Textures

"Artists: Hector Acebes, Derrick Adams, Karo Akpokiere, Deborah Anzinger, Keturah Ariel, April Bey, Charles Bohannah, Margaret Bowland, Nakeya Brown, Jean-Baptiste Carpeaux, Tawny Chatmon, Sonya Clark, David Driskell, Sarah Duah, Andrew Esiebo, Joseph Eze, Amber Ford, Yrneh Gabon, Olaf Hajek, Nakazzi Hutchinson, Shara K. Johnson, Eric Lafforgue, Annie Lee, Delita Martin, Charlotte Mensah, Lebohang Motaung, Zanele Muholi, Althea Murphy-Price, Nontsikelelo Mutiti, Woodrow Nash, Sharon Norwood, Glenford Nuñez, Charly Palmer, Gordon Parks, Faith Ringgold, Lezley Saar, Augusta Savage, Ngozi Schommers, Devan Shimoyama, Mary Sibande, Lorna Simpson, Nelson Stevens, Ibrahima Thiam, James Van Der Zee, Lina Viktor, Nafis White, Kehinde Wiley, Masa Zodros (and dozens of unidentified artists across African and American people groups)."-- Publisher website.

Tis text has resulted from some forty years of experience during which the author has puzzled over the meaning of ore textures. Te learning process has been slow and is still incomplete. Te bemusement began directly upon leaving the academic confnes, which in retrospect lef one keen young geologist very ill-equipped to interpret the mineralising process via feld or hand lens style observation of the rocks. Enlightenment has proceeded via a series of events:- 1. Te slow process of feld observation as an industry-based mine and exploration geologist. 2. Te opportunity to visit numerous diferent styles of ore deposit both as an academic and consultant. 3. Te need to answer questions from several generations of enquiring students. 4. Te privilege of being able to conduct research. 5. Te good fortune to be associated with a few top class economic geologists who actually knew what they were doing! Professor Willard C. Lacy deserves the most credit for quietly demonstrating the value of frst principles concerning fuid channelways, combined with an ability to look properly at the t- tures. Despite rapid technological advances this skill remains fundamental both to the practi- ing exploration geologist and to the academic researcher who is interested in understanding ore forming processes. Te fve volumes comprising this presentation were originally compiled individually over a period of eleven years, and aimed to progressively guide the observer though the principles of recogn-i tion concerning infll, alteration, overprinting, and fnally to ore-related breccias.

Series statement from publisher's description.

Capture the feel of your subject on paper. Learn every technique you’ll need to give your colored-pencil drawings realistic, palpable texture. Named One of the 54 Best Colored Pencil Drawing Books of All Time by BookAuthority* There has never been a better opportunity to master textures. Knowing how to make your surfaces and textures look real is one of the most challenging aspects of creating art in colored pencil, even for experienced artists. 101 Textures in Colored Pencil provides artists with step-by-step instructions for drawing a wide variety of the most common textures and surfaces, including sand, water, metals, foliage, wood, fabrics, stone, grass, hair, and many more. To get you started, this comprehensive guide opens with a review of tools and materials as well as basic skills, such as strokes, effects, and color mixing. Plus, the book is organized into sections based on subject matter, so you can easily find the specific texture you’re looking for. Just a sample of the textures you will learn to render: People: smooth skin; aged skin; straight, curly, and wavy hair; lips Animals & Insects: smooth, curly, and course canine fur; elephant skin; feather; fish scales Fabrics & Textiles: burlap, tweed, silk, velvet, leather, lace, sequins Glass, Stone, Ceramics, Wood & Metal: porcelain, polished silver, hammered brass, peeling paint Food & Beverage: red wine, cut citrus fruit, coconut, peach, dark chocolate Nature: smooth and rough bark, moss, river pebbles, still and rippled lake, clouds 101 Textures in Colored Pencil includes all the textures you need to create realistic masterpieces in colored pencil.

Join artist, author, and popular online art teacher Ana Victoria Calderón to learn simple painting techniques that will help you cultivate your creative flow and create beautiful art. Through experimentation and exploration, Watercolor Textures for Artists embraces a playful approach to create a wide variety of textures, from organic lines to repeating patterns to spontaneous spatter, unlocking new creative possibilities and expanding artistic horizons. Texture swatching. Find simple step-by-step tutorials for applying beautiful textures to simple shapes. Inspired textures. See how textures in the world around us can serve as inspiration for watercolor textures. Mindful painting. Create interesting effects using simple circles, dots, brushstrokes, and lines. Mystical landscapes and skyscapes. Learn how to combine textures to create relaxing vistas. A chapter on essential supplies gives an overview of everything you need, and templates make it easy to recreate the images with minimal drawing. Written for artists of all skill levels, Watercolor Textures for Artists reveals how to transform simple painted textures into stunning and meditative works of watercolor art.

Master texturing and rendering in this part-color guide to create realistic materials in Blender like a pro by exploring the various tools and workflows and understanding the underlying mechanism of realism Key Features Understand the underlying workings in Blender that allow the creation of materials and textures Leverage the concepts of Look Development and transform into a visual storyteller Masterfully render and present your 3D artwork by simulating highly realistic environments, lights, and visual effects in Cycles Purchase of the print or Kindle book includes a free PDF eBook Book DescriptionBlender is one of the most versatile tools in the 3D software industry, and with a growing audience and constantly expanding set of features, it has become more powerful, useful, and in demand than ever before. This updated fourth edition of Photorealistic Materials and Textures in Blender Cycles is an all-inclusive guide to procedural texturing, rendering, and designing materials in Blender, covering all aspects of the 3D texturing workflow. The book begins by introducing you to Blender’s material nodes and material property functions, and then helps you create photorealistic textures by understanding texture maps and mapping them to 3D models. As you advance, you’ll learn to design high-quality environments and lighting using HDRIs and Blender’s lighting options. By exploring, breaking down, and studying the underlying mechanics that allow you to develop these elements, you’ll create any material, texture, or environment and use it to improve your artwork and present them in a professional way. Finally, you’ll discover how to correctly set up scenes and render settings, and get to grips with the key elements of achieving realism. By the end of this book, you’ll have gained a solid understanding of materials, textures, shading, lighting, rendering, and all the critical aspects of achieving the highest quality with your 3D artwork.What you will learn Create realistic materials in Blender using material nodes Understand physically based rendering (PBR) materials to create high-quality textures Complete a 3D model design with materials by correctly mapping textures Harness Blender's texture painting features to create custom textures Create realistic lighting and HDRI environments for your models Control, animate, and optimize the 3D camera to prepare your scenes Render your scenes into beautiful artwork Who this book is for If you want to learn how to create high-quality materials, textures, and renders to enhance your Blender skills and become a professional 3D artist, then this book is for you. Game developers, 3D artists, architects, animators, freelancers, and other professionals who aim for realism, quality, and aesthetics will also find this book useful. Although no previous material or texturing knowledge is required, a basic understanding of the Blender UI and modeling experience will help you make the most of this book.

The classical, phenomenological theory of plastically anisotropic materials has passed a long way: from the work of von Mises presented in 1928, and the HilI formulation given in 1948, to the latest papers on large elastic-plastic deformations of anisotropic metal sheets. A characteristic feature of this approach is a linear flow rule and a quadratic yield criterion. Mathematical simplicity of the theory is a reason of its numerous applications to the analysis of engineering structures during the onset of plastic deformations. However, such an approach is not sufficient for description of the metal forming processes, when a metal element undergoes very large plastic strains. If we take an initially isotropic piece of metal, it becomes plastically anisotropic during the forming process, and the induced anisotropy progressively increases. This fact strongly determines directions of plastic flow, and it leads to an unexpected strain localization in sheet elements. To explain the above, it is necessary to take into account a polycrystalline structure of the metal, plastic slips on slip systems of grains, crystallographic lattice rotations, and at last, a formation of textures and their evolution during the whole deformation process. In short, it is necessary to introduce the plasticity of crystals and polycrystals. The polycrystal analysis shows that, when the advanced plastic strains take place, some privileged crystallographic directions, called a crystallographic texture, occur in the material. The texture formation and evolution are a primary reason for the induced plastic anisotropy in pure metals.