Sold Out
Book Categories |
Foreword: Making Games | xv | |
Turning Lead into Gold, Plastic, Wood, etc. | xvi | |
Embrace the Constraints | xvi | |
Introduction | xxi | |
Who Should Read This Book? | xxii | |
A True Artist First | xxii | |
What to Expect from This Book | xxiii | |
What This Book Covers | xxiii | |
Making the Game | xxiv | |
Themes | xxvi | |
1 | Preparing to Create | 3 |
How and Where to Collect Reference | 4 | |
Seek the Best | 5 | |
Concept Art | 6 | |
Setting the Quality Bar | 9 | |
Blocking Out Your Scene | 10 | |
Conclusion | 14 | |
2 | Modeling Theory | 17 |
Primitives | 18 | |
Components | 20 | |
Transformation Tools | 20 | |
Polygons and Memory | 21 | |
Polygon Limits | 24 | |
Displaying Polygon Count | 25 | |
Normals | 25 | |
Backface Culling | 27 | |
Polygon Reduction | 28 | |
Modeling Techniques | 33 | |
Extrude | 34 | |
The Line Tool | 37 | |
Common Mistakes | 39 | |
Overlapping Faces | 39 | |
T-Junctions | 40 | |
Stray Vertices | 40 | |
Star-Like Faces | 42 | |
Conclusion | 43 | |
3 | Introduction to Texturing | 45 |
Game Texturing Theory | 46 | |
Detail in Texture | 47 | |
How to Choose and Create Textures | 48 | |
File Formats | 50 | |
Color Depth | 51 | |
Resolution (Texture Size) | 51 | |
What Is Resolution? | 52 | |
Photoshop | 52 | |
Image Resizing | 53 | |
Where Do I Use My Pixels? | 54 | |
Changing Color Depth | 56 | |
More About Color | 58 | |
Digital Photography | 59 | |
Digital Photos for Reference | 59 | |
Digital Photos for Textures | 60 | |
Making a Texture Tilable | 61 | |
Actions | 65 | |
Conclusion | 66 | |
4 | Advanced Texturing | 69 |
The Power of Layers | 70 | |
Creating Layers | 73 | |
Photoshop Tools | 75 | |
Image Menu | 75 | |
Layer Menu | 76 | |
Filters | 78 | |
Alpha Channels | 81 | |
What Is an Alpha Channel? | 82 | |
What Can Alpha Do? | 84 | |
How Do We Bring the Alpha Channel into the 3D Package? | 94 | |
How to Make Alpha Channels | 97 | |
Game Engines and Alpha | 101 | |
Conclusion | 102 | |
5 | Applying Textures | 105 |
Assigning Materials | 105 | |
Maya's Hypershade | 106 | |
3ds max Material Editor | 111 | |
What Are UVs? | 115 | |
Projection Mapping | 116 | |
Editing UVs | 120 | |
Composite Textures and UVs | 121 | |
Assigning UVs | 122 | |
Multiple UV Sets | 123 | |
Tiling | 125 | |
How Do You Tile? | 127 | |
Conclusion | 128 | |
6 | Advanced Modeling | 131 |
Organic Versus Inorganic Models | 132 | |
Organic Modeling Methods | 132 | |
Smoothing | 132 | |
The Sculpt Polygons Tool | 136 | |
Soft Selection | 139 | |
Subdivision Surfaces | 142 | |
Vertex Normals and Smoothing Groups | 146 | |
Modeling with Triangles | 148 | |
Cleaning Up Your Geometry | 151 | |
Delete History | 151 | |
Freeze Transformations | 152 | |
Center Pivot | 152 | |
Merging or Welding Vertices | 154 | |
Maya's Cleanup Tool | 154 | |
Conclusion | 154 | |
7 | Lighting Principles | 157 |
Color | 158 | |
Target Audience | 158 | |
Balancing Color | 159 | |
Mood | 160 | |
Traditional Lighting Setup | 162 | |
Working with 3D Lights | 166 | |
Directional Light | 166 | |
Ambient Light | 166 | |
Spotlights | 167 | |
Point or Omni Lights | 167 | |
Global Illumination | 168 | |
Falloff | 168 | |
Effective Lighting Practices | 170 | |
Pools of Light | 170 | |
Be Creative | 172 | |
Experiment | 172 | |
Conclusion | 172 | |
8 | In-Game Lighting | 175 |
Vertex Lighting | 176 | |
Vertex Color | 176 | |
Vertex Alpha | 181 | |
Hiding Repetition | 182 | |
Reusing Textures | 183 | |
Understanding Vertex Lighting | 184 | |
Things to Watch Out For | 188 | |
Soft and Hard Edges | 190 | |
Lightmaps | 191 | |
Per-Pixel Lighting | 194 | |
Normal Maps | 195 | |
Dynamic Lighting | 202 | |
Troubleshooting | 202 | |
Black or Invisible Faces on Geometry | 202 | |
Inconsistency | 202 | |
Blown Out or Overexposed Lighting | 203 | |
Conclusion | 203 | |
9 | Effects | 205 |
Particle Effects | 206 | |
Textures for Effects | 208 | |
Billboards | 212 | |
Fog | 213 | |
Water | 214 | |
Clouds | 216 | |
Decals | 217 | |
Conclusion | 218 | |
10 | Tips and Tricks | 221 |
The Metal Box | 222 | |
Trees and Vegetation | 227 | |
Reflection | 235 | |
Placed Shadows | 236 | |
The Importance of Shadow | 236 | |
Conclusion | 244 | |
11 | User Interface Design and Creation | 247 |
The Shell | 248 | |
In-Game User Interface | 249 | |
Heads-Up Display | 251 | |
Composition | 253 | |
Plan, Plan, Plan | 254 | |
Localization | 254 | |
Hardware Approval | 255 | |
Building the UI | 256 | |
Conclusion | 256 | |
12 | Wrapping It Up | 259 |
Source Control | 260 | |
Collision Geometry | 261 | |
Skydomes | 263 | |
Light Volumes | 266 | |
Tagging Materials | 266 | |
Bug Fixing | 268 | |
Collision Issues | 268 | |
Z-Fighting and Problem Normals | 268 | |
Just Plain Ugly Art | 269 | |
Polishing | 269 | |
Major Milestones | 269 | |
Alpha | 270 | |
Beta | 271 | |
Gold | 271 | |
Conclusion | 272 | |
Index | 275 |
Login|Complaints|Blog|Games|Digital Media|Souls|Obituary|Contact Us|FAQ
CAN'T FIND WHAT YOU'RE LOOKING FOR? CLICK HERE!!! X
You must be logged in to add to WishlistX
This item is in your Wish ListX
This item is in your CollectionCreating the Art of the Game
X
This Item is in Your InventoryCreating the Art of the Game
X
You must be logged in to review the productsX
X
X
Add Creating the Art of the Game, The key word here is art: the dynamic 3D art that defines the world of computer games. This book teaches you everything you need to know about the planning, modeling, texturing, lighting, effects creation, and interface design that go into creating today', Creating the Art of the Game to the inventory that you are selling on WonderClubX
X
Add Creating the Art of the Game, The key word here is art: the dynamic 3D art that defines the world of computer games. This book teaches you everything you need to know about the planning, modeling, texturing, lighting, effects creation, and interface design that go into creating today', Creating the Art of the Game to your collection on WonderClub |