![]() ![]() Most of the photographs on this site are my own. When I am not teaching I love photography, ceramics, watercolor painting, visiting museums, creating animations, kayaking, hiking and spending time with my husband and daughter. As a result, you will find both middle school and high school art lessons in this blog as well as summer camp projects appropriate for younger students. McGinnis Middle Schools, also in Perth Amboy. Prior to that, I was an art teacher at Samuel E. you can do fancy stuff with depth base comparison.Rachel Wintemberg started teaching digital, media and fine arts at Perth Amboy High School in Perth Amboy NJ in the fall of 2018. thickness can be control by any input, like light, texture, math, distance, position, you name it it's even used to give silhouette rim light you can add extra shader details (like fresnel fall off) to control the softness of the line, or create aura effects (using fall off and masking a noise texture in screen space) you can use a mesh that is similar but has extra features to add details or expressiveness you can add color relative to specific part you can literally paint thickness on vertex To be frank, inverted normal isn't just inverted and pushed: apply to everything in the scene, great for background scenary difficult to control in general, best is when used with depth buffer with normal buffer to limit bleeding difficult control on colors unless you start loading the memory with specific buffer difficult to have artistic control of thickness, you can have mathematical control with distance fading of the thinkness work at the pixel level by detecting contrast The other alternative is post process edge detection: it's hard to add color to specific part it's slope based, no silhouette based so you have ink bleeding in part you don't want when at acute angles Control the look with the ramp.Ĭlick to expand.Actually fresnel falloff is the least optimal way of doing it: If you have a smooth ramp you get smooth shadow, if you make step ramped, it give you stepped shadow, and so on. Otherwise the unity toon shader is enough, it give you the outline and you can draw the ramp to get the desired result. So it will index the UV width (which is in the 0-1 range) with its result, 0 meaning away from light and 1 meaning directly in front, so the texture beginning is away (generally shadow) and the end is front (lighted part), the middle being the transition. Ramp are basically using the dot result as an indexing, You need to scale the ndotl though to get the full range, ie it normally range from -1 to 1, generally clamp between 0 and 1, we need to offset first to the range 0 to 2, then bringing back into the 0 -1 range by multiplying by 0.5. You can also use a ramp to control both the fresnel and the diffuse (basically a texture with a height of 1 and as long a width as you want for storing the gradient, you can store the diffuse ramp and the fresnel ramp on a 2 pixel height, the use the height 0 for applying the nodtl and the height 1 to control the ndotv). I advise having a step based fresnel (ndotv) -> if fresnel > threshold then show diffuse else show white. Shader can be ndotl masking a pattern projected base on screen UV, then multiplying the result with the diffuse. color shift (big soft grandienty subtle random shape)Īmbient occlusion is generally baked from hi poly, with the absence of hi poly you can baked the hi poly, then find the normal map ambient occlusion and blend the two. ![]() I want to elaborate on that, it's one hour video, the relevant part start at ~20:00Ģ. The objective should be to translate shading into ramped tones of the underlying UV map colors, as opposed to hard shadows. This is a much more technically demanding solution, but it will offer you the best results. Your best bet is to write some custom shaders. But it is also one of the least flexible approaches, and won't take advantage of dynamic lighting. Painting the shadows onto your model is one approach. Having this level of control over the lighting is a huge advantage for attempting to achieve this effect. They can tweak the shading and the lighting given a largely fixed perspective. This gives them far more control over how the models are viewed. Their game is designed to be seen from a single perspective. However, it is worth pointing out that Guilty Gear has a distinct advantage. (Xrd Sign) In this game, they've gone to great lengths to emulate their 2D hand-drawn style using 3D models. ![]() ![]() For an example of how to do this "right" I would point to the latest entry in the Guilty Gear series. ![]()
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