Texturing & Modeling. A Procedural Approach PDF
Preview Texturing & Modeling. A Procedural Approach
Page Cover.html [Cover] [Contents] [Index] Cover [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/Cover.html[17.11.2011 15:49:01] Page i [Cover] [Contents] [Index] Page i TEXTURING & MODELING A Procedural Approach THIRD EDITION [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_i.html[17.11.2011 15:49:01] Page ii [Cover] [Contents] [Index] Page ii The Morgan Kaufmann Series in Computer Graphics and Geometric Modeling Series Editor: Brian A. Barsky, University of California, Berkeley Texturing & Modeling: A Procedural Approach, Third Edition David S. Ebert, F. Kenton Musgrave, Darwyn Peachey, Ken Perlin, and Steven Worley Geometric Tools for Computer Graphics Philip Schneider and David Eberly Understanding Virtual Reality: Interface, Application, and Design William Sherman and Alan Craig Jim Blinn's Corner: Notation, Notation, Notation Jim Blinn Level of Detail for 3D Graphics: Application and Theory David Luebke, Martin Reddy, Jonathan D. Cohen, Amitabh Varshney, Benjamin Watson, and Robert Huebner Digital Video and HDTV Algorithms and Interfaces Charles Poynton Pyramid Algorithms: A Dynamic Programming Approach to Curves and Surfaces for Geometric Modeling Ron Goldman Non-Photorealistic Computer Graphics: Modeling, Rendering, and Animation Thomas Strothotte and Stefan Schlechtweg Curves and Surfaces for CAGD: A Practical Guide, Fifth Edition Gerald Farin file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_ii.html[17.11.2011 15:49:02] Page ii Subdivision Methods for Geometric Design: A Constructive Approach Joe Warren and Henrik Weimer Computer Animation: Algorithms and Techniques Rick Parent The Computer Animator's Technical Handbook Lynn Pocock and Judson Rosebush Advanced RenderMan: Creating CGI for Motion Pictures Anthony A. Apodaca and Larry Gritz Curves and Surfaces in Geometric Modeling: Theory and Algorithms Jean Gallier Andrew Glassner's Notebook: Recreational Computer Graphics Andrew S. Glassner Warping and Morphing of Graphical Objects Jonas Gomes, Lucia Darsa, Bruno Costa, and Luiz Velho Jim Blinn's Corner: Dirty Pixels Jim Blinn Rendering with Radiance: The Art and Science of Lighting Visualization Greg Ward Larson and Rob Shakespeare Introduction to Implicit Surfaces Edited by Jules Bloomenthal Jim Blinn's Corner: A Trip Down the Graphics Pipeline Jim Blinn Interactive Curves and Surfaces: A Multimedia Tutorial on CAGD Alyn Rockwood and Peter Chambers file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_ii.html[17.11.2011 15:49:02] Page ii Wavelets for Computer Graphics: Theory and Applications Eric J. Stollnitz, Tony D. DeRose, and David H. Salesin Principles of Digital Image Synthesis Andrew S. Glassner Radiosity & Global Illumination François X. Sillion and Claude Puech Knotty: A B-Spline Visualization Program Jonathan Yen User Interface Management Systems: Models and Algorithms Dan R. Olsen, Jr. Making Them Move: Mechanics, Control, and Animation of Articulated Figures Edited by Norman I. Badler, Brian A. Barsky, and David Zeltzer Geometric and Solid Modeling: An Introduction Christoph M. Hoffmann An Introduction to Splines for Use in Computer Graphics and Geometric Modeling Richard H. Bartels, John C. Beatty, and Brian A. Barsky [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_ii.html[17.11.2011 15:49:02] Page iii [Cover] [Contents] [Index] Page iii TEXTURING & MODELING A Procedural Approach THIRD EDITION David S. Ebert Purdue University F. Kenton Musgrave Pandromedia, Inc. Darwyn Peachey Pixar Animation Studios Ken Perlin New York University Steven Worley Worley Laboratories With contributions from William R. Mark University of Texas at Austin John C. Hart University of Illinois at Urbana–Champaign file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_iii.html[17.11.2011 15:49:02] Page iii [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_iii.html[17.11.2011 15:49:02] Page iv [Cover] [Contents] [Index] Page iv Publishing Director Diane D. Cerra Publishing Services Manager Edward Wade Senior Production Editor Cheri Palmer Senior Developmental Editor Marilyn Alan Editorial Coordinator Mona Buehler Cover/Text Design Frances Baca Design Cover Image © 2002 Armands Auseklis. MojoWorld by Robert Buttery Technical Illustration/Composition Technologies 'n' Typography Copyeditor Ken DellaPenta Proofreader Jennifer McClain Indexer Ty Koontz Printer The Maple-Vail Book Manufacturing Group Figure credits: Figures 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.10: Copyright © 1996 Association for Computing Machinery, Inc. Used with permission. Figure 8.13: Copyright © 1984 Pixar Animation Studios. Figure 15.1: Copyright © 1985 Association for Computing Machinery, Inc. Used with permission. Designations used by companies to distinguish their products are often claimed as trademarks or registered trademarks. In all instances in which Morgan Kaufmann Publishers is aware of a claim, the product names appear in initial capital or all capital letters. Readers, however, should contact the appropriate companies for more complete information regarding trademarks and registration. Morgan Kaufmann Publishers An imprint of Elsevier Science 340 Pine Street, Sixth Floor San Francisco, CA 94104–3205 www.mkp.com © 2003 by Elsevier Science (USA) All rights reserved. Printed in the United States of America 07 06 05 04 03 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means —electronic, mechanical, photocopying, or otherwise—without the prior written permission of the publisher. Library of Congress Control Number: 2002107243 ISBN: 1–55860–848–6 file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_iv.html[17.11.2011 15:49:02] Page iv This book is printed on acid-free paper. [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_iv.html[17.11.2011 15:49:02] Page v [Cover] [Contents] [Index] Page v FOREWORD What is a realistic image? This is an age-old question in art, and a contemporary question in computer graphics. This book provides a modern answer involving the computer and a new definition of realism. The classic definition of realism has been veridical realism. Does the picture pass the comparison test? That is, would an observer judge the picture to be real? This is traditionally described by Pliny's story (in Book 35 of his Natural History) of the ancient painter Zeuxis who painted a picture of a boy carrying some grapes, and when the birds flew up to the picture, he approached the work and, in irritation, said, ''I have painted the grapes better than the boy, for if I had rendered him perfectly, the birds would have been afraid." Nowadays the ultimate in fooling the eye is special effects in the movies. Almost every movie involves hundreds of special effects that are seamlessly combined with live action. It is impossible to tell what is real and what is synthesized. Equally amazing are full-length, computer-generated pictures such as Shrek. Although few would be fooled into believing these worlds are real, it is more the artistic choice of the storyteller than a technological limitation. A major achievement in the last two decades is that computers allowed us to achieve veridical realism of imagined scenes. Besides direct comparison, there are other definitions of real. Masters such as Vermeer used optical devices to aid them in painting realistic pictures, and modern photorealists such as Richard Estes paint over a projected image of a photograph. Thus, another definition of real is to be traced or copied from an image. In this sense the montage of composite layers in a movie is photoreal, since different elements come from different film sequences. There are many other definitions of realism. For example, real can mean a choice of subject matter, such as everyday life versus a myth or an idealized form. The definition of realism that I like the most is the one I first heard from my colleague, then at Pixar, Alvy Ray Smith: he claimed photorealism was roughly equivalent to visual complexity. Two factors underlie visual complexity, diversity in the types of primitives and their sheer numbers. This definition resonates with computer scientists, since computers are very good at both supporting a wide range of [Cover] [Contents] [Index] file:///C|/temp/[Ebert_D.S.,_et_al.]_Texturing__Modeling_A_Proce(BookFi.org)/page_v.html[17.11.2011 15:49:03]
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