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@@ Line 8: / Line 8: @@
 <!--</wikitalk>--->
 <!--REMOVE--->====Finishes====<!--THIS--->
 {{#indexentry:Surface Highlights, using}}
 {{#indexentry:Highlights}}
 {{#indexentry:phong, tutorial}}
 <p>In the glass example above, we noticed that there were bright little <em>
 hotspots</em> on the surface. This gave the sphere a hard, shiny appearance.
@@ Line 64: / Line 64: @@
 both phong and specular may be used on a finish.</p>
 {{#indexentry:Reflection, using}}
 {{#indexentry:Metallic, using}}
 <p>There is another surface parameter that goes hand in hand with highlights,
 <code>[[Reference:Finish#Specular Reflection|reflection]]</code>. Surfaces that are very shiny usually have a degree
@@ Line 151: / Line 151: @@
 than the light source. This gives the surface a more metallic appearance.</p>
 {{#indexentry:Irid, using}}
 {{#indexentry:Thin-Film Interference}}
 {{#indexentry:Interference}}
 <p><em>Iridescence</em> is what we see on the surface of an oil slick when
 the sun shines on it. The rainbow effect is created by something called
@@ Line 199: / Line 199: @@
 happens.</p>
 {{#indexentry:Pigment Maps, working with}}
 <p>Let's look at the pigment map. We must not confuse this with a color
 map, as color maps can only take individual colors as entries in the map,
@@ Line 258: / Line 258: @@
 <p>Blending individual pigment patterns is just the beginning.</p>
 {{#indexentry:Normal Maps, working with}}
 {{#indexentry:normal_map, using}}
 <p> For our next example, we replace the plane in the scene with this
 one.</p>
@@ Line 299: / Line 299: @@
 function, and we will return to it a little bit further down the page.</p>
 {{#indexentry:Texture Maps, working with}}
 {{#indexentry:texture_map, tutorial}}
 <p>We know how to blend colors, pigment patterns, and normals, and we are
 probably thinking what about finishes? What about whole textures? Both of
@@ Line 357: / Line 357: @@
 flexibility.</p>
 {{#indexentry:List Textures, working with}}
 <p> If we have followed the corresponding tutorials on simple pigments, we
 know that there are three patterns called <em>color list</em> patterns,
@@ Line 429: / Line 429: @@
 </pre>
 {{#indexentry:Tiles, what about}}
 <p>In earlier versions of POV-Ray, there was a texture pattern called
 <code>tiles</code>. By simply using a checker texture pattern (as we just saw
@@ Line 438: / Line 438: @@
 checker pattern instead.</p>
 {{#indexentry:average, tutorial}}
 <p>Now things get interesting. Above, we began to see how pigments and
 normals can fade from one to the other when we used them in maps. But how
@@ Line 474: / Line 474: @@
 then will be the same as if each entry had a weight factor of 1.</p>
 {{#indexentry:Layered Textures, working with}}
 <p>With the multitudinous colors, patterns, and options for creating complex
 textures in POV-Ray, we can easily become deeply engrossed in mixing and
@@ Line 580: / Line 580: @@
 generate!</p>
 {{#indexentry:Layered Textures, declaring}}
 <p>In the event we want to reuse a layered texture on several objects in our
 scene, it is perfectly legal to declare a layered texture. We will not
@@ Line 618: / Line 618: @@
 just generate an error whether inside the object or in a declaration.</p>
 {{#indexentry:Layered Textures, another example}}
 <p>To further explain how layered textures work another example is described
 in detail. A tablecloth is created to be used in a picnic scene. Since a
@@ Line 826: / Line 826: @@
 transparent, the specular will show through.</p>
 {{#indexentry:material_map, tutor}}
 <p>We have some pretty powerful texturing tools at our disposal, but what if
 we want a more free form arrangement of complex textures? Well, just as image

@@ Line 8: / Line 8: @@
 <!--</wikitalk>--->
 <!--REMOVE--->====Finishes====<!--THIS--->
-{{#indexentry:Surface Highlights, using|Highlights}}
+{{#indexentry:Surface Highlights, using}}
 {{#indexentry:phong, tutorial}}
 =====Using Surface Highlights=====
@@ Line 63: / Line 64: @@
 both phong and specular may be used on a finish.</p>
-{{#indexentry:Reflection, using|Metallic, using}}
+{{#indexentry:Reflection, using}}
 =====Using Reflection, Metallic and Metallic=====
 <p>There is another surface parameter that goes hand in hand with highlights,
@@ Line 149: / Line 151: @@
 than the light source. This gives the surface a more metallic appearance.</p>
-{{#indexentry:Irid, using|Thin-Film Interference|Interference}}
+{{#indexentry:Irid, using}}
 =====Using Iridescence=====
 <p><em>Iridescence</em> is what we see on the surface of an oil slick when
@@ Line 295: / Line 299: @@
 function, and we will return to it a little bit further down the page.</p>
-{{#indexentry:Texture Maps, working with|texture_map, tutorial}}
+{{#indexentry:Texture Maps, working with}}
 ====Working With Texture Maps====
 <p>We know how to blend colors, pigment patterns, and normals, and we are

@@ Line 15: / Line 15: @@
 POV-Ray gives us two ways to specify surface specular highlights. The first
 is called <em>phong highlighting.</em> Usually, phong highlights are
-described using two keywords: <!--<linkto "phong">phong</linkto>---><code>[[Documentation:Reference Section 5.1#Phong Highlights|phong]]</code> and
+described using two keywords: <code>[[Reference:Finish#Phong Highlights|phong]]</code> and <code>
-<!--<linkto "phong_size">phong_size</linkto>---><code>[[Documentation:Reference Section 5.1#Phong Highlights|phong_size]]</code>. The float that follows <code>phong</code> determines the brightness of the highlight while the float following <code>phong_size</code> determines its size. Let's try this.</p>
+[[Reference:Finish#Phong Highlights|phong_size]]</code>. The float that follows <code>phong</code> determines the brightness of the highlight while the float following <code>phong_size</code> determines its size. Let's try this.</p>
 <pre>
    sphere {
@@ Line 37: / Line 37: @@
 There is another kind of highlight that is calculated by a different means
 called <em>specular highlighting</em>. It is specified using the keyword
-<!--<linkto "specular">specular</linkto>---><code>[[Documentation:Reference Section 5.1#Specular Highlight|specular]]</code> and operates in conjunction with another keyword
+<code>[[Reference:Finish#Specular Highlight|specular]]</code> and operates in conjunction with another keyword
-called <!--<linkto "roughness">roughness</linkto>---><code>[[Documentation:Reference Section 5.1#Specular Highlight|roughness]]</code>. These two keywords work together in much the
+called <code>[[Reference:Finish#Specular Highlight|roughness]]</code>. These two keywords work together in much the
 same way as <code>phong</code> and <code>phong_size</code> to create
 highlights that alter the apparent shininess of the surface. Let's try
@@ Line 66: / Line 66: @@
 =====Using Reflection, Metallic and Metallic=====
 <p>There is another surface parameter that goes hand in hand with highlights,
-<code><!--<linkto "reflection">reflection</linkto>--->[[Documentation:Reference Section 5.2#Specular Reflection|reflection]]</code>. Surfaces that are very shiny usually have a degree
+<code>[[Reference:Finish#Specular Reflection|reflection]]</code>. Surfaces that are very shiny usually have a degree
 of reflection to them. Let's take a look at an example.</p>
 <pre>
@@ Line 108: / Line 108: @@
 <p>That is close but there is something wrong, the colour of the reflection and the highlight. To
-make the surface appear more like metal the keyword <code><!--<linkto "metallic">metallic</linkto>--->[[Documentation:Reference Section 5.1#Metallic Highlight Modifier|metallic]]</code>
+make the surface appear more like metal the keyword <code>[[Reference:Finish#Metallic Highlight Modifier|metallic]]</code>
 is used. We add it now to see the difference.</p>
 <pre>
@@ Line 153: / Line 153: @@
 <p><em>Iridescence</em> is what we see on the surface of an oil slick when
 the sun shines on it. The rainbow effect is created by something called
-<em>thin-film interference</em> (read section <!--<linkto "Iridescence">Iridescence</linkto>--->[[Documentation:Reference Section 5.2#Iridescence|Iridescence]] for
+<em>thin-film interference</em> (read section [[Reference:Finish#Iridescence|Iridescence]] for
 details). For now let's just try using it. Iridescence is specified by
-the <code><!--<linkto "irid">irid</linkto>--->[[Documentation:Reference Section 5.2#Iridescence|irid]]</code> statement and three values: amount,
+the <code>[[Reference:Finish#Iridescence|irid]]</code> statement and three values: amount,
 <code>thickness</code> and <code>turbulence</code>. The amount is the contribution
 to the overall surface color. Usually 0.1 to 0.5 is sufficient here.
@@ Line 438: / Line 438: @@
 normals can fade from one to the other when we used them in maps. But how
 about if we want a smooth blend of patterns all the way through? That is
-where a new feature called <!--<linkto "average">average</linkto>---><code>[[Documentation:Reference Section 5.3#Average|average]]</code> can come in very handy.
+where a new feature called <code>[[Reference:Average Pattern|average]]</code> can come in very handy.
 Average works with pigment, normal, and texture maps, although the syntax is
 a little bit different, and when we are not expecting it, the change can be
@@ Line 864: / Line 864: @@
 least we can see how the process works. The textures have simply been placed
 according to the location of pixels of a particular palette index. By using
-the <!--<linkto "once">once</linkto>---><code>[[Documentation:Reference Section 5.6#The once Option|once]]</code> keyword (to keep it from tiling), and translating and
+the <code>[[Reference:Bitmap Modifiers#The once Option|once]]</code> keyword (to keep it from tiling), and translating and scaling our map to match the camera we have been using, we get to see the
 whole thing laid out for us.</p>
 <p>

@@ Line 8: / Line 8: @@
 <!--</wikitalk>--->
 <!--REMOVE--->====Finishes====<!--THIS--->
 =====Using Surface Highlights=====
 <p>In the glass example above, we noticed that there were bright little <em>
 hotspots</em> on the surface. This gave the sphere a hard, shiny appearance.
@@ Line 63: / Line 63: @@
 both phong and specular may be used on a finish.</p>
 =====Using Reflection, Metallic and Metallic=====
 <p>There is another surface parameter that goes hand in hand with highlights,
 <code><!--<linkto "reflection">reflection</linkto>--->[[Documentation:Reference Section 5.2#Specular Reflection|reflection]]</code>. Surfaces that are very shiny usually have a degree
@@ Line 149: / Line 149: @@
 than the light source. This gives the surface a more metallic appearance.</p>
 =====Using Iridescence=====
 <p><em>Iridescence</em> is what we see on the surface of an oil slick when
 the sun shines on it. The rainbow effect is created by something called
@@ Line 195: / Line 195: @@
 happens.</p>
 ====Working With Pigment Maps====
 <p>Let's look at the pigment map. We must not confuse this with a color
 map, as color maps can only take individual colors as entries in the map,
@@ Line 255: / Line 254: @@
 <p>Blending individual pigment patterns is just the beginning.</p>
 ====Working With Normal Maps====
 <p> For our next example, we replace the plane in the scene with this
 one.</p>
@@ Line 296: / Line 295: @@
 function, and we will return to it a little bit further down the page.</p>
 ====Working With Texture Maps====
 <p>We know how to blend colors, pigment patterns, and normals, and we are
 probably thinking what about finishes? What about whole textures? Both of
@@ Line 353: / Line 352: @@
 flexibility.</p>
 ====Working With List Textures====
 <p> If we have followed the corresponding tutorials on simple pigments, we
 know that there are three patterns called <em>color list</em> patterns,
@@ Line 425: / Line 424: @@
 </pre>
 ====What About Tiles?====
 <p>In earlier versions of POV-Ray, there was a texture pattern called
 <code>tiles</code>. By simply using a checker texture pattern (as we just saw
@@ Line 434: / Line 433: @@
 checker pattern instead.</p>
 ====Average Function====
 <p>Now things get interesting. Above, we began to see how pigments and
 normals can fade from one to the other when we used them in maps. But how
@@ Line 470: / Line 469: @@
 then will be the same as if each entry had a weight factor of 1.</p>
 ====Working With Layered Textures====
 <p>With the multitudinous colors, patterns, and options for creating complex
 textures in POV-Ray, we can easily become deeply engrossed in mixing and
@@ Line 576: / Line 575: @@
 generate!</p>
 =====Declaring Layered Textures=====
 <p>In the event we want to reuse a layered texture on several objects in our
 scene, it is perfectly legal to declare a layered texture. We will not
@@ Line 614: / Line 613: @@
 just generate an error whether inside the object or in a declaration.</p>
 =====Another Layered Textures Example=====
 <p>To further explain how layered textures work another example is described
 in detail. A tablecloth is created to be used in a picnic scene. Since a
@@ Line 822: / Line 821: @@
 transparent, the specular will show through.</p>
 ====When All Else Fails: Material Maps====
 <p>We have some pretty powerful texturing tools at our disposal, but what if
 we want a more free form arrangement of complex textures? Well, just as image

@@ Line 7: / Line 7: @@
 <br>
 <!--</wikitalk>--->
-<!---REMOVE--->====Finishes====<!--THIS--->
+<!--REMOVE--->====Finishes====<!--THIS--->
 =====Using Surface Highlights=====
 <!--<indexentry "Surface Highlights, using" "Highlights">--->

← Older revision	Revision as of 12:00, 1 July 2012
(No difference)

@@ Line 14: / Line 14: @@
 hotspots</em> on the surface. This gave the sphere a hard, shiny appearance.
 POV-Ray gives us two ways to specify surface specular highlights. The first
-is called <em>Phong highlighting.</em> Usually, Phong highlights are
+is called <em>phong highlighting.</em> Usually, phong highlights are
-described using two keywords: <code><!--<linkto "phong">phong</linkto>--->[[Documentation:Reference Section 5.1#Phong Highlights|phong]]</code> and
+described using two keywords: <!--<linkto "phong">phong</linkto>---><code>[[Documentation:Reference Section 5.1#Phong Highlights|phong]]</code> and
-<code><!--<linkto "phong_size">phong_size</linkto>--->[[Documentation:Reference Section 5.1#Phong Highlights|phong_size]]</code>. The float that follows
+<!--<linkto "phong_size">phong_size</linkto>---><code>[[Documentation:Reference Section 5.1#Phong Highlights|phong_size]]</code>. The float that follows <code>phong</code> determines the brightness of the highlight while the float following <code>phong_size</code> determines its size. Let's try this.</p>
 <pre>
    sphere {
@@ Line 33: / Line 31: @@
 <p>Rendering this we see a fairly broad, soft highlight that gives the sphere
-a kind of plastic appearance. Now let's change <code> phong_size</code>
+a kind of plastic appearance. Now let's change <code>phong_size</code>
 to 150. This makes a much smaller highlight which gives the sphere the
 appearance of being much harder and shinier.</p>
@@ Line 39: / Line 37: @@
 There is another kind of highlight that is calculated by a different means
 called <em>specular highlighting</em>. It is specified using the keyword
-<code><!--<linkto "specular">specular</linkto>--->[[Documentation:Reference Section 5.1#Specular Highlight|specular]]</code> and operates in conjunction with another keyword
+<!--<linkto "specular">specular</linkto>---><code>[[Documentation:Reference Section 5.1#Specular Highlight|specular]]</code> and operates in conjunction with another keyword
-called <code><!--<linkto "roughness">roughness</linkto>--->[[Documentation:Reference Section 5.1#Specular Highlight|roughness]]</code>. These two keywords work together in much the
+called <!--<linkto "roughness">roughness</linkto>---><code>[[Documentation:Reference Section 5.1#Specular Highlight|roughness]]</code>. These two keywords work together in much the
 same way as <code>phong</code> and <code>phong_size</code> to create
 highlights that alter the apparent shininess of the surface. Let's try
@@ Line 155: / Line 153: @@
 <p><em>Iridescence</em> is what we see on the surface of an oil slick when
 the sun shines on it. The rainbow effect is created by something called
-<em>thin-film interference</em> (read section &quot;<!--<linkto "Iridescence">Iridescence</linkto>--->[[Documentation:Reference Section 5.2#Iridescence|Iridescence]]&quot; for
+<em>thin-film interference</em> (read section <!--<linkto "Iridescence">Iridescence</linkto>--->[[Documentation:Reference Section 5.2#Iridescence|Iridescence]] for
 details). For now let's just try using it. Iridescence is specified by
 the <code><!--<linkto "irid">irid</linkto>--->[[Documentation:Reference Section 5.2#Iridescence|irid]]</code> statement and three values: amount,
 <code>thickness</code> and <code>turbulence</code>. The amount is the contribution
 to the overall surface color. Usually 0.1 to 0.5 is sufficient here.
-The thickness affects the &quot;busyness&quot; of the effect. Keep this between
+The thickness affects the <em>busyness</em> of the effect. Keep this between
 .25 and 1 for best results. The turbulence is a little different from
 pigment or normal turbulence. We cannot set <code>octaves</code>, <code>lambda</code>
@@ Line 295: / Line 293: @@
 to see them completely blended all the way through rather than this business
 of fading from one to the next. Well, that is possible too, but we would be
-getting ahead of ourselves. That is called the <code> average</code>
+getting ahead of ourselves. That is called the <code>average</code>
 function, and we will return to it a little bit further down the page.</p>
@@ Line 441: / Line 439: @@
 normals can fade from one to the other when we used them in maps. But how
 about if we want a smooth blend of patterns all the way through? That is
-where a new feature called <code><!--<linkto "average">average</linkto>--->[[Documentation:Reference Section 5.3#Average|average]]</code> can come in very handy.
+where a new feature called <!--<linkto "average">average</linkto>---><code>[[Documentation:Reference Section 5.3#Average|average]]</code> can come in very handy.
 Average works with pigment, normal, and texture maps, although the syntax is
 a little bit different, and when we are not expecting it, the change can be
@@ Line 632: / Line 630: @@
 <p>
 We start by placing a camera, some lights, and the first box. At this stage,
-the texture is plain tiling, not layered. See file <code>
+the texture is plain tiling, not layered. See file <code>layered1.pov</code>.</p>
 <pre>
    #include &quot;colors.inc&quot;
@@ Line 766: / Line 763: @@
 upper layers are).</p>
 <p>
-We add this final box to the script and re-render (see file <code>
+We add this final box to the script and re-render (see file <code>layered4.pov</code>)</p>
 <pre>
    #declare WRINKLED_TEXTURE =
@@ Line 869: / Line 865: @@
 least we can see how the process works. The textures have simply been placed
 according to the location of pixels of a particular palette index. By using
-the <code><!--<linkto "once">once</linkto>--->[[Documentation:Reference Section 5.6#The once Option|once]]</code> keyword (to keep it from tiling), and translating and
+the <!--<linkto "once">once</linkto>---><code>[[Documentation:Reference Section 5.6#The once Option|once]]</code> keyword (to keep it from tiling), and translating and
 scaling our map to match the camera we have been using, we get to see the
 whole thing laid out for us.</p>
@@ Line 904: / Line 900: @@
 <p>
 We create the following code, name it <code>povmap.pov</code>, then render
-it. This will create an output file called <code>povmap.tga</code> (<b><code>povmap.bmp</code>
+it. This will create an output file called <code>povmap.png</code></p>
 <pre>
    camera {

← Older revision	Revision as of 18:13, 10 March 2009
(No difference)

← Older revision	Revision as of 18:02, 10 March 2009
(No difference)