"Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
news:40418355@news.povray.org...
> Thanks for the suggestions.  I'm not that experienced with POV though so
I'm
> not sure exactly how to implement your ideas.   The materials always seem
to
> be one of my biggest problems.  I obviously need some tutoring in making
> good materials.  How would I "average in a wrinkles pigment" on the label.

Averaging pigments together is a very powerful too. To average pigments
together, use a "pigment_map" and a map type of "average". The following
code creates a plasma effect by averaging three pigments together. Note that
the "weight" of pigment for each is "1". Because there are three averaged
together, in order to get a value of "1.0" for full color, I have to use "3"
for the color value (3 times the amount of 1):

plane
{
 z, 1

 pigment
 {
  average

  pigment_map
  {
   [ 1  wrinkles

    color_map
    {
     [0 rgb <0, 0, 0> ]
     [1 rgb <3, 0, 0> ]
    }
   ]


   [ 1 wrinkles

    color_map
    {
     [0 rgb <0, 0, 0> ]
     [1 rgb <0, 3, 0> ]
    }

    translate 0.5
    ]

   [ 1 wrinkles

    color_map
    {
     [0 rgb <0, 0, 0> ]
     [1 rgb <0, 0, 3> ]
    }

    translate -0.5
    ]
  }
 }

 finish { ambient 1 }
}

> Even more mysterious to me is the "subsurface scattering" that both you
and
> Tek suggest.  Here is the outside surface of the cheese, the 'sliced'
> surfaces and bubbles are the same but without the normal.  How would I put
> in subsurface scattering?

I'd like to know too -- I haven't advanced to the point of being able to do
that. Tek knows more about that stuff than I. There is this really great
animation out there that shows subsurface scattering -- it was this marble
pyramid people were talking about a while back that was really something.
The code to that pyramid would really advance our understanding. Christopher
Huff is also amazingly knowledgeable about densities and the like.

Post a reply to this message

"Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
news:40418673$1@news.povray.org...
> I'd appreciate any specific ideas you might
> have for improving it.

WARNING - this is an incredibly long reply! But it sounded like you wanted some
tips on texturing so I've done my best:

Okay, well one thing stands out to me straight away: that's a very complicated
material, which is rather strange since we both agree it doesn't look so good.
My advice would always be keep the material very simple until you have nearly
the effect you like.

So, following that I'd suggest this much simpler version might be a good
starting point:
 texture {
  pigment {
   wood
   ramp_wave
   color_map
   {
    [0 rgb <0.6, 0.35, 0.2> ]
    [1 rgb <0.9, 0.65, 0.3> ]
   }
   turbulence 0.05
  }
  finish {
   diffuse .7
   ambient .3
  }
  rotate <30,30,0>
  scale 0.75
 }

Now, from this we can start looking at some more complex effects, firstly we can
change the colour map so it returns smoothly to it's starting point:
   color_map {
    [ 0.0 rgb <0.6, 0.35, 0.2> ]
    [ 0.8 rgb <0.9, 0.65, 0.3> ]
    [ 1.0 rgb <0.6, 0.35, 0.2> ]
   }
Note that the colour at 1 is now the same as the colour at 0. This will remove
the hard transition that occured before.

Now, before we add anything else I think we should decide whether the colours
look right. Personally I think they look far too dark for a chopping board, so
I'd try something a bit lighter and yellower:
    [ 0.0 rgb <0.9, 0.68, 0.4> ]
    [ 0.8 rgb <1, 0.8, 0.5> ]
    [ 1.0 rgb <0.9, 0.68, 0.4> ]

That's still not perfect so I recommend you spend a bit longer at this stage
until you get some colours you like.

Now, let's alter the pattern of the stripes. That 0.8 value in the colour map
can be changed to alter the way that the colours vary across the surface, also
the ramp_wave can be changed for one of pov's other types to create different
effects. Here's one example that I like but there's many other possibilities:

 pigment {
   wood
   poly_wave 2
   color_map
   {
    [ 0 rgb <0.9, 0.68, 0.4> ]
    [ .05 rgb <1, 0.8, 0.5> ]
    [ 1 rgb <0.9, 0.68, 0.4> ]
   }
   turbulence 0.05
 }

Now, lets look at the finish. The wood you had originally had a lot of
reflection and phong highlights, this suggests a varnished wood, but of course
chopping boards aren't varnished. So let's instead try to get a smooth but not
polished sheen to it. No reflections, since chopping boards aren't really
reflective, a soft and subtle highlight, and we'll tweak the brightness of the
material.

  finish {
   diffuse .5
   ambient .3
   brilliance 1.8
   specular .2 roughness .5 metallic 1
  }

There's 2 important things to notice here: the brilliance value alters the way
that the diffuse lighting looks, larger values give a more gradual falloff. And
the metallic specular highlight with a high roughness value behaves sort of like
a half-specular/half-diffuse light. It's a trick I used to create metallic
paint, but in this situation it's trying to fake the sheen that unvarnished wood
has.

Now, there's one final thing I'd like to do to this material, it's looking a bit
flat so let's give it a normal map:

  normal {
   wood
   poly_wave 2
   turbulence 0.05
   normal_map
   {
    [ 0 granite .05 scale .4 ]
    [ .05 radial .01 rotate x*90 sine_wave frequency 200 ]
    [ 1 granite .05 scale .4 ]
   }
  }

What I've done here is use the exact same basic pattern as the pigment, but
instead of blending 2 different colours I'm blending 2 normal patterns. There's
a radial one rotated to give perpendicular stripes across the rings in the wood,
and a granite texture to add noise to the darker patches of wood.

Finally, we can tidy this up so that we don't have to have 2 copies of this
pattern, like so:

 texture {
  pigment_pattern {
   //first let's take care of the wood pattern.
   wood
   poly_wave 2
   color_map
   {
    [ 0 rgb 0 ]
    [ .05 rgb 1 ]
    [ 1 rgb 0 ]
   }
   turbulence 0.05
  }

  //we have now defined a pattern so that
  //anything we map to 0 appears on the "dark" rings
  //and anything we map to zero appears on the light rings

  texture_map {
   [0
    //pattern for dark rings, a dark colour and noisy normal
    pigment { rgb <0.9, 0.68, 0.4> }
    finish {
     diffuse .6
     ambient .3
     brilliance 1.8
     specular .1 roughness .5 metallic .5
    }
    normal { granite .05 scale .4 }
   ]
   [1
    //pattern for light rings, a lighter colour and striped normal
    pigment { rgb <1, 0.8, 0.5> }
    finish {
     diffuse .6
     ambient .3
     brilliance 1.8
     specular .1 roughness .5 metallic .5
    }
    normal { radial .01 rotate x*90 sine_wave frequency 200 }
   ]
   }

  rotate <30,30,0>
  scale .75
  scale .3
 }

This technique isn't entirely necessary, but I find using pigment_patterns like
this can make it much easier to build complex textures.

I hope all of this helps!

-- 
Tek
www.evilsuperbrain.com

Post a reply to this message

>   rotate <30,30,0>
>   scale .75
>   scale .3
>  }

whoops, ignore that last scale .3, that's just something I was using for my test
you don't need it.

-- 
Tek
www.evilsuperbrain.com


"Tek" <tek### [at] evilsuperbraincom> wrote in message
news:4041b15a$1@news.povray.org...
> "Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
> news:40418673$1@news.povray.org...
> > I'd appreciate any specific ideas you might
> > have for improving it.
>
> WARNING - this is an incredibly long reply! But it sounded like you wanted
some
> tips on texturing so I've done my best:
>
> Okay, well one thing stands out to me straight away: that's a very complicated
> material, which is rather strange since we both agree it doesn't look so good.
> My advice would always be keep the material very simple until you have nearly
> the effect you like.
>
> So, following that I'd suggest this much simpler version might be a good
> starting point:
>  texture {
>   pigment {
>    wood
>    ramp_wave
>    color_map
>    {
>     [0 rgb <0.6, 0.35, 0.2> ]
>     [1 rgb <0.9, 0.65, 0.3> ]
>    }
>    turbulence 0.05
>   }
>   finish {
>    diffuse .7
>    ambient .3
>   }
>   rotate <30,30,0>
>   scale 0.75
>  }
>
> Now, from this we can start looking at some more complex effects, firstly we
can
> change the colour map so it returns smoothly to it's starting point:
>    color_map {
>     [ 0.0 rgb <0.6, 0.35, 0.2> ]
>     [ 0.8 rgb <0.9, 0.65, 0.3> ]
>     [ 1.0 rgb <0.6, 0.35, 0.2> ]
>    }
> Note that the colour at 1 is now the same as the colour at 0. This will remove
> the hard transition that occured before.
>
> Now, before we add anything else I think we should decide whether the colours
> look right. Personally I think they look far too dark for a chopping board, so
> I'd try something a bit lighter and yellower:
>     [ 0.0 rgb <0.9, 0.68, 0.4> ]
>     [ 0.8 rgb <1, 0.8, 0.5> ]
>     [ 1.0 rgb <0.9, 0.68, 0.4> ]
>
> That's still not perfect so I recommend you spend a bit longer at this stage
> until you get some colours you like.
>
> Now, let's alter the pattern of the stripes. That 0.8 value in the colour map
> can be changed to alter the way that the colours vary across the surface, also
> the ramp_wave can be changed for one of pov's other types to create different
> effects. Here's one example that I like but there's many other possibilities:
>
>  pigment {
>    wood
>    poly_wave 2
>    color_map
>    {
>     [ 0 rgb <0.9, 0.68, 0.4> ]
>     [ .05 rgb <1, 0.8, 0.5> ]
>     [ 1 rgb <0.9, 0.68, 0.4> ]
>    }
>    turbulence 0.05
>  }
>
> Now, lets look at the finish. The wood you had originally had a lot of
> reflection and phong highlights, this suggests a varnished wood, but of course
> chopping boards aren't varnished. So let's instead try to get a smooth but not
> polished sheen to it. No reflections, since chopping boards aren't really
> reflective, a soft and subtle highlight, and we'll tweak the brightness of the
> material.
>
>   finish {
>    diffuse .5
>    ambient .3
>    brilliance 1.8
>    specular .2 roughness .5 metallic 1
>   }
>
> There's 2 important things to notice here: the brilliance value alters the way
> that the diffuse lighting looks, larger values give a more gradual falloff.
And
> the metallic specular highlight with a high roughness value behaves sort of
like
> a half-specular/half-diffuse light. It's a trick I used to create metallic
> paint, but in this situation it's trying to fake the sheen that unvarnished
wood
> has.
>
> Now, there's one final thing I'd like to do to this material, it's looking a
bit
> flat so let's give it a normal map:
>
>   normal {
>    wood
>    poly_wave 2
>    turbulence 0.05
>    normal_map
>    {
>     [ 0 granite .05 scale .4 ]
>     [ .05 radial .01 rotate x*90 sine_wave frequency 200 ]
>     [ 1 granite .05 scale .4 ]
>    }
>   }
>
> What I've done here is use the exact same basic pattern as the pigment, but
> instead of blending 2 different colours I'm blending 2 normal patterns.
There's
> a radial one rotated to give perpendicular stripes across the rings in the
wood,
> and a granite texture to add noise to the darker patches of wood.
>
> Finally, we can tidy this up so that we don't have to have 2 copies of this
> pattern, like so:
>
>  texture {
>   pigment_pattern {
>    //first let's take care of the wood pattern.
>    wood
>    poly_wave 2
>    color_map
>    {
>     [ 0 rgb 0 ]
>     [ .05 rgb 1 ]
>     [ 1 rgb 0 ]
>    }
>    turbulence 0.05
>   }
>
>   //we have now defined a pattern so that
>   //anything we map to 0 appears on the "dark" rings
>   //and anything we map to zero appears on the light rings
>
>   texture_map {
>    [0
>     //pattern for dark rings, a dark colour and noisy normal
>     pigment { rgb <0.9, 0.68, 0.4> }
>     finish {
>      diffuse .6
>      ambient .3
>      brilliance 1.8
>      specular .1 roughness .5 metallic .5
>     }
>     normal { granite .05 scale .4 }
>    ]
>    [1
>     //pattern for light rings, a lighter colour and striped normal
>     pigment { rgb <1, 0.8, 0.5> }
>     finish {
>      diffuse .6
>      ambient .3
>      brilliance 1.8
>      specular .1 roughness .5 metallic .5
>     }
>     normal { radial .01 rotate x*90 sine_wave frequency 200 }
>    ]
>    }
>
>   rotate <30,30,0>
>   scale .75
>   scale .3
>  }
>
> This technique isn't entirely necessary, but I find using pigment_patterns
like
> this can make it much easier to build complex textures.
>
> I hope all of this helps!
>
> -- 
> Tek
> www.evilsuperbrain.com
>
>
>

Post a reply to this message

Thank you!  I'll try and play around with the texture as you've shown.
Now if you can explain the 'sub surface scattering' that you referred to for
the cheese texture, I'll be set to try again.


"Tek" <tek### [at] evilsuperbraincom> wrote in message
news:4041b1ad@news.povray.org...
> >   rotate <30,30,0>
> >   scale .75
> >   scale .3
> >  }
>
> whoops, ignore that last scale .3, that's just something I was using for
my test
> you don't need it.
>
> -- 
> Tek
> www.evilsuperbrain.com
>
>
> "Tek" <tek### [at] evilsuperbraincom> wrote in message
> news:4041b15a$1@news.povray.org...
> > "Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
> > news:40418673$1@news.povray.org...
> > > I'd appreciate any specific ideas you might
> > > have for improving it.
> >
> > WARNING - this is an incredibly long reply! But it sounded like you
wanted
> some
> > tips on texturing so I've done my best:
> >
> > Okay, well one thing stands out to me straight away: that's a very
complicated
> > material, which is rather strange since we both agree it doesn't look so
good.
> > My advice would always be keep the material very simple until you have
nearly
> > the effect you like.
> >
> > So, following that I'd suggest this much simpler version might be a good
> > starting point:
> >  texture {
> >   pigment {
> >    wood
> >    ramp_wave
> >    color_map
> >    {
> >     [0 rgb <0.6, 0.35, 0.2> ]
> >     [1 rgb <0.9, 0.65, 0.3> ]
> >    }
> >    turbulence 0.05
> >   }
> >   finish {
> >    diffuse .7
> >    ambient .3
> >   }
> >   rotate <30,30,0>
> >   scale 0.75
> >  }
> >
> > Now, from this we can start looking at some more complex effects,
firstly we
> can
> > change the colour map so it returns smoothly to it's starting point:
> >    color_map {
> >     [ 0.0 rgb <0.6, 0.35, 0.2> ]
> >     [ 0.8 rgb <0.9, 0.65, 0.3> ]
> >     [ 1.0 rgb <0.6, 0.35, 0.2> ]
> >    }
> > Note that the colour at 1 is now the same as the colour at 0. This will
remove
> > the hard transition that occured before.
> >
> > Now, before we add anything else I think we should decide whether the
colours
> > look right. Personally I think they look far too dark for a chopping
board, so
> > I'd try something a bit lighter and yellower:
> >     [ 0.0 rgb <0.9, 0.68, 0.4> ]
> >     [ 0.8 rgb <1, 0.8, 0.5> ]
> >     [ 1.0 rgb <0.9, 0.68, 0.4> ]
> >
> > That's still not perfect so I recommend you spend a bit longer at this
stage
> > until you get some colours you like.
> >
> > Now, let's alter the pattern of the stripes. That 0.8 value in the
colour map
> > can be changed to alter the way that the colours vary across the
surface, also
> > the ramp_wave can be changed for one of pov's other types to create
different
> > effects. Here's one example that I like but there's many other
possibilities:
> >
> >  pigment {
> >    wood
> >    poly_wave 2
> >    color_map
> >    {
> >     [ 0 rgb <0.9, 0.68, 0.4> ]
> >     [ .05 rgb <1, 0.8, 0.5> ]
> >     [ 1 rgb <0.9, 0.68, 0.4> ]
> >    }
> >    turbulence 0.05
> >  }
> >
> > Now, lets look at the finish. The wood you had originally had a lot of
> > reflection and phong highlights, this suggests a varnished wood, but of
course
> > chopping boards aren't varnished. So let's instead try to get a smooth
but not
> > polished sheen to it. No reflections, since chopping boards aren't
really
> > reflective, a soft and subtle highlight, and we'll tweak the brightness
of the
> > material.
> >
> >   finish {
> >    diffuse .5
> >    ambient .3
> >    brilliance 1.8
> >    specular .2 roughness .5 metallic 1
> >   }
> >
> > There's 2 important things to notice here: the brilliance value alters
the way
> > that the diffuse lighting looks, larger values give a more gradual
falloff.
> And
> > the metallic specular highlight with a high roughness value behaves sort
of
> like
> > a half-specular/half-diffuse light. It's a trick I used to create
metallic
> > paint, but in this situation it's trying to fake the sheen that
unvarnished
> wood
> > has.
> >
> > Now, there's one final thing I'd like to do to this material, it's
looking a
> bit
> > flat so let's give it a normal map:
> >
> >   normal {
> >    wood
> >    poly_wave 2
> >    turbulence 0.05
> >    normal_map
> >    {
> >     [ 0 granite .05 scale .4 ]
> >     [ .05 radial .01 rotate x*90 sine_wave frequency 200 ]
> >     [ 1 granite .05 scale .4 ]
> >    }
> >   }
> >
> > What I've done here is use the exact same basic pattern as the pigment,
but
> > instead of blending 2 different colours I'm blending 2 normal patterns.
> There's
> > a radial one rotated to give perpendicular stripes across the rings in
the
> wood,
> > and a granite texture to add noise to the darker patches of wood.
> >
> > Finally, we can tidy this up so that we don't have to have 2 copies of
this
> > pattern, like so:
> >
> >  texture {
> >   pigment_pattern {
> >    //first let's take care of the wood pattern.
> >    wood
> >    poly_wave 2
> >    color_map
> >    {
> >     [ 0 rgb 0 ]
> >     [ .05 rgb 1 ]
> >     [ 1 rgb 0 ]
> >    }
> >    turbulence 0.05
> >   }
> >
> >   //we have now defined a pattern so that
> >   //anything we map to 0 appears on the "dark" rings
> >   //and anything we map to zero appears on the light rings
> >
> >   texture_map {
> >    [0
> >     //pattern for dark rings, a dark colour and noisy normal
> >     pigment { rgb <0.9, 0.68, 0.4> }
> >     finish {
> >      diffuse .6
> >      ambient .3
> >      brilliance 1.8
> >      specular .1 roughness .5 metallic .5
> >     }
> >     normal { granite .05 scale .4 }
> >    ]
> >    [1
> >     //pattern for light rings, a lighter colour and striped normal
> >     pigment { rgb <1, 0.8, 0.5> }
> >     finish {
> >      diffuse .6
> >      ambient .3
> >      brilliance 1.8
> >      specular .1 roughness .5 metallic .5
> >     }
> >     normal { radial .01 rotate x*90 sine_wave frequency 200 }
> >    ]
> >    }
> >
> >   rotate <30,30,0>
> >   scale .75
> >   scale .3
> >  }
> >
> > This technique isn't entirely necessary, but I find using
pigment_patterns
> like
> > this can make it much easier to build complex textures.
> >
> > I hope all of this helps!
> >
> > -- 
> > Tek
> > www.evilsuperbrain.com
> >
> >
> >
>
>

Post a reply to this message

Thank you!  Between you and Tek, I'll have enough things to figure out, to
keep me busy for awhile.   If only I didn't have to work and could play at
this stuff all the time.   Of course then I couldn't afford a computer,
hehe.


"Dan P" <dan### [at] yahoocom> wrote in message
news:40418bde@news.povray.org...
> "Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
> news:40418355@news.povray.org...
> > Thanks for the suggestions.  I'm not that experienced with POV though so
> I'm
> > not sure exactly how to implement your ideas.   The materials always
seem
> to
> > be one of my biggest problems.  I obviously need some tutoring in making
> > good materials.  How would I "average in a wrinkles pigment" on the
label.
>
> Averaging pigments together is a very powerful too. To average pigments
> together, use a "pigment_map" and a map type of "average". The following
> code creates a plasma effect by averaging three pigments together. Note
that
> the "weight" of pigment for each is "1". Because there are three averaged
> together, in order to get a value of "1.0" for full color, I have to use
"3"
> for the color value (3 times the amount of 1):
>
> plane
> {
>  z, 1
>
>  pigment
>  {
>   average
>
>   pigment_map
>   {
>    [ 1  wrinkles
>
>     color_map
>     {
>      [0 rgb <0, 0, 0> ]
>      [1 rgb <3, 0, 0> ]
>     }
>    ]
>
>
>    [ 1 wrinkles
>
>     color_map
>     {
>      [0 rgb <0, 0, 0> ]
>      [1 rgb <0, 3, 0> ]
>     }
>
>     translate 0.5
>     ]
>
>    [ 1 wrinkles
>
>     color_map
>     {
>      [0 rgb <0, 0, 0> ]
>      [1 rgb <0, 0, 3> ]
>     }
>
>     translate -0.5
>     ]
>   }
>  }
>
>  finish { ambient 1 }
> }
>
> > Even more mysterious to me is the "subsurface scattering" that both you
> and
> > Tek suggest.  Here is the outside surface of the cheese, the 'sliced'
> > surfaces and bubbles are the same but without the normal.  How would I
put
> > in subsurface scattering?
>
> I'd like to know too -- I haven't advanced to the point of being able to
do
> that. Tek knows more about that stuff than I. There is this really great
> animation out there that shows subsurface scattering -- it was this marble
> pyramid people were talking about a while back that was really something.
> The code to that pyramid would really advance our understanding.
Christopher
> Huff is also amazingly knowledgeable about densities and the like.
>
>

Post a reply to this message

"Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
news:404294a2@news.povray.org...
> Thank you!  Between you and Tek, I'll have enough things to figure out, to
> keep me busy for awhile.   If only I didn't have to work and could play at
> this stuff all the time.   Of course then I couldn't afford a computer,
> hehe.

Bah, the secret of happiness is getting the stuff first and THEN giving the
world the finger. Worked for me :-)

Post a reply to this message

"Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
news:40429382@news.povray.org...
> Thank you!  I'll try and play around with the texture as you've shown.
> Now if you can explain the 'sub surface scattering' that you referred to for
> the cheese texture, I'll be set to try again.

Well, basically, to get sub surface scattering in POV you need a transparent
object filled with media. Media's explained in the povray docs, so I'll avoid
repeating what's said there.

Basically the idea is to take a scattering media that's so dense it almost looks
solid, but not quite, this simulates solids with translucency. Note that pov's
transparent pigments don't simulate real things, as they only affect the surface
of an object whereas media is a volumetric effect.

Anyway, that's enough theory. Here's a render of a material that I think looks
kinda like cheese. I sampled the cheese colour from a photo of cheese I found
using google! The photo's here if you're curious:
http://www.allposters.com/IMAGES/NIM/KE051.jpg Tip: if you want to sample
colours from photos use photos with bright white lighting, so you get the truest
possible colour.

The material I've used has got a couple of errors in it, but hopefully it will
give you a starting point. Here's the source:

object {
 Cheese

 hollow on
 no_reflection

 material {
  texture {
   pigment { rgbt 1 } /*no surface pigment, since real cheese does not have a
pigment (if you slice it thin enough you can see straight through it!)*/
   finish {
    //make it shiny.
    reflection { 0, 1 fresnel } conserve_energy
    specular 1 roughness .01
    diffuse 0 ambient 0
   }
  }
  interior {
   ior 1.1 /*does anyone know the refractive index of cheese? :)*/
   media {
    scattering {
     1, rgb <252,194,74>/255 //cheesy!
     extinction 0 /*if we have extinction it will colour the media in a strange
way*/
    }
    absorption 1 /*use this instead of extinction*/

    density {
     rgb 40 /*modify this according to the scale of your scene, I've tuned this
so a 1 unit cube looks like a fairly large block of cheese.*/
    }
   }
  }
 }
}

-- 
Tek
www.evilsuperbrain.com

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Attachments:
Download 'cheese.jpg' (39 KB)

Preview of image 'cheese.jpg'

"Dan P" <dan### [at] yahoocom> wrote in message
news:40429e34$1@news.povray.org...
> "Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
> news:404294a2@news.povray.org...
> > Thank you!  Between you and Tek, I'll have enough things to figure out, to
> > keep me busy for awhile.   If only I didn't have to work and could play at
> > this stuff all the time.   Of course then I couldn't afford a computer,
> > hehe.
>
> Bah, the secret of happiness is getting the stuff first and THEN giving the
> world the finger. Worked for me :-)

Or find a job where someone pays you to spend all day making pretty pictures on
the computer! Well I've sorta managed that but unfortunately I don't get to use
povray...
:)

-- 
Tek
www.evilsuperbrain.com

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"Tek" <tek### [at] evilsuperbraincom> wrote in message
news:4042b043$1@news.povray.org...
> "Dan P" <dan### [at] yahoocom> wrote in message
> news:40429e34$1@news.povray.org...
> > "Sun Tzu" <sun### [at] nospamhotmailcom> wrote in message
> > news:404294a2@news.povray.org...
> > > Thank you!  Between you and Tek, I'll have enough things to figure
out, to
> > > keep me busy for awhile.   If only I didn't have to work and could
play at
> > > this stuff all the time.   Of course then I couldn't afford a
computer,
> > > hehe.
> >
> > Bah, the secret of happiness is getting the stuff first and THEN giving
the
> > world the finger. Worked for me :-)
>
> Or find a job where someone pays you to spend all day making pretty
pictures on
> the computer! Well I've sorta managed that but unfortunately I don't get
to use
> povray...
> :)

When I get on jobs, I get paid (little) to make those pictures and write the
application and manage the application. Living in Wisconsin is awful for
being a competent computer scientist. However, it is an opportunity to see
the worst in human beings and study it, so there's always that silver
lining. That's why I'm gonna become a prof' -- people behave according to
needs and if I can help the future kids be competent they won't need to hurt
others to get ahead because they won't /need/ to. If this generation is
hopeless, then let's help the next generation so that they don't have to go
through what we did. It's time a lot of people lose the whole "I won't be
here I don't care I'm just gonna get mine and screw you" attitude and,
instead, respect and plan for the future with every action they do.

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"Sun Tzu" <sun### [at] nospamhotmailcom> wrote in
news:40414e0f@news.povray.org: 

> I haven't POVed for about 8 months and just picked it up
> again.  Close to a year ago I posted an earlier version of
> this image.  I did more work on it and then left it alone
> for several months.  The cheese got me frustrated because I
> couldn't come up with something that looked satisfactory to
> me. Also the picture is far to 'sterile' looking, but I'm
> not sure how to make things look dirty or worn.    For
> example I'd like to have some cheese residue on the knife,
> but haven't a clue how to accomplish that.   I'd appreciate
> any suggestions.  Thanks. 

Very nice!

Have a look here for the latest in swiss army knifes

http://tinyurl.com/33bmv


-- 
Marc Champagne
marcch.AT.videoSPAMNOTtron.DOT.ca.invalid
Montreal, Canada

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