This is the book I've been looking for...it's not your usual 'software' book. This is one of those books that will still be viable in 5 years time because most of the advice/tutorials in this book are focused on helping you see things differently, as an artist, to peel away the layers of texture and recognise each of them. This isnt a book for people who want to learn new software or media, it's one for those who wish to improve their texturing skills. 4 outta 5 because nothing's perfect. The CD isn't great, but it does come with a few sample movies but should have come with more free textures...at least. But you arnt buying it for the CD, buy it for the book, because the book is great!
What strikes me about this book, is the seriousness and devotion that Owen Demers has for this topic. I have seldomly seen such wonderful piece of work. My congratulations to the author and publisher for accomplishing such a thoroughly high quality release! This book is really what ALL artist should be forced to read at any point, but preferably the beginning, of their careers. It focuses on developing the art of seeing as the most important tool in your arsenal. Once you can SEE, then you can reconstruct any complicated or simple texture. This is of course a project so great that a lifetime is not enough, but nonetheless, I have never seen it handled better than in Digital Texturing & Painting. I love the idea that traditional artists will be able to find tons of insights in this book for digital artists. The new are teaching the old. But again even though the explicit theme of the book is textures for 3D purposes, the teaching is that this is just another tool, the underlying priciples are the same as in all visual art. This is one book you should run to get now. Simply because it will make you a better artist, in whatever field you are, now and for good.
Strictly for amateurs. As a computer game artist, I'm always on the look out for fast helpful ways to improve my texturing skills and I thought this book maybe the key - bad move. Unfortunately, 90% of the methods stated in the book are plain obvious to anyone who has any idea about creating textures and mapping models, and the other methods are too long winded to be practical. Who in their right mind has the time to actually "sculpt" reptile skin, paint it and then scan it into Photoshop BEFORE actually digitally working on it? It's just crazy.... Also, colour theory is all well and good, but surely anyone with the slightest interest in creating their own textures has enough basic knowledge to get started, a full chapter on colour theory is a waste, anyone can find this stuff on the net. In fact, the book seems to have more than its fair share of this type of "filler" with very little being thoroughly useful. Why print a full chapter discussing traditional painting, sure, there is a logical step if you push it far enough, but it would have been easier to get the reader to explore this avenue by themselves. The CD ROM was also very disappointing, containing the same movie, with motion blur, without motion blur, with distance blur, without distance blur, in 8-bit, in 24-bit - who cares? Why couldn't New Riders just cram the CD with good quality textures - it would have been the books only saving grace.....
An absolutely must have if you are a serious animator. This book will not only teach you how to texture your models, but also delves into the less subtle areas such as colour and lighting. After reading this book you should find that you will be able create more eye pleasing animations. Although it can get quite technical with some animator jargon i still give it 5 stars
I wanted to check this book out, because as a user of Maya, building shaders has been given new power. The mathematical utilities within the package allow the user to achieve a great deal of complexity in the construction of shaders. However, the spaceship tutorial in the learning maya books, although very good only got me so far. This new riders book didn't really get much further than the spaceship tutorial. The first half of the book doesn't even deal with digital texturing, but is spent expanding the reader's knowledge of color and lighting theory. While this is perhaps well written and useful, the practical part of the book remaining at the end of the theory section only gets the chance to texture one case study character model and his simple spaceship. I was hoping to get inside the power of Maya's shader nodes. In one of the few juicy parts in the book, the mysterious sampler info node was used. Great, until it tells you what to do with it to create a fly-eye shader, and doesn't actually explain what's going on. The book even goes to say that it is deliberately missing out the shader theory as it is too tricky. I still have no idea how to use a sampler info node, or many other of the mystery utilities behind Maya's powerful shading engine. If you are a Maya and 3d beginner and cannot get hold of the Learning Maya manual for whatever reason, this is a useful aid. With anything more than a year's experience of Maya/3d, the tutorials are too basic (although well written) so the book is reduced to a color theory text. The book (as it claims) is not software specific although it is really a Maya book in the tutorial section. Users of other software will again find the color theory useful, assuming they don't know it already. When will somebody write a good book on shaders/MEL-scripting/advanced Maya?