LightWave 3D 8 Texturing phần 4 pot

Posi-However, the Scale value is quite important when working procedurally, asthis can have a very drastic effect on the look of the procedural texturewhen it is applied to a surface, si

3 Double-click on the filter to open its

options panel, and click on the buttonlabeled Texture

This opens a Texture Editor window, just

as we find when working on our surfaces

in the Surface Editor Notice that a layerhas been created by default, as per usual

4 Change this layer to Procedural Texture

from the Layer Type list, and selectValue from the Procedural Type list Youcan change this color to anything youwant, as it will form the underlying color for the texture

Of course, the color you select for this procedural texture will depend

on whether this texture will be used for a color texture or for a texture forany of the other surface attributes If the texture is to be used for aspecularity or bump or reflection texture, or for any of the other surfaceattributes that use gray values, then you will naturally choose a base shade

of gray

5 On top of this base layer, you can now add whatever procedural texturesyou wish to use on your surface, and set them up as you want If yourImage Editor is still open, notice how the preview window shows theprocedural textures that you have applied to this image

Figure 8-4

Figure 8-5

6 Go to the Surface Editor of the

object to which you wish to apply

this surface If we wish to apply

it to the color attribute of a

sur-face, for example, we would open

up the color Texture Editor for

that surface Create a layer with

Image Map as its Layer Type,

and load the image that we just

applied Textured Filter to from

the Image list

Of course, the only thing to

bear in mind when using this

method is that the procedural

tex-ture is now acting as an image and

consequently requires projection

settings

Because of this, your procedural texture will not be calculated as it

would be if it were simply applied as a procedural texture in the Texture

Editor

However, this can be useful for checking how the different settings of

the texture will more or less look in terms of size and behavior in relation to

your surface So you could use this method simply to check that, and then

copy the procedural straight into your Texture Editor as a procedural

tex-ture layer

Figure 8-6

Figure 8-7

Texture Color and Texture Value

When creating procedural textures,notice that the first option in each oftheir panels is the Texture Color or Tex-ture Value option Note that this option isalways labeled Texture Value unless thetexture is applied to the color attribute of

a surface, in which case it is labeled ture Color

Tex-This value determines the intensity

of the texture at its strongest point Forexample, if you apply a procedural with a value of 60% as its Texture Value

to your specularity attribute, then that value determines the brightest point

of specularity in the texture Because procedural textures have a number ofvariations of tones within them, the brightest point that you determine withthe Texture Value option is simply the most intense of a wide range of val-ues that are then calculated So in this

case you would get a range of values thatwould not exceed 60%

To assign a Texture Value to a dural, simply type an amount into thefield, or drag the spinner left or rightwith your mouse to decrease or increasethe value respectively

proce-Texture Scale

When working with procedurals, as with images, we can alter the scale,position, rotation, and falloff of the textures Because of the way in whichprocedurals are calculated, Position and Rotation are not generally neces-sary to change, unless you are animating them or holding them in worldspace using world coordinates

NOTE: See Chapter 13 for more information about the Scale, tion, Rotation, and Falloff options in the Texture Editor.

Posi-However, the Scale value is quite important when working procedurally, asthis can have a very drastic effect on the look of the procedural texturewhen it is applied to a surface, since this value determines the size of thefractal patterns within the texture

Figure 8-10 demonstrates the difference between two different scalesusing the same procedural texture

Figure 8-8

Figure 8-9

In most instances, you use values that are smaller than the actual

dimensions of the surface when using procedural textures; otherwise, they

not only tend to look a little strange, but they also begin to look far too much

like procedural textures In other words, they begin to look a little fake

Once you have been doing 3D for a while, you tend to develop a good eye

for spotting procedural textures, so this is why we have to be careful that

our textures look natural and not mathematically created

Unlike using Scale with images, where we usually set the size ratio to

more or less the same as that of the image itself, using different values for

each of the Scale axes can produce some interesting results As we know,

stretching an image disproportionately along one of its axes will look

terri-ble; however, stretching a procedural

differently along its axis is absolutely fine,

and you can use this to create the right look

for your texture pretty easily For example, if

you wanted to use a procedural texture to

create some streaky damage from rain or

water that has dripped down the length of a

surface, you could scale the y-axis of that

tex-ture much larger than the other two axes, so

that it would appear to be stretched

length-wise, as shown in Figure 8-11

Using Procedural Textures Creatively

As mentioned before, procedural textures need to be used very carefully so

as not to produce an overly computer-generated look on your surfaces

Remember though, that just as with gradients and images, procedural

textures are used not only to actually form solid texture layers on their own,

but also to blend different texture layers together, or to enhance other

lay-ers by using different blending modes

NOTE: Refer to Chapter 13 for more information on using different

Figure 8-10

Figure 8-11: Image shows the y-axis scaled much larger than the other two axes.

Something you also need to bear in mind when using them is that due totheir apparently random nature, placing them in the right areas of your sur-faces can be quite tricky As opposed to an image map, where you wouldsimply paint the different details where you want them to be, placing proce-dural textures can be a little more complicated.

Because procedurals are calculated evenly across the expanse of a face, you need to develop ways in which you can place certain proceduraldetails onto specific areas of the surface This can be done easily usingweight maps in conjunction with gradients that can then act as alpha layersfor the procedural texture or by creating actual images that you then use asalpha layers to limit the visibility of the procedural texture to certain areasonly Using methods like this is really quite important, as having proceduraltextures applied evenly across an entire surface usually looks pretty fake,because as we already know, surfaces in real life tend to develop details infairly precise ways, not completely random ones

sur-NOTE: Refer to Chapter 10 for more information and a tutorial on creating weight maps for the placement of procedural textures.

Above all, probably the most important thing to be aware of when it comes

to procedural textures is that very rarely do they work very well on theirown Generally, for the most photorealistic and believable looking surfaces,

a combination of gradients, procedurals, and image maps may be required

Of course, there certainly are instances where a very cunning and complexprocedural setup can suffice on its own, but this is not very common In theend, it really comes down to your own discretion, because invariably youuse whatever methods get the results that you are after It is neverthelessimportant to note that you are not always likely to produce a totally satisfac-tory result using procedurals and nothing else

Using LightWave’s Built-in Procedural Textures

LightWave obviously ships with a number of different procedural texturesthat you can use in your surfaces There are a number of third-party proce-dural collections available for purchase as well, but for the purposes of thisbook we shall only examine the ones native to LightWave

Please note that in all of the following examples, the procedural texture

is demonstrated using the Color attribute in the Surface Editor, unless erwise stated

oth-When applied to a surface, this

proce-dural texture creates an array of

symmetri-cally spaced bricks with thin mortar between

them

The Texture Color for the Brick

pro-cedural determines the color of the

mortar, not the bricks The color of the

bricks is determined rather by the base

color of the surface if the procedural is

applied as the bottom or only texture layer in the Texture Editor, or by the

color of any underlying layers

The Mortar Thickness value sets the thickness of the mortar between

the bricks Lower values obviously create thinner mortar, while higher

val-ues produce thicker layers If your mortar value gets too high, the mortar

will completely cover the bricks

Use the Fuzzy Edge Width option to determine how soft the edges of

the mortar appear to be A low Fuzzy Edge Width value has very defined

edges, while a higher value results in very soft, blurred edges

The Brick procedural is one of the

few LightWave procedurals that requires

projection coordinates You set this using

the Texture Axis buttons in the Texture

Editor, choosing to project the texture

along the x-, y-, or z-axis

Obviously, the axis that you choose to project the texture along will

Figure 8-12: Brick texture

Figure 8-13

Figure 8-14: Low and high Mortar Thickness values

Figure 8-15

can sometimes pose some minor annoyances, especially if you are applyingthe texture to an entire building, as invariably this means that one of thesides of the building is not going to look correct, as demonstrated in Figure8-16.

To counteract this, we generally tend to require at least two layers ofthis procedural, or multiple surfaces applied to the same object, to ensurethat all the walls of the building look correct

Another funny little thing to keep an eye out for when using the Brickprocedural is the possibility that you might apply it to an object and end upwith an entire side of the object being covered in plain mortar This is purelydue to the positioning of the texture, as it may end up with a layer of mortaroccurring on the edge of an object To fix this, simply adjust the position ofthe texture along whichever axis the problem is occurring

Okay, so it doesn’t create a perfect golfball pattern But it is close enough Settingthis texture up is really simple; all you need

to do is specify the Radius of the little bumpsthemselves and the Spacing between them

Obviously, the higher the Radiusvalue, the larger the little indentations,and the higher the Spacing value, thelarger the spaces between the indenta-tions When setting the overall Scale

Figure 8-16: Brick Texture Axis options

Figure 8-17: Bump Array texture

Figure 8-18

which naturally creates little bumps all over

the surface instead of indentations

This can be useful for making textures

like bubble wrap, beadwork, or extremely

warty, organic surfaces

The only slightly tricky thing about using

this procedural for organic surfaces is that it

has a very defined pattern that does not look

natural You might want to try experimenting

with the Crust procedural, discussed in a moment, if you wish to create

organic bumps more easily, or try using another texture as a displacement

below it to break the pattern up a bit See the “Layer Opacity and Blending

Modes” section in Chapter 13 for more information on using displacement

layers in the Texture Editor

Checkerboard

In all honesty a fairly unexciting and mostly

not very useful texture, the Checkerboard

procedural creates a bunch of colored squares

all over your surface, just like a checkerboard

Setting this procedural up is extremely

simple The only setting you have is the

Tex-ture Color value, which — you guessed it —

determines the color of the blocks in the

pattern

Remember that this effect is a

two-tone effect, and therefore the colors that

we see on the surface when rendered are

the Texture Color that we set within the

procedural’s settings along with the color

of the actual surface itself So if the

sur-face color is orange, and you set the procedural’s Texture Color to blue, then

you will end up with an orange and blue checkerboard pattern It’s almost

too easy

Figure 8-19: Inverted Bump Array texture

Figure 8-20: Checkerboard texture

Figure 8-21

To set the size of the actual blockswithin the pattern, simply adjust yourScale values in the Texture Editor Thesevalues determine the dimensions of eachsquare.

For example, using a setting of500mm, 500mm, 500mm for your Scale axes,

as shown in Figure 8-22, you would get a tern with squares that are each 500mm indimension

pat-When applied to a box that is mately 2m by 2m in size, this texture wouldlook like what is shown in Figure 8-23

approxi-Crumple

Crumple is definitely one of the procedural textures that I use the most It isone of the best procedurals, in my opinion, for use on organic surfaces tocreate a grain, especially for any type of skin

This procedural is an extremely detailed texture that looks like thing that has been crumpled (crushed and squashed) under pressure, withsharp ridges and scalloped or beaten indenta-

some-tions within the texture This is really usefulfor surfaces such as old dried paper that hasbeen crumpled and then unfolded, beatenmetal (especially for armor or any metalitems that have been handmade), evenground, ice, snow, or anything else that hashad some kind of hammering or crumpling

Figure 8-24 shows the Crumple textureapplied as a bump map

When inverted, it creates a great cellular type grain that is excellent forskin and leather

It is most useful for using as a bump map, although, of course, there isabsolutely no reason why you cannot use it for other surface attributes too.The Crumple procedural has a couple

of different settings to control its effect

The Texture Value, as with all durals, controls the overall strength thatthe texture has on the surface attribute towhich it is applied The Frequencies valuedetermines the complexity of the actual crumple pattern by varying thenumber of scales of detail included in the procedural pattern A value of 0

proce-Figure 8-22

Figure 8-23

Figure 8-24: Crumple texture

Figure 8-25

As you can see, the ridges stay the same, but the complexity of the

detail within the indentations between the ridges increases as this value

increases

While Frequencies determines the complexity of the pattern as a

whole, the Small Power value affects the actual details within the procedural

themselves by affecting the intensity with which the details are shaded

Higher values of Small Power (1.0 or higher) create an even intensity of

shading with both the small and large dents and details in the surface, which

results in a very detailed, busy surface with lots of small details while the

larger details lose some of their distinction Lower values (0.50 and lower)

have less distinction between the large and small details that results in a

smoother-looking surface between the larger ridge areas

The default value of 0.75 is a nice in-between setting that has distinctly

small and large details in the surface

As mentioned before, inverting the

Crumple procedural is really great for organic

surfaces, especially for skin or leather By

inverting the texture, scaling it down to really

small sizes, and setting it to a fairly low

Tex-ture Value, you can create an excellent base

bump map for surfaces like these

Figure 8-26: Frequencies value for Crumple

Figure 8-27: Small Power values for Crumple

Like the Crumple procedural that we justlooked at, the Crust texture is another proce-dural that is really useful for bump maps

Figure 8-29 shows the texture applied to boththe bump channel and the color channel ofthe surface

As you can see, this texture createsraised circular shapes on a surface, great formaking warts or spots When inverted, youcan use it to create craters, as shown in Fig-ure 8-30

Setting up and controlling this procedural

is really straightforward, as there are only afew very simple values that you need todefine

The Coverage value determines how much of the surface is covered bythe splotches Low values have lots of little splotches, while higher valuesalmost completely cover the surface

The other two values for the procedural, Ledge Level and Ledge Width,control the appearance of the actual little splotches themselves

The Ledge Level value affects the edges of the splotches by controllinghow far they are spread from the center of each splotch It is similar in manyways to the effect that the Coverage setting has on the texture; however,changing this value has an extremely strong effect when applied as a bumpmap, so the value should be altered in very small increments of about 0.1 toget the desired effect Figure 8-33 shows the difference between the defaultvalue, a low value, and a high value of Ledge Level

Figure 8-29: Crust texture

Figure 8-30: Inverted Crust texture

Figure 8-31

Figure 8-32: Coverage values for Crust

The Ledge Width value controls the angle of the “slope” at the edges of

the splotches High values produce a soft slope that creates soft, bubbly

looking patterns; low values produce a very sharp falloff along the edges of

the splotches, creating neat, button-like patterns

Dots

This procedural is slightly similar to the

Bump Array that we looked at previously,

except that in this case, the pattern is

arranged in vertical and horizontal lines as

opposed to diagonal arrays It basically makes

a polka-dot pattern

This procedural is extraordinarily simple,

having only two very straightforward settings

in addition to the usual Texture Value setting

The Dot Diameter value determines

the size of the dots themselves Small

val-ues create small dots, while larger valval-ues

make big ones A value of 1.0 creates

really large dots that have edges almost

touching each other

Figure 8-33: Ledge Level values for Crust

Figure 8-34:

Ledge Width values for Crust

Figure 8-35: Dots texture

Figure 8-36

The Fuzzy Edge Width value determines how sharp or soft the edges ofthe dots are The default value of 0 creates dots that have solid edges Byincreasing this value, the edges become blurred and soft.

Fractal Noise

This procedural must be the most commonlyfound procedural across all software pack-ages It is really just a random fractal patternwith no special features or details, but ratherjust creates a cloudy pattern that is really ver-satile due to its lack of specific detail

Because of its versatility, we find theFractal Noise texture useful everywhere,from metals to organic surfaces to groundtextures, especially as a bump map

The procedural has three differentsettings in addition to the TextureValue/Texture Color setting

The Frequencies value controls thelevel of detail within the patterns Thedefault value is 3.0, which creates a fairlydetailed, wispy pattern It is not advisable to increase this value beyond 5.0

or 6.0, since the pattern becomes rather indiscernible and not really all thatuseful, and rendering times increase unnecessarily Once you go over 3.0,the changes in the details become extremely subtle anyway

Figure 8-37: Dot Diameter values for Dots

Figure 8-38: Fuzzy Edge Width values for Dots

Figure 8-39: Fractal Noise texture

Figure 8-40

Adjusting the Contrast value of the procedural increases the contrast in

intensity between the lighter and darker parts of the fractal pattern Low

Contrast values create subdued, wispy patterns, while higher values create

bolder, more starkly defined patterns with slightly wispy edges

Similar to the option with the same name found in the Crumple

proce-dural, Small Power determines the amount of intensity with which the small

and large details in the pattern are shaded Low values create fairly even

patterns with a subdued mixture of small and large details that have little

distinction between them, while higher values have greater contrast

between the details, resulting in busier, mottled patterns The default value

is 0.5

Figure 8-41: Frequencies values for Fractal Noise

Figure 8-42: Contrast values for Fractal Noise

Figure 8-43: Small Power values for Fractal Noise

By scaling this procedural down, setting it to fairly high Contrast andFrequencies values, and increasing its Small

Power, you can quickly create a versatilegrain that can be used as a bump map for add-ing a slight roughness to just about anything

Figure 8-44 shows the texture scaleddown to 5mm by 5mm by 5mm, a Texturevalue of 100%, Frequencies and Contrastboth set to 5.0, and Small Power set to 1.0

Grid

This texture creates a grid pattern on yoursurface that is three-dimensional

Another very simple procedural to set

up, the control panel for the Grid texture iseasy to understand and apply values to

The Line Thickness value determines the thickness of the actual linesthat make up the grid Obviously, lower values produce thin lines, while highvalues produce thick ones The maximum thickness that you can set thisvalue to is 0.5, which produces a solid grid

Fuzzy Edge Width determines how soft the edges of the lines in thegrid are The default value of 0.0 produces normal, sharp-edged lines; highervalues soften and blur the edges of the lines

This procedural is very similar to the Grid texture, except that in this case

the pattern forms hexagonal shapes instead of a standard grid However,

unlike the Grid procedural, Honeycomb is not a three-dimensional texture,

and is therefore another of the few procedural textures that requires a

pro-jection axis, like the Brick procedural that we looked at earlier You select

the projection axis by selecting the appropriate Texture Axis option

Because of this, you may find that you require multiple layers of this

procedural using different projections or multiple surfaces applied to your

model in order to get the correct look when using this texture

The controls for this procedural are

basically identical to the settings for the

Grid texture You simply control the width

and the softness of the lines within the

texture

Line Thickness controls the

thick-ness of the lines within the pattern, while the Fuzzy Edge Width value

determines how soft and blurred the edges of the lines are

Figure 8-48: Fuzzy Edge Width values for Grid

Figure 8-49: Honeycomb Texture Axis options

Figure 8-50

The Marble procedural creates fractal patterns similar to the veins foundwithin — you guessed it — marble This procedural also requires a projec-tion axis that you select with the Texture Axis setting, and wraps the veinsaround the chosen axis

The procedural’s panel offers us anumber of settings to play around with

Just as we have seen in a number ofother procedurals, the first setting for theMarble texture is the Frequencies value,and just as with those other procedurals,this value determines the level of detailwithin the texture Low values here will create very simple, fairly straight,plain veins, whereas higher values produce more jagged veins It is notadvisable to set this value higher than 6.0, as the changes in the complexitybecome practically indiscernible and render times become unnecessarilylong

The Turbulence value determines how close the veins may come to oneanother in the pattern by squashing or expanding the pattern as a whole,thereby pulling the veins closer together or pushing them farther apart

Figure 8-51: Marble Texture Axis options

Figure 8-52

Figure 8-53: Frequencies values for Marble

The Turbulence setting works closely with the Vein Spacing setting.

Vein Spacing controls the spacing between veins within the pattern itself.

Ideally, the Turbulence value should be a

fraction of the Vein Spacing value for the

best-looking results By default, the

Turbu-lence value is half of the Vein Spacing value

When the Turbulence value exceeds the Vein

Spacing value, the pattern no longer looks

like a marble pattern, and instead becomes a

rather strange-looking affair that is not

alto-gether useful since it resembles nothing in

particular

Use the Vein Sharpness value to

deter-mine how soft the edges of the veins are, like the Fuzzy Edge Width value

found in other procedurals The default is 4.0, which creates fairly strong

veins with slightly wispy edges Lower values make the veins very feathery,

while higher values create very distinct, contrasted veins

Figure 8-54: Turbulence values for Marble

Figure 8-55: Vein Spacing values for Marble

Figure 8-56: Marble Turbulence value that exceeds Vein Spacing value

When using the Marble procedural, it is ideal to set up the Vein Spacingand the Texture Axis settings first to establish the overall look that you aregoing for, and then set up the Turbulence, Frequencies, and Scale settings toperfect the effect.

Ripples and Ripples 2

The Ripples procedurals create ripples such as you would find on the face of water, and are particularly useful as bump maps, as shown in Figure8-58

sur-Ripples and sur-Ripples 2 are only slightly different from one another inthat Ripples 2 creates ripples with sharper, more defined crests The follow-ing image demonstrates the difference between the two, where both havebeen applied using exactly the same settings

Despite the fact that the two texturesare slightly different, both are controlled

by the same three values

The Wave Sources value sets thenumber of ripple sources within the pat-tern Low values have few ripples, whilehigher values create lots of them So if, for example, you wanted to create afairly turbulent surface, you would set the value rather high, whereas if youwere merely creating the aftereffect of a small stone being dropped into

Figure 8-57: Low and high Sharpness settings

Figure 8-58: Ripples textures

Figure 8-59

Wavelength determines the size of the spaces between the ripples.

Bring the ripples closer together by decreasing the value or spread them

farther apart by increasing it

The Wave Speed value determines the speed at which the ripples move

outward from the center of the pattern Use this value when animating the

ripples

To ensure that your ripples loop correctly throughout the length of an

animation, use the following equation to determine the correct Wave Speed

value: Wavelength value/number of frames the ripples need to loop over

Smoky 1, Smoky 2, and Smoky 3

The three Smoky procedurals are basically just variations of the Fractal

Noise texture, with the addition of a Turbulence value that allows you to

control the level of disturbance within the pattern

Figure 8-60: Wave Sources values for Ripples

Figure 8-61: Wavelength values for Ripples

As you can see, the patterns within the three different textures areactually very similar; they just vary in terms of the shading of the differentlevels contained within the pattern itself.

All three procedurals are controlled by the same settings found in each

of their panels

Just as with the Fractal Noise dural, the Frequencies value determinesthe level of detail within the pattern Lowvalues yield a simpler pattern, whilehigher values create a more complex one.Values should not exceed 6.0, as thechanges are minute and create unneces-

proce-sarily long render times.The Contrast value of theprocedural increases ordecreases the contrast inintensity between the lighterand darker parts of the fractalpattern A low Contrast valuecreates large, subdued, wispypatterns, while higher valuescreate bolder, tighter patternswith stark edges This valuecan be less than 0

Just as we have seenbefore in other procedurals,the Small Power value deter-mines the amount of intensitywith which the small detailsand the large details in the pat-tern are shaded Low valuescreate fairly even patterns with

a subdued mixture of small and

Figure 8-62: Smoky textures

Figure 8-63

Figure 8-64: Frequencies values for Smoky

Figure 8-65: Contrast values for Smoky

The Turbulence value adjusts the amount of disturbance within the

pat-tern for animation purposes The changes are fairly subtle, so the value

should be changed rather radically for very noticeable results

Turbulence

This texture combines layers of fractal noise with different frequencies to

create complex patterns that are similar to the Fractal Noise procedural, but

a little more detailed and interesting

The controls for the Turbulence

tex-ture are the same as those found in the

Fractal Noise procedural However, due

to the nature of the Turbulence texture,

the settings have a higher range of effect

in terms of altering the details

The Small Power value in this texture gives you a much wider range of

control over the pattern than it does in the Fractal Noise procedural,

enabling you to create very wispy patterns as well as extremely coarse,

intricate ones, especially if you increase the contrast when increasing the

Small Power

The Contrast value here gives you a much starker, and in many ways

more effective, contrast than found in the Fractal Noise procedural as well

Figure 8-67:

Turbulence values for Smoky

Figure 8-68

This procedural mimics the caustic patterns caused by refracted light thatare found along the bottoms of swimming pools, the sea, or any other body

of water that has turbulence on its surface

The controls for the texture are lar to the controls found in the Ripplesand Ripples 2 procedurals, with the addi-tion of an extra option, Band Sharpness

simi-As with the Ripples procedurals, theWave Sources value determines the num-ber of ripples within the texture Thedefault is 3.0, and produces a fairly detailedpattern Once again, values higher than 16are not recommended, as the patternbecomes overly busy and causes unnecessar-ily long render times

Wavelength, once again, determines thedistance between the ripples within the pat-tern Decrease this value to bring themcloser together or increase them to spreadthem farther apart

Decrease this value for soft-looking ripples, or increase it for sharp, distinct

ones Values exceeding 4.0 tend to lose their realism and look more stylized

Value

The most straightforward and simple of all the procedurals, Value is not

actually a texture, but instead creates a

solid layer of a single color or value

Select the color or value by simply

clicking on the Texture Color swatch

Veins

The Veins procedural produces an intricate

web of veins across the surface like a jagged

and distorted version of the Grid procedural

This texture is best applied as a bump map,

whereby it creates a network of raised veins

Inverting this texture is also very useful for

creating textures for cracked mud or old

stone walls Figure 8-75 shows the texture

applied to both the Bump and Color channels

The controls for this procedural are

identical to those of the Crust texture,

with very similar effects

The Coverage setting only really

affects the texture when it is used in the

Figure 8-73: Band Sharpness values for Underwater

Figure 8-74

Figure 8-75: Veins texture

how thick the color part of the veins becomes Values that are less than orequal to the bump texture (assuming all the other values are equal) result inthe veins being of a solid color or the color becoming thin atop the bumps.Higher values cause the color to spill out over the edges of the veins andonto the surrounding surface.

The other two values for the procedural, Ledge Level and Ledge Width,control the actual veins within the pattern

The Ledge Level value affects the edges of the veins by controlling howfar apart they are spread from the middle of each vein out into the rest of thesurface This value has a much stronger effect when used on a bump texturethan it does on a color texture

The Ledge Width value controls the angle of the “slope” at the edges ofthe veins High values produce a soft slope that creates large, almost puffyveins with shallow spaces between them, whereas low values produce avery straight falloff along the edges, creating sharp-edged veins with widergaps between them

Figure 8-77: Coverage values for Veins

Figure 8-78:

Ledge Level values for Veins

Figure 8-79:

Ledge Width values for Veins