (one of which has tangent handles), and a closed line object composed of 4 points (one of which has tangent handles).

These are the results when the closed line objects in the previous two examples are transformed into curved surfaces. Provided that the view plane on which an object is created is viewed from the positive direction, if the anchor points are linked clockwise with the upper right point of the closed line object as the starting point, or if a closed line object is created using Rectangle in the Create tool, then all sides of the image will be aligned. When a closed line object with Wrap mapping is transformed into a curved surface, the orientation of the Wrap mapping is retained.

More precisely, pixels aligned downward from the upper right of the image are applied for the direction from the starting point of the closed line object to the next anchor point. As for the direction from the second to the third anchor point, pixels aligned leftward from the right edge of the column is applied. When Reverse from the Modify tool is applied to the closed line object in the above figure, the position of the starting point remains at the upper right, and the direction by which the anchor points are linked is reversed to counterclockwise. In this case, pixels aligned downward from the upper right of the image are applied as pixels aligned leftward from the upper right of the closed line object. When this takes place, columns of the image are applied downward from the top of the closed line object, thereby reversing the right and left. Changing the order of the anchor points on a closed line object will also change the direction of Wrap mapping, though the direction can also be changed using the Flip Horizontal, Flip Vertical, or Interchange Length and Breadth checkboxes provided in the Surface window. Using these checkboxes, you can change the direction of Wrap mapping for objects that are not created from closed line objects.

Disk

A special method is used for disks. Wrap mapping is applied to a virtual rectangle which circumscribes the disk, and the rectangular image is pasted onto the disk using parallel projection. Therefore, part of the image is not mapped to the disk. The rectangle circumscribing the disk is fixed to the disk, and therefore will not cause mapping to be misaligned by displacement of the disk in the local coordinate system. The rectangle is only recognized internally, so that the user cannot access it directly. When a disk with Wrap mapping is transformed into a closed line object, the Wrap mapping will be cancelled. Wrap mapping can be re-applied if this line object is transformed into a curved surface, but the mapping result will be different.

From the left: A disk, a closed line transformed based on the disk, and a curved surface based on the line object.

Wrap mapping on disks when the values for the Start and End text boxes of the Disk Object Info are changed.

Sphere

In the local coordinate system to which a sphere belongs, an image is Wrapped counterclockwise from the 3 o'clock direction as viewed from the positive direction of the Y axis. Section the sphere at the 3 o'clock direction, and unfold it like a loxodromic map with the outside of the sphere as the front: the upper left, lower left, upper right, and lower right corners will be aligned to the corresponding sides of the image. Therefore, the upper left and upper right corners converge to the North Pole, whereas the lower left and lower right corners of the image converge to the South Pole. The direction of Wrap mapping will be retained when a sphere with Wrap mapping is transformed into a curved surface.

From the left: A sphere, a curved surface transformed from the sphere, and a Polygon Mesh based on the curved surface.

Extruded Line Object

A closed line object acting as an end cover for an extruded line object can use Wrap mapping. However, Wrap mapping cannot be applied to the plane created by the extrusion. When an extruded object for which Wrap mapping is set is transformed into a curved surface, the plane created by the extrusion will be transformed into a curved surface, thereby enabling Wrap mapping.

All four objects are extruded closed lines composed of 4 points on the same plane. From the left: A rectangle, a closed line object crossing itself, a closed line object composed of 5 points (one of which has tangent handles), and a closed line object composed of 4 points (one of which has tangent handles).

These are the results when the extruded objects in the previous example are transformed into curved surfaces.

Extruded Disk

Wrap mapping cannot be applied to a disk acting as a cover for an extrusion. Wrap mapping can be applied to the plane (cylinder) created by extruding a disk. If a cylinder is transformed into a curved surface, the result of the Wrap mapping will be different from the Wrap mapping on the original cylinder.

Mapping on extruded disks

These are the results when the extruded objects in the previous example are transformed into curved surfaces. Notice the differences from the previous examples.

The result of Wrap mapping a cylinder will depend on how the extruded object has been created – whether by extruding downward (that is, toward the negative direction), or by extruding upward, that is, toward the positive direction, with respect to the local coordinate system to which the object belongs. The image will be aligned to the rectangle created by sectioning the cylinder at the 3 o'clock direction as seen from the positive direction of the axis of extrusion, and unfolding it with the outside as the front. We will not go into detail about the relationship between the four corners of the object and image. You can, however, confirm the direction of Wrap mapping by means of a test rendering, and if necessary, use the Horizontal Flip, Vertical Flip, and Switch Axes checkboxes provided in the Surface window.

Provided that the angle of a disk is less than 360 degrees, and the Closed checkbox in the Extruded Disk dialog box is on, Wrap mapping will only be applied to the curved surface that remains, not to the flat surfaces.

When the Closed checkbox in the Extruded Disk dialog box is off, then the image is Wrap-mapped using the four corners which would appear after unrolling the semi-cylinder.

The mapping result when the values for the Start and End text boxes of the Extruded Disk dialog box are changed. The Closed checkbox is on.

The mapping result for the previous example, when the Closed checkbox is turned off.

Revolved Objects

Wrap mapping can be applied to a Revolved plane. The result of Wrap mapping the plane will depend on how the revolved object was created, and the positional relationship between the object and the axis of revolution. The image will be aligned with the rectangle created by sectioning the revolved object toward the direction of reference and unfolding with the outside as the front. You can check the direction by test rendering, and apply the manipulations described in “Extruded Disk” as the need arises.

Wrap mapping a revolved disk (left) and a revolved rectangle. Wrap mapping is applied to the image in accordance with the starting and ending angles of revolution when the angle of revolution is less than 360 degrees. The same rule applies for revolved disks when the angle of the disk is less than 360 degrees.

Wrap mapping when a disk or an angle of revolution is less than 360 degrees.

Wrap mapping when the Closed checkbox is off.

Wrap mapping when the Closed checkbox is off.

Curved Surface

Wrap mapping can be applied to all types of curved surfaces, including a pseudo polygon mesh. The starting point of the line object created first in the curved surface part is aligned with the upper left corner of the image; the end point is aligned to the lower left corner of the image, the starting point of the line object created last is aligned to the upper right corner of the image, and the end point is aligned to the lower right corner of the image. You can flip top and bottom or right and left, and half-turn the direction of Wrap mapping using the Horizontal Flip, Vertical Flip, and Switch axes checkboxes provided in the Surface window, as well as using Reverse in the Modify tool.

Polygon Mesh

Wrap mapping cannot be applied to Polygon mesh. You can transform a curved surface with Wrap mapping applied into a polygon mesh with UV mapping.

Proportion of a Wrap Mapping Image

The distortion in Wrap mapping is smallest when the aspect ratio of the Wrap mapping corresponds with that of an object unfolded to a rectangle. For instance, when a rectangle is created by first revolving a disk with a radius of 50 cm, then unfolding the revolved object with a circumference of 40 cm, the size of the rectangle would be (2 x p x 5) x 40 to keep the distortion of the circumference as small as possible; or (2 x p x 5) x 20 to keep the distortion of the internal circumference as small as possible. When creating an image for Wrap mapping, be sure to bear in mind the size of the object used for mapping.

Cylinder

When mapping an image, you can select Cylinder projection mapping. This method maps the image on a cylinder, defined by a central axis. The image sampling will cause it to become coarser (blurry, or jaggy) as the mapping surface becomes farther from the central axis. This mapping cannot be used for the program-generated patterns.

Cylinder projection mapping when the axis is vertical. The up-arrow shows the Y-axis positive direction, the rightward arrow shows the X-axis positive direction, and the arrow pointing down toward the front shows the Z-axis positive direction.

Sphere

When mapping an image, you can select Sphere projection mapping. This method maps an image as it is enlarged in all directions from a central point. Sampling of the image will become coarser as the image gets farther from the center. This mapping cannot be used for the programgenerated patterns.

Sphere projection mapping when the central point is located at the origin. The up-arrow shows the Y-axis positive direction, the rightward arrow shows the Xaxis positive direction, and the arrow pointing down toward the front shows the Z-axis positive direction.

Projection Mapping and the Local Coordinate System

In Projection mappings such as Parallel, Cylinder, and Sphere, because the local coordinate system to which an object belongs (not the object itself) is used as the reference for mapping, you are required to align the mapping position with the object's surface as the need arises. If the object is moved and/or transformed with respect to the local coordinate system, the mapping will no longer correspond to the object surface, and becomes misaligned. This misalignment can be resolved by first selecting the local coordinate system, or a part in which the object is included, and then moving and/or deforming it.

Blend Pull-down Menu

This is located just below the mapping layer number pull-down menu, and the default value is Normal. It is used to select the synthesis method for layers. The images shown below are used for all the examples in this section.

The left image is used as the lower pattern in the image synthesis examples to follow. This image is placed in Layer 1 with a Mapping slider value of 1. The middle image is used as a layer for the image synthesis and Diffuse color synthesis examples. This image, whose flower object is rendered and saved with an alpha channel, is placed in Layer 2 for the image synthesis examples, and in Layer 1 for the Diffuse color examples. The rightmost image is the alpha channel from the middle image.

Normal

When the PremulNotelied Alpha checkbox is on, the layer is synthesized with the Diffuse color or the lower pattern, according to the Mapping slider value, regardless of the Alpha channel.

In Normal synthesis, for each of the R, G, and B elements, a color given by mulNotelying the pixel color of the layer by the Mapping slider value, and a color given by mulNotelying the pixel color of the lower pattern by the value obtained by subtracting the Mapping slider value from 1 are added. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The upper example shows synthesis with an image, and the lower example synthesis with the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples. These synthesis results correspond to Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The layer progressively appears according to the Mapping slider value.

The results when the PremulNotelied Alpha checkbox is off.

Alpha Blending

When the PremulNotelied Alpha checkbox is off, the image is combined with the Diffuse color or the lower pattern, using the Alpha channel as a mask.

In Alpha blending, for each of the R, G, and B elements, a color given by mulNotelying the pixel color of the layer by the Mapping slider value and the Alpha channel value, and a color given by mulNotelying the pixel color of the lower pattern by the value obtained by subtracting the mulNotelied value of the Mapping slider and Alpha channel values from 1, are added together. When the PremulNotelied Alpha checkbox is on, the Alpha channel is not used.

The upper example is for a synthesis with the image. These synthesis results correspond to Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The cutout part of the layer is displayed according to the Mapping slider value. The lower example is for a reflection of the Diffuse color. The color is set to white, red, green, blue, and black, from the left. The Mapping slider value is 1 for all. The PremulNotelied Alpha checkbox is off for both examples.

These results are given when the PremulNotelied Alpha checkbox is on. The upper example has the same settings as the previous example, while the lower example is the result of synthesis when the Diffuse color is red.

Add Blending

When the PremulNotelied Alpha checkbox is on, the pattern of the layer is combined with the Diffuse color or the lower pattern using additive synthesis, regardless of the Alpha channel. The result of the synthesis becomes brighter in most of the cases.

In Add synthesis, for each of the R, G, and B elements, a color given by mulNotelying the difference in pixel color between the lower pattern and the layer by the Mapping slider value, and the pixel color of the lower pattern, are added. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The upper example is the result of synthesis with Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The lower example is for a reflection of the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples.

The results when the PremulNotelied Alpha checkbox is off.

Subtract Blending

When the PremulNotelied Alpha checkbox is on, the pattern of the layer is combined with the Diffuse color or the lower pattern with subtractive synthesis, regardless of the Alpha channel. In this synthesis, the color of the layer's pattern is inverted.

In Subtract synthesis, for each of the R, G, and B elements, a color given by mulNotelying the difference in pixel color between the lower pattern and the layer by the Mapping slider value is subtracted from the pixel color of the lower pattern. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The upper example is the result of synthesis for Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The lower example is for a reflection of the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples.

The results when the PremulNotelied Alpha checkbox is off.

MulNotely Blending

When the PremulNotelied Alpha checkbox is on, the pattern of the layer is combined with the Diffuse color or the lower pattern with mulNotelicative synthesis, regardless of the Alpha channel. The result of the synthesis becomes darker in most cases.

In MulNotely synthesis, for each of the R, G, and B elements, mulNotelying the ratio of the lower pattern's pixel color as to white by the Mapping slider value, and the color given by mulNotelying the layer's pixel color by the value obtained by subtracting the Mapping slider value from 1, are added. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The upper example is the result of synthesis with Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The lower example is for a reflection of the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples.

The results when the PremulNotelied Alpha checkbox is off

Max Blending

When the PremulNotelied Alpha checkbox is on, the pattern of the layer is compared with the Diffuse color or the lower pattern, regardless of the Alpha channel, and they are combined so as to favor the brighter parts. The result of the synthesis becomes brighter in most cases.

In Max synthesis, for each of the R, G, and B elements, the color given by mulNotelying the pixel color of the layer by the Mapping slider value is compared with the lower pattern's pixel color, and the brighter color is displayed. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The top example is the result of synthesis with Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The bottom example is for a reflection of the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples.

The results when the PremulNotelied Alpha checkbox is off.

Min Blending

When the PremulNotelied Alpha checkbox is on, the pattern of the layer is compared with the Diffuse color or the lower pattern regardless of the Alpha channel and they are combined in favor of the dark parts. The result of the synthesis becomes darker in most of the cases.

In Min synthesis, for each of the R, G, and B elements, the color given by mulNotelying the pixel color of the layer by the Mapping slider value is compared with the lower pattern's pixel color, and the darker color is displayed. When the PremulNotelied Alpha checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel.

The upper example is the result of synthesis with Mapping slider values of 0, 0.25, 0.5, 0.75, and 1, from the left. The lower example is for a reflection of the Diffuse color. The PremulNotelied Alpha checkbox is on for both examples.

The results when the PremulNotelied Alpha checkbox is off.

Mapping Slider and Text Box

Drag the slider or enter an appropriate value in the text box to set the density of the texture.

The Blend pull-down menu is located to the left of this slider.

The Marble pattern is reflected on the Diffuse attribute. The rightmost cube has the largest value.

In these examples, the Diffuse color is set to pale blue, a magenta Striped pattern perpendicular to the X axis is set for layer 1, and a yellow Striped pattern perpendicular to the Y axis is set for layer 2. The rightmost example has the largest Mapping slider value for layer 2.

Mapping Color Box

Drag in a color (or click) to set the color to be used together with the Diffuse color for a Solid or Metallic texture, or to set the color of the margin (frame) appended to the periphery of a picture using the Crop Area Setting dialog box (opened using the contextual menu of the image box).

In this example, the loaded image is 300 x 300 pixels, the values for the setting area are Top-25, Bottom-325, Left-25, and Right-325, with the Repeat set to 2, 2, and Wrap mapping applied to the square closed line objects. The Mapping color is white, red, green, and blue, from the left.

The Marble pattern is mapped to the spheres. The Diffuse color is set to black for all. The Mapping color is white, red, green, and blue, from the left.

Size Slider and Text Box, M, R, -,and + Buttons

Drag the slider or enter an appropriate value in the text box to set the size of the pattern.

The size is temporarily memorized by clicking the M button. The memorized size is recalled by clicking the R button.

The scale of the Size slider and text box is reduced by clicking the - button. The scale of the Size slider and text box is magnified by clicking the + button. These buttons cannot be used when Wrap or Sphere mapping is applied to images.

Striped pattern applied to the Diffuse attribute. The rightmost example has the largest value.

Spotted pattern applied to the Environment attribute. The rightmost example has the largest value.

Turbulence Slider and Text Box

Drag the slider or enter an appropriate value in the text box to set the degree of turbulence for the texture. The time required for rendering may change when a value other than the default value is entered. The Turbulence slider and text box can be used for Marble, Wood, Log, Wave, and Ocean patterns.

Marble pattern applied to the Diffuse attribute. The value in the left example is 0, and the rightmost example has the largest value.

Wood pattern applied to the Diffuse attribute. The value in the left example is 0, and the rightmost example has the largest value.

Log pattern applied to the Diffuse attribute. The value in the left example is 0, and the rightmost example has the largest value.

Wave pattern applied to the Diffuse attribute. The value in the left example is 0, and the rightmost example has the largest value.

Ocean pattern applied to the Diffuse attribute. The value in the left example is 0, and the rightmost example has the largest value.

Softness Slider and Text Box

The Turbulence slider and text box change into a Softness setting when the Spot texture is selected. Drag the Softness slider or enter an appropriate value in the text box to soften the contours of the Spot pattern.

These examples are mapped with Diffuse. The rightmost cube has the largest value.

These examples are mapped with Environment. The rightmost cube has the largest value.

Height Checkbox

The Height value is enabled when Bump is selected. Entering a positive value for the Height tell Shade to use parallax bump mapping to emphasize the 3D look of the bump map. Parallax bump mapping can be used with Ray-tracing and Path tracing rendering.

PremulNotelied Alpha Checkbox

When the PremulNotelied Alpha checkbox is on, the layer's color is synthesized with the Diffuse color or the lower pattern, regardless of the Alpha channel. When this checkbox is off, the Mapping slider value is mulNotelied by the Alpha channel value of the pixel. You cannot activate the PremulNotelied Alpha checkbox for patterns other than Image.

More Button

When you install a Shader Plug-in with custom attributes for mapping, the custom attributes will be shown by clicking the More button. For details on the custom attributes, refer to the associated plug-in documentation.

Info Button

When you install Plug-ins with custom attributes of a layer to be mapped, the custom attributes will be shown by clicking the Info button. For details on the custom attributes, refer to the associated plug-in documentation.

Picture Box

You can preview setups such as the Diffuse color, selected Texture, Mapping color, Size, Turbulence or Softness, and the effects of the X, Y, Z, and Wrap setting in the Projection pull-down menu. You can also load and display pictures here. When a picture is loaded, click the picture box while holding the Ctrl (Win) / option (Mac) to display the Crop Area Setting dialog box. When Alpha is selected in the Blend menu, the synthesis result is shown with white as a lower layer with the PremulNotelied Alpha checkbox off.

Horizontal Flip, Vertical Flip, Switch Axes Checkboxes

Use these to change the direction of the picture to be mapped.

These show the initial state, Horizontal Flip, Vertical Flip, and Switch Axes checkboxes, from the left.

Invert Checkbox

This inverts the colors of the picture. This is particularly effective for unevenness of Bump mapping, and inverting the holes of Mask mapping.

An image is reflected onto Diffuse mapping (two examples on the left), and onto Bump mapping (two examples on the right). The right example is flipped.

Smooth Checkbox

This causes the picture to be anti-aliased before it is mapped onto the object. This is effective when the resolution of an image is a little bit too low.

Example of the Smooth checkbox set to off (left) and on (right). The Anti-aliasing checkbox in the Rendering Options dialog box is off.

UV Correction Pull-down Menu

You can select a method for interpolating a Wrap mapping picture. The default method is Distance.

Wrap mapping a curved surface with a 3 x 3 lattice structure. The wire frame is shown above.

Interpolating an Image Aligned with the Length

When Distance is selected from the UV Correction pull-down menu, for both the vertical and horizontal directions, the image is equally compressed or extended, that is, interpolated, aligning it with the length of the object.

The result of Wrap mapping when Distance is selected.

Interpolating an Image Aligned with Control Points

When UV is selected from the UV Correction pull-down menu, for both the vertical and horizontal directions, an image can be interpolated and mapped by aligning it with the control points. Images are proportionally extended where the length between anchor points is longer, and they are compressed where the length is shorter.

This is the result of Wrap mapping when UV is selected. Nine subdivisions of the image are aligned with 9 control points of the curved surface patches.

Repeat Pull-down Menu

In Image mapping, a shrunken copy of the picture is repeatedly mapped (tiled) vertically or horizontally within the original picture size, the number of times (up to 10 times) specified by these pull-down menus. The left pull-down menu specifies the number of repetitions in the horizontal direction, and the right pull-down menu is for the vertical direction.

From the left: The initial state, the left pull-down menu set to 2, the right pull-down menu to 2, and both menus set to 3.

Reset Button

This button resets the configuration to the state when the Modify checkbox was turned on (like an undo function).

M and R Buttons

Clicking the M button will memorize the current settings. Clicking the R button will recall the memorized settings.

Modify Checkbox

The control points indicating the center of the pattern, the size along the three axes and the directions are displayed by turning on this checkbox. The control point at the center is displayed at the origin of the local coordinate system when the Texture Transformation checkbox in the More Surface Attributes dialog box is on. When it is off, that point is displayed at the origin of the global coordinate system. The control points that indicate the size and direction are displayed 4 grids away from the center. The actual size of the pattern is not reflected. The size of the pattern is indicated while the Size slider is pressed. You can change the center of the mapping by shifting the center. The center of an Image mapping is located at the lower left of the image. The direction of projection rotates along with the rotation of the direction. Changing the size will also change the mapping size. When you drag the control point indicating the size and direction while pressing the Shift, you can change the size without changing the direction.

This is a Parallel Projection mapping for a sphere. The Striped pattern is projected perpendicular to the X axis. When the Modify checkbox is on, the control points and a rectangle perpendicular to the selected axis will appear in the Figure window.

If you drag the control point indicating the size and direction while pressing the Shift, you can change the size without changing the direction.

Changing the direction of the control point indicating the size and direction allows you to change the direction of the projection.

With Wrap selected in the Projection pull-down menu for a pattern other than an image, the vertical planes of all axes will be displayed when the Modify checkbox is on.

In Parallel Projection mapping, when an image is loaded, a rectangle perpendicular to the selected axis is displayed. When you press the Size slider, a rectangle indicating the size of the image will appear so that the lower-left corner of the image is located at the center of this modification. Wrap mapping does not allow for modification. In the Cylinder and Sphere Projection mappings, a disk perpendicular to an axis will be displayed. You cannot change the disk to an ellipse directly.

Crop Area Setting Dialog Box

In the Crop Area Setting dialog box, you can set the area for mapping or combining the picture loaded in the Picture Box. Image data can not be edited here. With the picture loaded, click the Picture Box while holding down the Ctrl (Win)/ option (Mac) to display the Crop Area Setting dialog box.

Setting the Area: Mask Mapping Images, Adding Margins

Unnecessary parts of an image can be masked, or margins can be added to an image using the Crop Area Setting Handle and Top, Bottom, Left, and Right text boxes. The color indicated in the Mapping color box will be applied to the margin.

In this example, the size of the loaded image is 600 x 600 pixels, and the Wrap mapping is applied to the square closed line objects. The upper examples are, from the left: no crop area setting (Top 0, Bottom 600, Left 0, and Right 600 *Refer to the figure of the Crop Area Setting dialog box section), Top 200, Bottom 200, Left 200, and Right 400, Top 50, Bottom 650, Left 50, and Right 650 with white mapping color, and the same crop area setting with blue mapping color *Refer to the figure of the Scale pull-down menu section). The lower examples are when the Repeat is set to 2, 2.

Picture Box

The image loaded in the Picture Box is displayed here.

Crop Area Setting Handle

The four small black squares located at each corner of the picture in the Picture Box are called the Crop Area Setting handles. You can set the area by dragging these handles. Dragging any of these handles toward the center of the image will cut off the peripheral parts of the image. Dragging them in the opposite direction will append margins.

The Picture Box will scroll if you drag a handle off an edge. For instance, dragging the upper left Crop Area Setting handle toward the upper left corner will scroll the image in the Picture Box toward the lower right.

Top, Bottom, Left and Right Text Boxes, and Adjust Arrows

The values of the setting area can be entered here, or the adjusting arrows can be used to change the size of the area. The size of the picture is indicated right after the picture is loaded.

Scale Pull-down Menu

This is used to scale the image in the Picture Box from 1/16 times to 16 times, but does not change the size of the image.

Default Button

This button resets all the Crop Area Setting dialog box settings to their default values.

More Shading Dialog Box

Origin Text Boxes

The X, Y, and Z coordinate values of the origin are entered here. These text boxes set the mapping origin, which is aligned to the reference point in the local coordinate system. The mapping origin is the lower left corner of the picture for parallel projection mapping; for all others, it is the center of the pattern. These text boxes do not change the local coordinate position of an object.

Current Position Button

The current 3D cursor position is loaded as the mapping origin.

No Shading Checkbox

This checkbox will switch off all shading.

These examples are the rendered results when the Wave pattern is applied to Diffuse (left) and Bump (right), with this checkbox on. This case does not affect Specular.

Do Not Cast Shadow Checkbox

No shadow will be projected onto other objects.

Do Not Cast Shadow checkbox is on for the right sphere.

Do Not Show Shadow Checkbox

The shadows projected from other objects will not be displayed on this object.

Do Not Show Shadow checkbox is on for the right square.

Black Key Mask Checkbox

The inherited surface attributes will be applied to any black parts of the texture pattern.

White Key Mask Checkbox

The inherited surface attributes will be applied to any white parts of the texture pattern.

In this example, a sphere mapped with black and white Striped patterns crossing each other is put into a part for which Reflection is set. The Black Key Mask checkbox is on for the middle sphere and the White Key Mask checkbox is on for the right sphere.

Smoother Shading Checkbox

This causes smoother shading, different from Phong shading, to be used for rendering.

Smoother Shading checkbox is on for the right sphere.

Do Not Reflect Other Objects Checkbox

The object will not be reflected by any other objects.

Do Not Reflect Other Objects checkbox is on for the right square.

Local Coordinates Checkbox

This checkbox is on by default, so that the mapping origin corresponds with the local coordinate reference point. The texture mapping will follow any transformations of parts, and the movements of joints. Turning this checkbox off will align the mapping origin with the global coordinate system reference point. In this case, mapping will not follow the movements or transformations of objects.

Top: Local Coordinates checkbox is on. Bottom: Local Coordinates checkbox is off.

Mapping is applied to the objects for both examples, and the part containing that object is duplicated to move or rotate.

Pseudo Caustics Slider and Text Box

The direction of the surface (direction of the normal line) of an object for which Transparency is set affects the darkness of the shadow. The default value is 0 and the Pseudo Caustics is not applied. A phenomena, referred to as “Caustics,” where the waves of a water surface receive the direction of the light to reflect patchy light on the surface of underwater objects, is simulated.

Pseudo Caustics values are -1, -0.5, 0, 0.5, and 1, from the left. These values are reflected in the shadow expressed inside the transparent objects and the objects just below.

Pseudo Caustics Brightness Slider and Text Box

This adjusts the darkness of the pseudo caustics shadow. This is effective when the Pseudo Caustics value is other than 0.

Pseudo Caustics Brightness values are 0, 0.5, 1, 1.5, and 2, from the left. Pseudo Caustics value is set to 0.5 for all.

Pseudo Caustics Bump Slider and Text Box

How Bump mapping affects the pseudo caustics depends on this value. This is effective when the Pseudo Caustics value is other than 0.

For the above object, Ocean is applied to Bump, with a Mapping value of 3, Pseudo Caustics value of 0.7, Pseudo Caustics Brightness value of 2, Pseudo Caustics Bump value of 5, and Pseudo Caustics Aberration of -0.2.

Pseudo Caustics Aberration Slider and Text Box

The position of the shadow in the pseudo caustics is converted into each of the R, G, and B channels, resulting in pseudo color aberration. This is effective when the Pseudo Caustics value is other than 0.

Pseudo Caustics Aberration is -1, -0.5, 0, 0.5, and 1, from the left. Pseudo Caustics value is set to 0.5 and the Pseudo Caustics Brightness value is set to 2, for all.

Aberration Slider and Text Box

The direction of the surface (direction of the normal line) of an object for which Transparency is set affects the refractive index of each of the R, G, and B channels, resulting in pseudo color aberration. The default value is 0 (the effect is not applied).

Aberration value is -1, -0.5, 0, 0.5, and 1, from the left.

A sample file rendered with the default setting of 0 (no file rendered with the default setting of 0 (no aberration).

The same image rendered with a Pseudo Caustics value of 0.7, Pseudo Caustics Brightness value of 1.5, and Aberration value of - 0.1.

Default Button

This button resets all the More Surface Attributes dialog box settings to their default values.

Setting the Color

We will now explain how to set the color in the Diffuse color box by using a bottle shape.

1. Open the “Bottle.shd” Should we just say “Bottle.shd” file from the “Chapter13” folder within the “User Guide” folder.

You will find two objects, a cap and a bottle, when you open the Browser window. Both the cap and the bottle are simple objects that have been created by converting revolved open lines to curved surfaces.

2. Select Surface and Color from the View menu to display each window.

(Left: Surface window; Right: Color window)

3. Select the cap in the Browser window.

The name of the selected object will be displayed at the top of the Surface window, just below the window title bar.

Note: The surface attribute setting you are performing will only apply to the object that is currently selected.

4. Display your desired color in the Color box of the Color window.

5. Click in the sample box of the Color window and drag it to the Diffuse Color box of the Surface window.

The Diffuse color of the Cap is set, and the Diffuse color checkbox is automatically switched on.

Note: If you click the Color box in the Surface window, the color picker for your operating system will appear. The Base color can be set using the color picker.

6. Select the Root Part in the Browser and render, to confirm that the Diffuse color is changed.

Setting the Shading Parameters

Let's apply a wood pattern to the Cap.

1. Select the Cap within the Browser window and click the Create button in the Surface window.

We will now set the shaded parameter and mapping. In the upper left corner is a window (preview box) where a sphere in the specified Base color is displayed. The effect of the shaded parameter can be checked in this window.

2. Set the Diffuse Color to wood.

Select a color that looks like wood. It can be any color you like. Select a light color, because we will apply a darker color for the grain of the wood.

3. Set the Specular slider somewhere between 0.0 and 0.1.

The preview displays a small highlight. The highlight is intentionally set small to express a wood feeling.

4. Set the Size slider to around 0.4.

Setting the Mapping Pattern

1. Select Wood from the Pattern pull-down menu.

If you select anything other than None in the Pattern pull-down menu, the Attributes pull-down menu next to the Pattern pull-down menu becomes active.

In the Pattern pull-down menu, you specify the type of pattern for the texture. The Attributes pull-down menu determines the mapping attributes by generating bumps based on the pattern specified in the Pattern pull-down menu, or by providing patterns for the specular or reflected portions. We will go through the Tutorial with the Attributes pull-down menu set to Diffuse. Diffuse is one of the texture attributes used as the base of a texture.

2. Choose a second color for the wood grain in the Color window, and drag it to the Mapping color box of the Surface window.

A slightly darker color than the Diffuse color works well.

Next we will set the size of the Wood mapping.

3. While holding down the Ctrl (Win) / option (Mac), click at points A and B to set the position of the 3D cursor to the center of the Cap.

4. Hold down the Size slider.

A large bounding box is displayed in the perspective view to confirm the size of the mapping. It seems that the box is too large.

5. Press the minus (-) button several times to shrink the size of the bounding box to the size of the cap.

Each time you click the minus (-) button, the size of the bounding box in the specified size is halved.

6. When the Mapping size is adjusted to more or less the desired size, use the Size slider to fine tune it.

The bounding box can be displayed in the Figure Window by dragging the Size slider. When the size of the bounding box corresponds to the size of the object in the Figure Window, the resulting texture in a rendered image will correspond to that shown in the picture box. For the wood mapping pattern, a tight pattern can be applied to the figure by setting the size smaller.

When you select an item in the upper portion of the Image in the Pattern pull-down menu and drag the Size slider, the bounding box is displayed with the position of the 3D cursor as its center. This bounding box shows the size that will be used for mapping the texture.

Pattern pull-down menu

A square wireframe displayed when performing the XYZ projection for the image, shows the mapping size and mapping base point. Mapping of the image data is explained later in this chapter.

Let's learn about Mapping, the Turbulence slider, and the XYZ radio buttons.

Mapping Slider

As the value of the mapping slider becomes smaller, the applied value of the set texture becomes lower. If you set the value of the Mapping slider to 0.0, then no texture will be applied.

Mapping value 1.0 (left); Mapping value 0.2 (right)

Turbulence Slider

The Turbulence slider alters the regularity of the pattern. The smaller the value of the Turbulence slider, the more regular the pattern will be. A texture without any Turbulence, such as the check texture, can also exist (the Checked pattern can be selected in the Texture pull-down menu).

Turbulence value 0.5 (left); Turbulence value 0.0 (right)

Projection Pull-down Menu

The Projection pull-down menu allows you to specify how the texture is projected. By selecting X, Y, or Z, the texture will be directed in the direction of the selected coordinate axis. Wrap, Cylinder, and Sphere projections are discussed later.

Left: X, Middle: Y, Right: Z

7. Set the wood surface attributes as you like, using each slider.

8. Render with the Cap selected.

IMPORTANT: When using Scan Line rendering, the Smooth Shading must be selected from the Shading pull-down menu in the Rendering Options for the surface attribute settings to show in the image.

Mapping an Image

Let's move on to mapping an image onto the bottle.

1. Select the bottle within the Browser window.

2. Press the Create button in the Surface window, and select Image from the Pattern pull-down menu.

In the Attributes pull-down menu, Diffuse is selected.

3. Right click (Windows) / Press the control and click (Macintosh) within the picture box to display the contextual menu, and select Load....

The file selection dialog box is displayed.

4. Select the Tile file in the Chapter13 folder in the User Guide folder.

A thumbnail image of the Tile file appears in the picture box.

5. Make sure that Wrap is selected in the Projection pull-down menu.

Wrap mapping is a method in which the four corners of the image are aligned to the four corners of each face of the object. More details about Wrap mapping will be given later.

6. Select the root part and render.

The mapped tile pattern seems too large.

You cannot adjust the size of Wrap mapping using the size slider. Here, you will adjust the mapping size through the following procedure.

7. Select 3 for each Repeat pull-down menu.

Nine (3 x 3) images will now surround the curved surface. In the Repeat pull-down menu, the left menu is for the horizontal repetition and the right menu is for the vertical one.

8. Render with any method of your choice.

Mapping Multiple Textures

In Shade, up to five textures can be layered to express more complex surface attributes. Here, we will apply Bump mapping to the image that is currently being mapped. In Bump mapping, the surface of the object seems bumpy in accordance with the brightness of the pasted image.

1. Being sure to select the Bottle part again, select … from the Layer pull-down menu in the Surface window.

2. Choose Image from the Pattern pull-down menu.

3. Select Bump from the Attributes pull-down menu.

4. Display the contextual menu in the picture box, and select Load… to load the “Tilebump” file in the “Chapter13” folder within the “User Guide” folder.

The loaded image is displayed in the picture box.

In Bump mapping, lighter parts stick out, whereas darker parts are dented in. If you wish to reverse the effect, click the Invert checkbox. Although in this lesson, we will use a gray-scale image, RGB-colored images can also be used.

5. To layer the new pattern on the already mapped image, select Wrap from the Projection pull-down menu and select 3 from each Repeat pull-down menu.

6. Drag the Mapping slider bar to 1.0.

7. Render with a method of your choice.

You can directly enter values that exceed the limit of dragging for any slider.

8. Click on the value of the mapping slider, then type “3.00”.

The mapping value is changed to 3.00.

Note: If you click the slider bar while holding down the Ctrl (Win) / option (Mac), a dialog box appears for entering a value.

9. Render the image again.

The rendered image is bumpier than before.

Left: Bump mapping value 1.0; Right: Bump mapping value 3.0

Creating a Label

For the bottle, let's create a label shaped like a belt and apply mapping to it. The label will be 6 cm high.

1. Select Ruler from the View menu.

The ruler is displayed.

2. Use the mouse pointer to drag the bottom-right corner of the ruler as shown.

The ruler is now vertical.

3. Move the ruler into the Front view and align the top edge of the ruler with any grid line, approximately where the top of the label will be.

The ruler serves as a guide for setting the height of the label.

4. To create a line object with an exact height of 6 cm, display the Figure Controller and switch on the Relative checkbox.

When you switch on the Relative checkbox, the last position you clicked within the Figure window is regarded as the point of origin, so you can keep track of both the distance and relative coordinate values as you move the 3D cursor.

5. Within the Top view, click the center point A of the revolved object while holding down the Ctrl (Win) / option (Mac) to set the depth (Z-axis) coordinate value of the 3D cursor.

6. Select Open Line from the Create tool in the Toolbox, then click Point B.

If the Relative checkbox in the Figure Controller is on, the position you clicked becomes the origin. The figure below the coordinates shows the distance between the position you clicked and the moving 3D cursor.

7. Move the 3D cursor down below Point B, then click Point C when the distance value shows 60 (units: mm), then press the finish button to finish creating the line object.

A line object with a height of 6 cm is created. The units for the values in the Figure Controller are set by the Units pull-down menu. The scale on the ruler varies depending on the Zoom in/out ratio of the Figure window.

8. Select Revolve from the solid tool, then drag from D to E.

A revolved object is created.

9. With the revolved object selected, select convert button to convert the object to a curved surface, then name it “Label”.

The shape for our label has been created. At this point, however, if you were to apply mapping and render an image, it might not render correctly because the Label shape clings to the Bottle shape so tightly that Shade cannot determine which plane is to be rendered. So, let's scale up the Label part slightly.

10. Select Numerical from the Move tool, then click the center point A of the Label shape within the Top view.

11. In the Transformation dialog box, type “1.01” in each of the X and Z Scale boxes, then press the OK button.

The label shape is scaled up by 1.01 times in the X and Z directions, with its height unaffected.

Now we can map an image onto the Label shape.

12. In the Surface window press the Create button, select Image from the Pattern pull-down menu, display the contextual menu within the picture box, and select Load….

You can display the contextual menu using the right click (Win) / control and click (Mac). The setting for the Attributes pull-down menu stays at Diffuse.

13. Select the Labelmap file from the Chapter13 folder in the User Guide folder, then check that Wrap is selected in the Projection pull-down menu.

14. Select the Label part only and render it.

Since the image is flipped from side to side, let's correct it.

15. Switch on the Horizontal Flip checkbox, then render.

The image is now properly rendered.

The mapped image used for the label was created to match the length-to-width ratio of the shape you created. Because the height of the label shape is 6 cm, and its perimeter is about 25 cm (the bottle diameter of 8 cm times 3.14), the image for the label was created in advance to match the ratio of 25 to 6.

Mapping Projected Images

Let's create a shape for the floor from a rectangle and cast a shadow using Ray Tracing rendering.

1. At the bottom of the bottle, create a rectangle.

The rectangle can be any size. In this sample, the rectangle is so large that you cannot see the sides of the rectangle in the perspective view.

You will now apply a stone image to the shape.

2. With the Closed Line selected, press the Surface window Create button, then select Image from the Pattern pull-down menu. Load the Stone file from the Chapter 13 folder in the User Guide folder into the picture box, and select Y from the Projection pull-down menu.

Selecting Y allows the projected image to be mapped in the direction of the Y axis. It also allows you to use the Size slider.

3. As described in the steps for applying the Wood texture, adjust the Size slider to set the size as you like.

The size box appearing this time is different from the one displayed when you adjusted the Size slider for the Wood texture, because we are dealing with a square, and it does not depend on the position of the 3D cursor. The size and position of the square box correspond to those of the image to be mapped. Since projection mapping automatically repeats the texture picture to fill up the shape, you don't have to set the Repeat value as you did for the wood Wrap mapping.

4. Render with any method of your choice.

If you don't like the size of the stone texture in the rendered image, change the optical size and position with the Size slider.

As you did for the Bottle, let's apply Bump Mapping to the closed line that is our floor, using multiple textures.

5. Select the Closed Line in the Browser, then press the M button next to the Size slider.

By pressing the M button, the current size value is memorized.

6. Choose … from the Layer pull-down menu of the Texture, Image from the Pattern pull-down menu, Bump from the Attributes pull-down menu, and Y from the Projection pull-down menu.

7. Load the Stnbump file from the Chapter13 folder in the User Guide folder into the picture box.

Now you will change the size value of this image to layer it on the already mapped stone image, Layer 1. The Stone and Stnbump files were created to be the same size, with the same number of pixels vertically and horizontally.

8. Click the R button next to the Size slider.

Clicking the R button now allows you to apply the size value that was memorized when you previously clicked the M button.

IMPORTANT: The M and R buttons enable size matching of textures, regardless of their hierarchy.

9. Press the slider bar of the Size slider to make sure that the size has changed.

You can verify that the two layers are the same size.

10. Set any value for Mapping.

11. Select the root part and render it using Ray Tracing.

To create the shadow, the Render Shadows checkbox must be selected in the Rendering Options.

12. Select Save As… from the File menu to type any file name and save the file. The shape you created will be used again later (in the Sticker Mapping section).

Inheritance of Surface Attributes

Inheritance of surface attributes refers to the fact that a shape will inherit the surface attributes of the part above it in the Browser hierarchy, if the corresponding attributes are not set for the shape. Using this, you can improve efficiency by applying the same texture to multiple parts. In particular, when you use the same mapping many times, the inheritance of surface attributes can prevent the duplication of image data.

You can set the inheritance for each parameter individually using the checkbox located to the left of each parameter name.

Master Surfaces

You may sometimes want to set the same surface attributes for parts that are not in a hierarchy. In such cases, you can use the Master Surface function.

Using and Saving Master Surfaces

Here we will use a sample file. Let's open “UG_13_Spheres.shd file from the “Documentation - Sample” tab in ShadeExplorer.

1. Create a rectangle within the Top view, then use Extrude from the solid tool to create an extruded object in the direction of the Y axis. Drag the extruded object out of the Sphere Part in the Browser.

Now let's set the same bumpy texture for this extruded object that you set for Sphere 4.

2. Select Sphere 4 and click the Register button in the Surface window.

The Name dialog box appears. Let's give a name to the Master Surface.

3. Name it “Master 1.”

Because the bumpy texture of Sphere 4 is registered in the master surface, the Browser now shows a Master Surface part at the bottom, which contains the created master surface named Master 1.

By registering the master surface, the surface attributes for Sphere 4 now refer to the surface settings of Master 1. As a result, at the top of the Surface window, the part name has changed to “Master 1.”

4. With the Extruded Closed Line selected, select Master 1 from the Use button in the Surface window.

The master surface, “Master 1”, is applied to the extruded object.

5. Select the Root Part and render it.

Sphere 4 and the extruded object, to which the master surface is applied, are rendered with the same bumpy texture. Here, the extruded object is blue because the Diffuse color checkbox is unselected in the master surface that the extruded object refers to. Although the Diffuse color checkbox for Sphere 4 is also unselected, Sphere 4 becomes blue because it inherits the color set for the Sphere Part.

6. With the Extruded Closed Line selected, set the Diffuse color box to green, then render the root part.

Because a Diffuse color was set for the master surface, both the extruded object and Sphere 4 are rendered in green.

Sphere 4 becomes green because its own Diffuse color takes priority over the previously inherited color. By changing a surface attribute setting that refers to a master surface, the master surface and every surface attribute setting that refers to the master surface are also changed.

Note: The merit of using a master surface is that you can achieve the same surface settings for parts beyond the hierarchy of the Browser, just by changing the master surface, or by changing any surface attribute setting that refers to the master surface.

7. Select Sphere 4, the Extruded Closed Line, or Master 1.

8. Change any surface attribute in the Surface window, then render everything.

In this example, the Glow and Soft Glow values are changed, and the Glow color box is set in yellow. Both Sphere 4 and the extruded object are rendered with the same texture. Next, you will delete the master surface setting used for the extruded object.

9. Select the Extruded Closed Line.

10. Click the Delete button in the Surface window and render all.

The setting is deleted, and the extruded object is rendered with no surface attributes.

Note that the Extruded Closed Line is rendered in green. This is because the Diffuse color is not deleted, even if the surface attributes are deleted. To delete the Diffuse color, turn the Diffuse Color checkbox off.

In addition to the above settings, there is a checkbox for each parameter in the Surface window, to allow you to set the inheritance of surface attributes. When you turn off the checkbox for a parameter, the surface attributes settings of the part above can be inherited only for that parameter. Conversely, while the settings of the part above are being inherited, you can use only part of the settings by switching on the checkboxes for some of the parameters.

Duplicating Master Surfaces

If you want to change only some of the surface attributes for a part using a master surface, you can duplicate the master surface. Making modifications to the duplicate master surface prevents the original master surface from losing its surface attributes setting.

You can duplicate a master surface by selecting it, then clicking the Duplicate button in the Surface window.

Creating a New Master Surface

A new master surface can be created by selecting Master Surface… from the Create tool in the Toolbox.

The Name dialog appears so that you can choose the name of the master surface.

Points to Watch Out for

If you select an object that uses a master surface and choose Copy or Cut from the Edit menu, the object stored on the clipboard will lose its master surface settings.

Similarly, if you import an object file that uses a master surface, the master surface attribute settings will be lost.

Sticker Mapping

You will now learn about sticker mapping, using Boolean rendering and white key masks.

Boolean rendering is an effect that is only seen in a rendered image. Using overlapped areas of shapes, you can make holes in one of the shapes or replace the surface attributes for the overlapped area. For more information, refer to Chapter 10: Boolean Operations.

The white key mask function applies the surface attributes of a part higher in the hierarchy to the white areas of any shape. A similar function is the black key mask, which applies the surface attributes of a part higher in the hierarchy to the black areas.

We will use the file that you 'Saved as' previously to study sticker mapping. You will apply the mapping to the Cap part as shown in the figure below.

1. Open the file that you previously saved.

Alternatively, you can use Bottle2.shd file from the Chapter13 folder.

2. Select the Cap object in the Browser. Then choose Figure > Hide Unselected.

The Figure window displays only the Cap shape.

3. Select Fit To Window from the Figure menu.

The Cap shape is displayed in the middle of each view.

The Front VIew

4. Within the Front view, click Point A inside the Cap while pressing the Ctrl (Win) / option (Mac) to set the height.

5. Select Rectangle from the Create tool, drag from B to C while pressing the Shift within the Top view to create a square circumscribing the Cap.

Top view

You can switch the Large Cursor checkbox on the Control Bar to change the 3D cursor to a large cursor. This facilitates setting the starting point of the square circumscribing the Cap.

6. Select Extrude from the solid tool to create an extruded object by dragging from D to E.

Front view

You have created an extruded object that overlaps the top part of the Cap shape.

Now you will apply projection mapping to the extruded object in the Y-axis direction.

7. Select the Extruded Closed Line you created, then click the Create button in the Surface window.

8. Select Image from the Pattern pull-down menu (with the Attributes pull-down menu set to Diffuse), then select the sticker.bmp file from the Chapter13 folder in the User Guide folder.

Here, we set the projection mapping to the Y-axis direction.

9. Select Y from the Projection pull-down menu.

In the previous chapter, you applied projection mapping to a closed line without modifying the starting point. Here, let's change the mapping starting point.

10. Press the slider bar of the Size slider to check the current starting point of mapping.

The point of origin (Point A) within the Figure window is the current starting point of mapping.

You will change the starting point from the current position to the lower left corner of the square.

11. Within the Top view, click the lower left corner of the square while pressing the Ctrl (Win) / option (Mac) to set the 3D cursor position.

12. Now click the Cursor button in the Surface window (found immediately above the image box). The current cursor position in the Figure window is assigned to the mapping origin (start point), and the XYZ coordinates of the cursor are displayed in the Origin text boxes to the right of the Cursor button.

The mapping starting point is set.

13. Adjust the Size slider to match the size of the image to that of the extruded object.

If the rectangle changes too wildly as you drag the slider, adjust the Size slider by pressing the minus (-) button. If it's difficult to match the size exactly by dragging the slider, you can enter the value directly. For example, if the Size slider value 0.64 makes the image smaller than the shape, while 0.66 makes the image bigger, you can enter a value between 0.64 and 0.66.

14. Add an equals sign (=) to the beginning of the Extruded Closed Line name.

You can give several instructions to Shade by adding signs at the beginning of the shape name. The equals sign (=) is used to apply surface attributes using Boolean rendering. If a shape with an equals sign overlaps another shape, the surface attributes of the shape with the equals sign are applied to the overlapped area, and the shape with an equals sign is not rendered.

15. Perform rendering.

The surface attributes of the extruded object are used for the area in which the cap and the extruded object overlap.

It's looking like a sticker. Now, let's set the white key mask.

The white key mask allows you to apply inherited surface attributes to the white area of the extruded object.

16. Create a new part to contain the Cap and the Extruded Closed Line.

You will set the surface attributes exactly the same as the Cap for the new part.

17. Select the Cap, click the Register button in the Surface window, and name the setting Wood to register it in a new master surface. Next, with the new Part selected, select Wood from the Use pulldown menu in the Surface window.

The surface attributes and Diffuse color of the Cap become unnecessary because they can now be inherited from the parent part.

18. Select the Cap object and press Delete to delete its surface attributes. Then switch off the Diffuse Color checkbox.

The Cap object inherits the Wood surface attributes set for the parent Part.

19. Select the =Extruded Closed Line, then click the More button in the Surface window to display the dialog box.

20. Select the White Key Mask checkbox in the More Surface Attributes dialog box, then click OK to close the dialog.

The white key mask is now set for the =Extruded Closed Line. This means that the white area of the =Extruded Closed Line will inherit the surface attributes of the enclosing part.

21. Perform an area partial rendering in the area of the cap (after selecting the Part containing it).

The sticker mapping is completed.

Surface Subdivision

You will now learn how to set the surface subdivision when you render multiple shapes. If you adjust the Perspective view to get a good view of the Label and render it with Regular selected from the Surface Subdivision pull-down menu in the Rendering Option, its edges will not be smoothly rendered.

Left: Regular Subdivision; Right: Fine Subdivision

However, if you render with Fine set in the Surface Subdivision, all the shapes are subdivided so finely that a lot of additional memory is required, which is not effective.

In such cases, you can set different degrees of subdivision for each shape by adding signs such as <, >, and @ to the beginning of the names of the shapes.

1. Add the < sign to the beginning of the name of the Label shape.

Adding the < sign increases the surface subdivision level. For example, if you now render with Regular Surface Subdivision, the Label shape would be rendered with Fine. Note that the rendered images of some objects are not affected even if you increase the subdivision level.

2. Add @ to the beginning of the name of the =Extruded Closed Line and the Closed Line.

If you subdivide a shape like a box that is created from only straight lines, the resulting rendering will not be any different, since it is subdivided into squares that exist on the same plane. Adding the @ sign means the shape will be rendered with No Subdivision.

To decrease the surface subdivision setting by one level, you would add the > sign to the beginning of the name of the shape.

3. To modify the setting for any other object, add the appropriate sign <, >, or @ to the beginning of the name.

4. Select all the objects and render the whole image with any method (using Regular Surface Subdivision).

Rendering is not affected by whether the objects in the Figure window are hidden or visible. Whatever objects are selected in the Browser are rendered.

5. Choose Figure > Show All.

All the objects are shown again in the Figure window.

Other Surface Attributes Settings

Shade allows you to create a metallic texture using the metallic surface attributes, or a glassy texture by setting transparency.

You will now load a pre-defined surface attributes file and render an image.

1. Select the Part that refers to the Wood master surface, then click the Delete button in the Surface window.

The Wood setting, a master surface, would be modified if you loaded a surface settings file without deleting the link to the master surface.

2. Press the Load… button to display the file selection dialog box, then select the Metallic.shdsfc file in the Chapter13 folder in the User Guide folder.

This sets up a metallic texture, instead of the Wood setting we used before. Using the Metallic texture along with Spotted in the Pattern pull-down menu and Environment in the Attributes pull-down menu, makes it easy to make something look like metal. Note that the Diffuse color is set to black. For a metallic texture, use darker colors for the Diffuse color to make the texture look more realistic.

3. Select the Bottle shape, click the Save… button in the Surface window, then type a file name of your choice and save the current surface attribute settings.

4. Click the Load… button, then select the Transp.shdsfc file from the Chapter13 folder in the User Guide folder.

The Bottle shape is set to a glassy texture. Note that the Diffuse color is set to black. To increase the transparency of a texture, use darker colors for the Diffuse color and increase the transparency value. For shapes that are to be 100% transparent, use black for the Diffuse color, white for the Transparency color, and 1.0 for the Transparency value.

In the current settings, the bottom part of the Bottle shape and the @Closed Line overlap. If you render the @Closed Line overlapping the transparent shape, the surface attributes for the @Closed Line may not appear.

5. Zoom in the Front view in the Figure window and move the @Closed Line downward.

6. Render with the Scan Line method. You will notice that modifying surface attribute settings allows the image to be radically changed.

7. If you have time, render using Ray Tracing.

The Ray Tracing method enables reflections among shapes, refraction of transparent shapes, and so on. However, if a reflection or refraction value is set in the surface attribute settings, or if you are using many light sources, the rendering may take a long time.

Since you didn't model the thickness of the glass in the Bottle shape, its rendered image looks like a solid chunk of glass rather than a normal glass bottle. To create a transparent bottle or the like, you can get a more realistic image by modeling the thickness of the glass. The shape file Bottle3.shd inside the Chapter13 folder models the thickness of the glass, and you can look at it as an example.

Modeling the thickness of a glass bottle |