On 28/03/2018 04:30, Sven Littkowski wrote:
> Thanks Alain and Stephen.   :-)
> 
> The item is what is to be checked for (like the name of a Declare union,
> I would assume).
> 
> The first coordinate is from where the search ray is starting?
> 
> The second coordinate is towards which direction (destination) the
> search ray is heading?
> 
> Norm contains the coordinates of a hit?
> 
> 

I think that it a good idea to quote the bit of code that you are 
talking about.
Norm is the vector of the normal if the trace ray hits the target. So we 
test to see if the vector is not zero. That means we have a hit. If Norm 
is zero then the ray missed.

I have an test scene from when I was learning to use trace() that is 
self contained. Firing arrows at a mesh target. A study for Saint 
Sebastian. I will post it after cleaning up the Bishop3D workarounds.



-- 

Regards
     Stephen

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I once had Bishop 3D, too. In fact, I was been one of the beta testers,
and thus got the unlock code free of cost.

But then, my hard drive crashed, and I lost all programs and e-mails.
Now I cannot find the Brazilian developer anymore to ask him to re-issue
me my unlock code. I am not joking, I was really one of the beta testers.

Bishop 3D is a great software. Just it doesn't like functions. But all
the shapes - it can handle them very well!

---------------------

Thanks for your TRACE help! :-D

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On 28/03/2018 14:07, Sven Littkowski wrote:
> I once had Bishop 3D, too. In fact, I was been one of the beta testers,
> and thus got the unlock code free of cost.
> 
> But then, my hard drive crashed, and I lost all programs and e-mails.
> Now I cannot find the Brazilian developer anymore to ask him to re-issue
> me my unlock code. I am not joking, I was really one of the beta testers.
> 

I remember. You were building an underwater base.
Actually if you go back on the website. You will find a registration key 
as Hugo made it freeware.
Drat! The site has gone but you can get it via the wayback machine.

https://web.archive.org/web/20160122202116/http://bishop3d.com/download.htm



> Bishop 3D is a great software. Just it doesn't like functions. But all
> the shapes - it can handle them very well!
> 

StephenS developed quite a few techniques for workarounds by using the 
Raw Code plugin. We even managed to get screen.inc to work in B3D


-
> 
> Thanks for your TRACE help! :-D
> 
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> 


-- 

Regards
     Stephen

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Wow, I did not knew about these "latest" developments! You can see,
since how long I lost touch. Sad and good news in one.

I registered the software now, after all these years, thanks to you. :-)

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Le 18-03-27 à 16:33, Stephen a écrit :
> On 27/03/2018 20:04, Alain wrote:
>> Le 18-03-27 à 05:28, Sven Littkowski a écrit :
>>> Thanks. I heard about that function, but have problems to handle it.
>>>
>>> But never mind, I have all coordinates of the entire scene in my mind. I
>>> find it difficult to learn to work with so-called WYSIWYG editors, I
>>> hand-code everything. :-)
>>>
>>> ---
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>>>
>>
>> You mostly need to remenber that trace(object, start, direction) use a 
>> start location and a direction. If you change the last value, you'll 
>> trace in different directions.
>>
>> trace(Deck, <PosX, 1000, PosZ>, -y)
> 
> 
> Even I can use it. ;-)
> 
> Use PosX, PosZ to describe a grid with a loop. And check that
>    (vlength (Norm)!=0) and do some stuff
> 
> 
> Hmm! I had an extra variable:
> 
> #declare Inter = trace (Trace_object_,< Pos_x, Pos_y, Pos_z >, z, Norm);
> 
> #if (vlength (Norm)!=0)
> 
> 
> Then do some stuff.
> 
> #end
> 
> 
> Alain probably knows and uses a more efficient way of coding it than I 
> do/can.
> 
> 

If you can be reasonably sure that all your start points are over the 
target object, then, you can omit the normal parameter.
But, yes, taking the normal into account is normally preferable.

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Le 18-03-27 à 23:30, Sven Littkowski a écrit :
> Thanks Alain and Stephen.   :-)
> 
> The item is what is to be checked for (like the name of a Declare union,
> I would assume).
> 
> The first coordinate is from where the search ray is starting?
> 
> The second coordinate is towards which direction (destination) the
> search ray is heading?
> 
> Norm contains the coordinates of a hit?
> 
> 
> ---
> Diese E-Mail wurde von AVG auf Viren geprüft.
> http://www.avg.com
> 

The correct way to use trace with an arbitrary, oddly shaped, target 
object is :
#declare Normal =<0,0,0>;
#declare SurfacePoint= trace(<PosX, 1000, PosZ>, -y, Normal);
#if(vlength(Normal))
	...do your stuff...
#end

"SurfacePoint" will contain the location of the point directly under 
<PosX,1000,PosZ>, or <0,0,0> it the trace miss the object. As a 
legitimate point may be at that location, this is not a reliable way to 
know if the trace hit or not.
"SurfacePoint" contain the location that interest you.

If the trace miss the target object, Normal have a zero length. If it 
find the object, Normal contain the normal of the surface at that point 
as an a unit length vector.


Alain

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On 29/03/2018 00:19, Alain wrote:
> Le 18-03-27 à 16:33, Stephen a écrit :
>> On 27/03/2018 20:04, Alain wrote:
>>> Le 18-03-27 à 05:28, Sven Littkowski a écrit :
>>>> Thanks. I heard about that function, but have problems to handle it.
>>>>
>>>> But never mind, I have all coordinates of the entire scene in my 
>>>> mind. I
>>>> find it difficult to learn to work with so-called WYSIWYG editors, I
>>>> hand-code everything. :-)
>>>>
>>>> ---
>>>> Diese E-Mail wurde von AVG auf Viren geprüft.
>>>> http://www.avg.com
>>>>
>>>
>>> You mostly need to remenber that trace(object, start, direction) use 
>>> a start location and a direction. If you change the last value, 
>>> you'll trace in different directions.
>>>
>>> trace(Deck, <PosX, 1000, PosZ>, -y)
>>
>>
>> Even I can use it. ;-)
>>
>> Use PosX, PosZ to describe a grid with a loop. And check that
>>    (vlength (Norm)!=0) and do some stuff
>>
>>
>> Hmm! I had an extra variable:
>>
>> #declare Inter = trace (Trace_object_,< Pos_x, Pos_y, Pos_z >, z, Norm);
>>
>> #if (vlength (Norm)!=0)
>>
>>
>> Then do some stuff.
>>
>> #end
>>
>>
>> Alain probably knows and uses a more efficient way of coding it than I 
>> do/can.
>>
>>
> 
> If you can be reasonably sure that all your start points are over the 
> target object, then, you can omit the normal parameter.
> But, yes, taking the normal into account is normally preferable.


Thanks for the tip. :-D

-- 

Regards
     Stephen

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On 28/03/2018 19:01, Sven Littkowski wrote:
> Wow, I did not knew about these "latest" developments! You can see,
> since how long I lost touch. Sad and good news in one.
> 
> I registered the software now, after all these years, thanks to you. :-)
> 

And I had bun and cheese in celebration. :-)


-- 

Regards
     Stephen

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"Bun and Cheese"? I thought, that was a purely Jamaican thing - they
sell it here that way. So it is a wider English thing, I recognize.
Again learned something new and absolutely important... :-D

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Thanks. I will copy the code and use it as reference for later usage.
Good help here in this group. :-)

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UPDATE

The ship has now a very beautiful main stairway at the prow, and I also
added raw versions of the decks, housings and other features to come.
Still working on the details and features of the main deck, before I can
go one deck higher and continue there.

A big problem for this project is the need of 3D persons of the American
1850s (and some animal types, too). I cannot create them by myself, and
also did not find any. I can only hope to meet someone who can create
them based on my needs. Frustrating...


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Attachments:
Download 'sl - mississippi paddle-wheel steamer - atop side.jpg' (807 KB) Download 'sl - mississippi paddle-wheel steamer - stairs.jpg' (538 KB) Download 'sl - mississippi paddle-wheel steamer - prow - side.jpg' (530 KB)

Preview of image 'sl - mississippi paddle-wheel steamer - atop side.jpg'

Preview of image 'sl - mississippi paddle-wheel steamer - stairs.jpg'

Preview of image 'sl - mississippi paddle-wheel steamer - prow - side.jpg'

I am just seeing these "fragments" or distortions, where the eagle is. I
wonder what is causing them. Could it be, using six digits after the
period point could cause this?

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On 29/03/2018 23:21, Sven Littkowski wrote:
> "Bun and Cheese"? I thought, that was a purely Jamaican thing - they
> sell it here that way. So it is a wider English thing, I recognize.
> Again learned something new and absolutely important... :-D
> 


Sorry to disappoint you, Sven. You can only get it where there are lots 
of Jamaicans, living in the area. It was one of the many things I took 
home with me from Jamaica. (I still can't cook rice and peas properly. I 
can't get the spices right.)


-- 

Regards
     Stephen

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UPDATE

I almost completed the stern section of the ship. But I am not yet
applying any textures to the ship (with exception of the big painting) -
that comes as the last of all steps.


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Attachments:
Download 'sl - mississippi paddle-wheel steamer.jpg' (2641 KB)

Preview of image 'sl - mississippi paddle-wheel steamer.jpg'

UPDATE

Starting to "build" the Lancashire boilers and engines...

Frustrating:I need so much 3D humans of the 1850s and can't get them...


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Attachments:
Download 'sl - mississippi paddle-wheel steamer.png' (3996 KB) Download '2595548900_19aed8a646.jpg' (150 KB) Download 'a64803a26667823b324da4dfc7242dbd.jpg' (53 KB) Download 'boilercutaway.png' (353 KB) Download 'lancashire boiler - 1844 - 02.jpg' (17 KB) Download 'lancashire boiler - 1844 - 03.jpg' (148 KB) Download 'lancashire boiler - 1844 - 04.jpg' (76 KB) Download 'lancashire boiler - 1844 - 06.jpg' (70 KB) Download 'lancashire boiler - 1844 - 07.png' (81 KB)

Preview of image 'sl - mississippi paddle-wheel steamer.png'

Preview of image '2595548900_19aed8a646.jpg'

Preview of image 'a64803a26667823b324da4dfc7242dbd.jpg'

Preview of image 'boilercutaway.png'

Preview of image 'lancashire boiler - 1844 - 02.jpg'

Preview of image 'lancashire boiler - 1844 - 03.jpg'

Preview of image 'lancashire boiler - 1844 - 04.jpg'

Preview of image 'lancashire boiler - 1844 - 06.jpg'

Preview of image 'lancashire boiler - 1844 - 07.png'

On 3-4-2018 19:40, Sven Littkowski wrote:
> UPDATE
> 
> Starting to "build" the Lancashire boilers and engines...

Good.

> 
> Frustrating:I need so much 3D humans of the 1850s and can't get them...

Because that is a hell of a job and no mistake.

-- 
Thomas

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I know. I don't mind to create these humans by myself, but it is almost
impossible to find the 1850s props (cloth, hairstyles) for them online.

Based on what I (don't) see online, I start to believe that almost
nobody since the existence of rendering has created historic people and
uploaded them (with exceptions of those used on TV, but they are never
uploaded). People mostly use our render technologies to create sexy
babes, more or less naked, and that's all. :-(

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Am 04.04.2018 um 13:44 schrieb Sven Littkowski:
> I know. I don't mind to create these humans by myself, but it is almost
> impossible to find the 1850s props (cloth, hairstyles) for them online.

Did you check on Daz3D? I'm sure they have /something/ fitting. You'll
have to pay for the work though that was put into modelling the stuff -
while DAZ Studio is free, most of the content is not.

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On 4-4-2018 13:44, Sven Littkowski wrote:
> I know. I don't mind to create these humans by myself, but it is almost
> impossible to find the 1850s props (cloth, hairstyles) for them online.

That is why I say, a hell of a job.

> 
> Based on what I (don't) see online, I start to believe that almost
> nobody since the existence of rendering has created historic people and
> uploaded them (with exceptions of those used on TV, but they are never
> uploaded). People mostly use our render technologies to create sexy
> babes, more or less naked, and that's all. :-(
> 

the 1850's are so... 19th century! Not sexy at all. :-)

-- 
Thomas

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On 05/04/2018 07:44, Thomas de Groot wrote:
> On 4-4-2018 13:44, Sven Littkowski wrote:
>> I know. I don't mind to create these humans by myself, but it is almost
>> impossible to find the 1850s props (cloth, hairstyles) for them online.
> 
> That is why I say, a hell of a job.
> 

It might be easier to use billboards.
They have gone out of fashion.


-- 

Regards
     Stephen

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On 5-4-2018 9:30, Stephen wrote:
> On 05/04/2018 07:44, Thomas de Groot wrote:
>> On 4-4-2018 13:44, Sven Littkowski wrote:
>>> I know. I don't mind to create these humans by myself, but it is almost
>>> impossible to find the 1850s props (cloth, hairstyles) for them online.
>>
>> That is why I say, a hell of a job.
>>
> 
> It might be easier to use billboards.
> They have gone out of fashion.
> 
> 

I have thought about that but you still need originals to make 
billboards of. In the end it would be much more efficient memory-wise of 
course when a large number of figures are needed.

-- 
Thomas

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UPDATE

I enabled textures, and get this result. Have to make some changes to
the textures, but otherwise feel good with them.


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Attachments:
Download 'sl - mississippi paddle-wheel steamer - midships.jpg' (1511 KB)

Preview of image 'sl - mississippi paddle-wheel steamer - midships.jpg'

I went to DAZ 3D, and also to MakeHuman, and also to Poser 3D, as well
as even to SketchUp. Nothing that can be used. I am condemned by the gods.

UPDATE
I have contracted now a 3D artist in Algeria where I get good prices,
and he will have now the headache to create those things for me (I gave
him contemporary photos and illustrations). The price is okay, and I
will get a sample before. I will be able to purchase these 3D people of
the 1850s in small batches.

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Around 100.

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If you really like that idea, I as a Third-World guy could actually send
you First-World guy a First Aid Kit, ensuring your survival in a harsh,
bitter, bun-and-cheese-less world.   ;-)

In this case, Paypal. But I would have to declare it on the outside.

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Wooowwww!!! That youn still remember that underwater base...

Yes, it was modular, I could re-use the modules over and over. The deep
ocean floor was also featuring some light posts to border the area,
illuminating the green water.

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How can I find out the angle of the surface on that location where TRACE
hits?

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trace(OBJECT_IDENTIFIER, A, B, [VECTOR_IDENTIFIER]). trace helps you finding the
exact location of a ray intersecting with an object's surface. It traces a ray
beginning at the point A in the direction specified by the vector B. If the ray
hits the specified object, this function returns the coordinate where the ray
intersected the object. If not, it returns <0,0,0>. If a fourth parameter in the
form of a vector identifier is provided, the normal of the object at the
intersection point (not including any normal perturbations due to textures) is
stored into that vector. If no intersection was found, the normal vector is
reset to <0,0,0>.

Add vector identifier to your trace () and you'll get the normal vector back.
Then you can calculate the angle between that and any axis, or the point that
you're tracing from.

Post a reply to this message

Thanks a lot! I copied all information about TRACE for my reference.
Great spirit here in this group!




On 07.04.2018 19:31, Bald Eagle wrote:
> trace(OBJECT_IDENTIFIER, A, B, [VECTOR_IDENTIFIER]). trace helps you find
ing the
> exact location of a ray intersecting with an object's surface. It traces 
a ray
> beginning at the point A in the direction specified by the vector B. If t
he ray
> hits the specified object, this function returns the coordinate where the
 ray
> intersected the object. If not, it returns <0,0,0>. If a fourth parameter
 in the
> form of a vector identifier is provided, the normal of the object at the
> intersection point (not including any normal perturbations due to texture
s) is
> stored into that vector. If no intersection was found, the normal vector 
is
> reset to <0,0,0>.
> 
> Add vector identifier to your trace () and you'll get the normal vector b
ack.
> Then you can calculate the angle between that and any axis, or the point 
that
> you're tracing from.

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UPDATE

- Continuing to work on the textures or correcting them
- Hunting down mercilessly placement errors I become aware of

This image: the perch that was used for horses or cattle. Still missing:
the food and water troughs, animals, details.


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Attachments:
Download 'sl - mississippi paddle-wheel steamer - perch - 01.jpg' (1197 KB)

Preview of image 'sl - mississippi paddle-wheel steamer - perch - 01.jpg'

UPDATE

Still working on the textures, and correcting errors as I discover them.
making a good and steady progress, but the days are too short...


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Attachments:
Download 'sl - mississippi paddle-wheel steamer - midships - 02.jpg' (1287 KB) Download 'sl - mississippi paddle-wheel steamer - perch - 02.jpg' (733 KB)

Preview of image 'sl - mississippi paddle-wheel steamer - midships - 02.jpg'

Preview of image 'sl - mississippi paddle-wheel steamer - perch - 02.jpg'

On 12/04/2018 07:02, Sven Littkowski wrote:
> UPDATE
> 
> Still working on the textures, and correcting errors as I discover them.
> making a good and steady progress, but the days are too short...
> 
>

Sorry for the criticism, Sven. The planks of wood look as they have been 
cut across the grain. Mostly, the grain should run along the length of 
the plank.


-- 

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     Stephen

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Stephen <mca### [at] aolcom> wrote:

> Sorry for the criticism, Sven. The planks of wood look as they have been
> cut across the grain. Mostly, the grain should run along the length of
> the plank.

> Regards
>      Stephen

Right.  I don't think he's going to mind that sort of constructive criticism -
so no need to be sorry   :)

I was going to point that out as well, and say that the contrasts in the wood
grain and the surface normals need to be much more pronounced.  Especially on
the cut ends.

Start with a wood pattern, figure out its orientation, and align your plank with
that.
Then you can translate around in that texture-space to vary the wood grain from
plank to plank.  Then you can place that plank in its final location.

It's likely you're going to want certain features in your end product - wisps of
wood sticking up along the corners of rough-sawn lumber, tool marks, wear, dirt,
gouges and tool-marks, nails, pegs, wear from traffic, etc.

I'd say that if you're going to carry all of that through, you're quickly going
to realize that creating and placing all of that by hand for each plank is
impossible - and so you're going to need macros to do that.

Then you may need to overlay the floor as a whole with a mask of some sort to
apply dirt, hay, wear marks, changes in normals and reflectivity, etc.

I'd do those experiments in a small test scene to make it easier to see what
happens up close, keep render times down, and speed up your development.

It's a lot to work on, but if you modularize it so that you can make small
piece-wise changes, it will be manageable.

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I agree fully. I am still in the process to adjust the texture details.

And I welcome critical opinions, no need to apologize formally.   :-)

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Yes, all of what you are stating, is true - and already in progress. Hay
- I started to work on a WHILE that places thin yellow cylinders in the
rectangular area of the perch.

My main concern right now, however, is to get the textures right. The
grain visibility of the brown and yellow painted woods is how I want it,
but the directions cause me headache. I might have to develop a texture
for each direction, lots of rewriting. At the moment, the texture is
TRANSLATED randomly to avoid repeating patterns.

Another thing I really want to do is to apply some nice surface
reflections to the lumber, like those you see in these two attached,
wonderful images that are the result of other POV-Ray artists. A
challenge is that since I use a RANDOM TRANSLATE for the wood grain, I
need to apply the same values for the TRANSLATE inside the FINISH
statement. Lots of rewriting...

The deck texture is going to be a real hardship. I want to use a
modified BRICK pattern, where a wood texture is replacing the red brick
texture. That's the easy part and done already. But I also need to find
a way, to randomly TRANSLATE each texture INSIDE each brick to avoid
that the grain continues from brick field to brick field. That's my
challenge now. I opened already, days ago, another thread where I was
talking about this challenge.


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Attachments:
Download '0007.jpg' (135 KB) Download 'unnamed.jpg' (111 KB)

Preview of image '0007.jpg'

Preview of image 'unnamed.jpg'

MACRO Question:

I can declare a double texture this way:

#declare MyTexture =
 texture { Texture1 }
 texture { Texture2 }
;

But a similar construct seems to be impossible as macro. I tried
successless this:

#macro MyTexture(SomeParameter)
 texture { Texture1 }
 texture { Texture2 }
#end

Is there any way to create a macro with a double texture?

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> Is there any way to create a macro with a double texture?

Yes.

> #macro MyTexture(SomeParameter)
> #declare MyTexture =
>  texture { Texture1 }
>  texture { Texture2 }
> #end


The macro is just a "wrapper" when you invoke a macro, it's just a directive to
tell the POV-Ray parser "and now use the following bit of code [using the
supplied parameters, if any]:"

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Le 18-04-12 à 11:16, Sven Littkowski a écrit :
> Yes, all of what you are stating, is true - and already in progress. Hay
> - I started to work on a WHILE that places thin yellow cylinders in the
> rectangular area of the perch.
> 
> My main concern right now, however, is to get the textures right. The
> grain visibility of the brown and yellow painted woods is how I want it,
> but the directions cause me headache. I might have to develop a texture
> for each direction, lots of rewriting. At the moment, the texture is
> TRANSLATED randomly to avoid repeating patterns.
> 
> Another thing I really want to do is to apply some nice surface
> reflections to the lumber, like those you see in these two attached,
> wonderful images that are the result of other POV-Ray artists. A
> challenge is that since I use a RANDOM TRANSLATE for the wood grain, I
> need to apply the same values for the TRANSLATE inside the FINISH
> statement. Lots of rewriting...
> 
> The deck texture is going to be a real hardship. I want to use a
> modified BRICK pattern, where a wood texture is replacing the red brick
> texture. That's the easy part and done already. But I also need to find
> a way, to randomly TRANSLATE each texture INSIDE each brick to avoid
> that the grain continues from brick field to brick field. That's my
> challenge now. I opened already, days ago, another thread where I was
> talking about this challenge.
> 
> 
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> 

The first use isosurfaces for each plank.
Here is the code for the planks (not mine):
/* --------------------------
IRTC Entry fractals: 0007
WWW:
Title: Oops, I dropped it on the floor!
Author: Juha Nieminen
   Since I'm not artistically very talented nor I know too much about 
making fractals,
   I resorted to a cheap trick: Photorealism (or sort of). Perhaps that 
will give me a vote or two... :)
   The object itself is naturally a (3D slice of a) 4D julia fractal. 
Nothing unconventional per se,
   and not really fancy in itself, but when used in a proper scene with 
some photorealistic effects
   (lighting, floor shape and texture, focal blur) it looks like a cool 
mole of metal.
---------------------------*/

union
{ #declare Seed = seed(0);
   #declare Ind = -1;
   #while(Ind < 16)
     object { Plank translate<-8+2*Ind, 0, -10*rand(Seed)> }
     #declare Ind = Ind+1;
   #end
   texture// Base wood texture
   { pigment
     { wood color_map
       { [0 rgb <.8,.5,.3>][.5 rgb <.7,.45,.2>][1 rgb <.65,.4,.2>]
       }
       turbulence .5
       scale <1,1,10>
     }
     finish { specular albedo .8 reflection { 1 fresnel } }
     normal
     { average normal_map
       { [1 bumps .4 scale <.1, .1, 1>]
         [1 dents 1 scale .1]
       }
     }
   }
   texture// Weathering and dirt texture
   { pigment
     { bozo color_map
       { [0 rgb 0 transmit .5]
         [.5 rgbt 1]
       }
       scale 5
       warp { turbulence 2 }
       scale 1/5
     }
   }interior{ior 1.7}
   translate z*(rand(Seed)-rand(Seed))*10
}

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Yes, I think, i get that. But even so, I am not yet figuring out how to
use it properly with two textures. I wonder even, if I need to declare a
texture as seen with the other example, inside the macro.

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Still not succeeding with the texture macro (while I know how to use
macros for other things). Here is, what I have. Doesn't work the one or
other way.


#macro MyYellowSimpleDir(MyOrientation)
 #if(MyOrientation="X")
//  #declare MyYellowSimple =
   texture { MyYellowWood rotate < 00.0, 00.0, 90.0 > rotate < 00.0,
00.0, 00.0 > }
   texture { MyYellowSimple }
//  ;
 #elseif(MyOrientation="Y")
//  #declare MyYellowSimple =
   texture { MyYellowWood rotate < 0.0, 0.0, 00.0 > rotate < 00.0, 00.0,
00.0 > }
   texture { MyYellowSimple }
//  ;
 #elseif(MyOrientation="Z")
//  #declare MyYellowSimple =
   texture { MyYellowWood rotate < 0.0, 0.0, 90.0 > rotate < 00.0, 00.0,
00.0 > }
   texture { MyYellowSimple }
//  ;
 #end
#end

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There are any number of ways to do this, coding the macro for readability,
flexibility, or compactness of code.

Here are just a few quick examples:




#version 3.7;

global_settings {
 assumed_gamma 1.0
}
#include "colors.inc"

sky_sphere {pigment {rgb <1, 1, 1>*0.2}}

camera {
   location <50, 90, -80>    // position & direction of view
  look_at  <0, 0, 0>
  right x*image_width/image_height           // horizontal size of view
  up y // vertical size of view
 }

light_source {<25, 25, -50> color White}

/*
3.6.2.1.30 Wood Pattern
The wood pattern consists of concentric cylinders centered on the z-axis.
When appropriately colored, the bands look like the growth rings and veins
in real wood. Small amounts of turbulence should be added to make it look
more realistic. By default, wood has no turbulence.
Unlike most patterns, the wood pattern uses the  triangle_wave wave type by
default.
This means that like marble, wood uses color map values 0.0 to 1.0 then repeats
the
colors in reverse order from 1.0 to 0.0. However you may use any wave type.
The wood pattern has a default color_map built in that results in a light and
dark brown pattern with sharp transitions.
*/

#declare Size = 10;
#declare Box = box {<1,1,1>*(-Size), <1,1,1>*Size}

#declare WoodZ = texture {pigment{wood}}
#declare WoodY = texture {WoodZ rotate x*90}
#declare WoodX = texture {WoodZ rotate y*90}

#declare Woods = array [3] {WoodX, WoodY, WoodZ}

#for (N, -1, 1)
 object {Box texture {Woods[N+1]} translate x*N*Size*3}
#end




#macro Assign_Wood_Texture (Orientation)
 #declare A = Orientation*<1, 2, 3>;
 #declare Alignment = A.x + A.y + A.z;
 #switch (Alignment)

 #case (1)
  texture {WoodX}
 #break

 #case (2)
  texture {WoodY}
 #break

 #case (3)
  texture {WoodZ}
 #break

 #else
  #debug "Not a valid orientation vector \n\n"
 #end // end switch - case/range - break
#end

#macro Assign_Wood_Texture2 (Orientation)
 #declare A = Orientation*<1, 2, 3>;
 #declare Alignment = A.x + A.y + A.z;
 texture {Woods[Alignment-1]}
#end




object {Box  Assign_Wood_Texture (x) translate x*(-1)*Size*3 translate z*40}
object {Box  Assign_Wood_Texture (y) translate x*( 0)*Size*3 translate z*40}
object {Box  Assign_Wood_Texture (z) translate x*( 1)*Size*3 translate z*40}



object {Box  Assign_Wood_Texture2 (x) translate x*(-1)*Size*3 translate z*90}
object {Box  Assign_Wood_Texture2 (y) translate x*( 0)*Size*3 translate z*90}
object {Box  Assign_Wood_Texture2 (z) translate x*( 1)*Size*3 translate z*90}

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Still no success. I believe, I converted your example into my code, but
I am getting the error:
"Parse Error: No matching } in 'texture', 'texture' found instead."


And this is the code that called this macro:


box { < -1.2, 0.0, -1.1 > < -1.1, 1.0,  1.1 > texture {
MyYellowSimpleDir(z) } } // Z

box { < -0.8, 0.0, -1.1 > <  1.2, 1.0, -1.0 > texture {
MyYellowSimpleDir(x) } } // X

box { < -0.2, 0.0,  0.0 > <  0.2, 2.0,  0.1 > texture {
MyYellowSimpleDir(y) } } // Y



Do you see anything that I don't see? I admit, I am rendering in the
evening hours until I fall asleep. I am often enough over-tired.


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Attachments:
Download 'pov-ray error.jpg' (228 KB)

Preview of image 'pov-ray error.jpg'

Sven Littkowski <I### [at] SvenLittkowskiname> wrote:
> Still no success. I believe, I converted your example into my code, but
> I am getting the error:
> "Parse Error: No matching } in 'texture', 'texture' found instead."

So then instead of

box { < -1.2, 0.0, -1.1 > < -1.1, 1.0,  1.1 > texture {
MyYellowSimpleDir(z) } } // Z

do

box { < -1.2, 0.0, -1.1 > < -1.1, 1.0,  1.1 >
MyYellowSimpleDir(z) } // Z

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Oh man, THAT was it!!! Thanks!

To declare a texture macro, is somewhat different to declare an item
macro (object)! A texture macro has no wrapping before its call.

Trust me, I could have spent many more days and weeks with this problem.
i learned something new today about the POV-Ray scene language. That
opens many doors to many new future usages...

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UPDATE

Did excessive works on many textures, more to come. In zoom, the ship
textures start finally to look remarkable.

The water area around the ship looks different because it will work with
photons. But that's still to come. Once I have a photon map, I will make
all water looking the same again.

Corrosion spots added. Dirt and paint irregularities added.
Constructional irregularities added. 1855s US flag added.


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Attachments:
Download 'sl - mississippi paddle-wheel steamer - stern.jpg' (1053 KB)

Preview of image 'sl - mississippi paddle-wheel steamer - stern.jpg'

On 28/04/2018 08:59, Sven Littkowski wrote:
> UPDATE
> 
> Did excessive works on many textures, more to come. In zoom, the ship
> textures start finally to look remarkable.
> 
> The water area around the ship looks different because it will work with
> photons. But that's still to come. Once I have a photon map, I will make
> all water looking the same again.
> 
> Corrosion spots added. Dirt and paint irregularities added.
> Constructional irregularities added. 1855s US flag added.
> 

This is coming along nicely.
Unique drive mechanism. :-)
I'm not too sure about the "Eye shaped pattern" on the crank linkage.

Bolts are generally in straight lines on girders. Although if space is 
tight every second row can be staggered to allow spanner room.



-- 

Regards
     Stephen

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Le 18-05-03 à 07:30, Stephen a écrit :
> On 28/04/2018 08:59, Sven Littkowski wrote:
>> UPDATE
>>
>> Did excessive works on many textures, more to come. In zoom, the ship
>> textures start finally to look remarkable.
>>
>> The water area around the ship looks different because it will work with
>> photons. But that's still to come. Once I have a photon map, I will make
>> all water looking the same again.
>>
>> Corrosion spots added. Dirt and paint irregularities added.
>> Constructional irregularities added. 1855s US flag added.
>>
> 
> This is coming along nicely.
> Unique drive mechanism. :-)
> I'm not too sure about the "Eye shaped pattern" on the crank linkage.
> 
> Bolts are generally in straight lines on girders. Although if space is 
> tight every second row can be staggered to allow spanner room.
> 
> 
> 
The key word here is "generally". In this case, where the mechanism is 
visible, and in a time when aesthetics was more of a concern, it was not 
uncommon to add some extra bolts, or rivets, that where mostly for 
decoration.

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On 03/05/2018 18:46, Alain wrote:
> Le 18-05-03 à 07:30, Stephen a écrit :

>>
>> Bolts are generally in straight lines on girders. Although if space is 
>> tight every second row can be staggered to allow spanner room.
>>
>>
>>
> The key word here is "generally". In this case, where the mechanism is 
> visible, and in a time when aesthetics was more of a concern, it was not 
> uncommon to add some extra bolts, or rivets, that where mostly for 
> decoration.



Funnily enough, when I was writing that post. I remembered some of the 
decorative wrought ironwork. I have seen in Paris.
The extra rivets were the "golden rivets", I suppose. ;-)




-- 

Regards
     Stephen

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Am 07.04.2018 um 07:26 schrieb Sven Littkowski:
> I went to DAZ 3D, and also to MakeHuman, and also to Poser 3D, as well
> as even to SketchUp. Nothing that can be used. I am condemned by the gods.

Update: DAZ 3D currently has clothes on sale labeled "Victorian", so
that should match the era; not sure if they work for the Americas though.

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Hi.

Yes, i saw them. They are better for English scenes. The 1850s Southern
USA had very different styles, and much more colorful, too. :-)

But big thanks anyway! It is the spirit that counts!   :-)

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