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Relevant bibliographies by topics / Substance painter

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Academic literature on the topic 'Substance painter'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 May 2022

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Journal articles on the topic "Substance painter"

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Marx, Annegret. "Blau aus der Waschküche: Wege einer Farbe nach Äthiopien." Aethiopica 4 (June 30, 2013): 158–68. http://dx.doi.org/10.15460/aethiopica.4.1.494.

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In traditional Ethiopian paintings a shining blue is observed. An analysis of four objects from the Museum Haus Völker und Kulturen in St. Augustin shows that they were painted with laundry blue. This substance is of varying composition, and has contained synthetic ultramarine since 1830. Laundry blue was of daily use and carried by travellers and missionaries. It was widely used by painters because of its shining colour and good technical properties. In this article the most likely paths by which synthetic ultramarine could have reached Ethiopia are described. This can be shown to have taken place several decades before 1900, the date that has been hitherto assumed to mark the introduction of synthetic colours. The German Zander was probably the first painter in Ethiopia to decorate a church (Därasge Maryam) with synthetic ultramarine in 1852.

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Safonov, Egor I., Danil A. Parunov, and Alexander D. Sinyagin. "Development of a virtual reality simulatorreplacing the check valve on christmas tree." Yugra State University Bulletin 17, no. 4 (2021): 71–83. http://dx.doi.org/10.17816/byusu20210471-83.

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The article describes the stages of the process of creating a virtual reality simulator using the example of a standard operating procedure for replacing a check valve on a Christmas tree. A brief overview of the Christmas tree arrangement and an analysis of the stages of the check valve replacement are described. A short algorithm has been developed based on 11 out of 16 implemented stages. The choice of hardware platform and software is substantiated. Using the Christmas tree as an example, the processes of creating a three-dimensional model and unfolding textures in the three-dimensional editor 3ds Max, creating color maps, reflection and texture normals in the graphical editor Substance Painter are described. The process of creating a landscape in the Unity3D environment is described. Oculus Integration and VR TK assets were used in the development of the main scripts.

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Van De Wetering, Ernst. "De paletten van Rembrandt en Jozef Israëls, een onderzoek naar de relatie tussen stijl en schildertechniek." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 137–60. http://dx.doi.org/10.1163/187501793x00162.

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AbstractIn 1906, on the occasion of the Rembrandt jubilee, Jozef Israels bore witness to his lifelong admiration of Rembrandt and his art, conjuring up a picture of the master working on the Night Watch. The vision he evoked was of a painter in the throes of creation, 'dipping his broadest brushes deep into the paint of his large palette' in order to give more power and relief to certain areas of the painting. The author contends that this description is not consistent with what really went on in 17th-century studios. Numerous arguments support the hypothesis that up into the 19th century palettes were not only much smaller than the 19th-century ones envisioned by Jozef Israels, but that they did not usually carry the complete range of available oil-based pigments. On thc contrary, painters adhered to the diehard tradition of loading their palettes with a limited number of tints suitable for painting a certain passage. Support for this proposition comes from various directions. The most important sources are paintings of studio scenes and self-portraits of painters with their palettes. Examination of the depicted palettes, an examination conducted on the actual paintings, has yielded plausible grounds for assuming that painters strove for verisimilitude in their renderings of palettes. This is borne out by the surprising consistency of the examined material. On certain 15 th and 16th-century representations of St. Luke painting the Madonna, his palette is seen to contain only a few shades of blue, with occasionally white and black. Other palettes on which a greater variety of colours are depicted are incomplete, representing the range needed for the parts of the painting which were the most important and most diflicult to paint - the human skin. Texts by De Mayerne and Beurs gave rise to this assumption. One of the chief duties of the apprentice was to prepare his master's palettes. According to a dialogue in the late 17th-century Volpato manuscript, the master's mere indication of which part of the painting he was going to work on sufficed for the apprentice to prepare the palette. This implies that a specific number of pigments were necessary for the depiction of a particular element of reality. The idea is supported by the countless recipes for the depiction of every part of the visible world which have been handed down to us, notably in Willem Beurs' book but in other sources too. The implication is that the method of a 17th-century artist differed fundamentally from that of artists of the second half of the 19th century and the 20th century. Whereas there are substantial grounds for assuming that painters of the latter period tended to work up an entire painting more or less evenly, painters of earlier centuries executed their work - over an underdrawing or an underpainting in sections, on a manner which is best compared with the 'giornate' in fresco painting. This kind of method does not necessarily mean that a painter did not proceed from a tonal conception of an entire painting. Indeed, Rembrandt's manner of underpainting shows that his aims did not differ all that much from, say, Jozef Israels. Technical and economic circumstances are more likely the reason why painters continued to work in sections in the Baroque. With regard to the economic aspect: grinding pigments was a lengthy operation and the resulting paint dried fast. Consequently, no more pigments were prepared than necessary, so as to avoid waste. With regard to the technical aspect: before the development of compatible tube paints, whose uniformity of substance and behaviour are guaranteed by all manner of means, painters had to take into account the fact that every pigment had its own characteristics and properties; some pigments were not amenable to mixing, others were transparent by nature, other opaque, etc. This is best illustrated by paintings of the 15th and 16th centuries. However, the tradition persisted into the 17th century and was also carried on by Rembrandt, as scientific research has shown. Neutron-activating radiographic examination reveals that certain pigments only occur in isolated areas (as far as these pigments were not used in the monochrome undcrpainting). Scrutiny of paint samples has moreover revealed that a layer of paint does not as a rule contain more than two to five, or in very exceptional cases six, pigments. Having been made aware of this procedure, however, we can also observe it in stylistic characteristics of the painting, and we realize that for the aforesaid reasons a late Rembrandt is more akin to a Raphael than to a Jozef Israels. In the 19th-century discussion of the relationship of style and technique, figures like Semper contended that this relationship was an extremely close one. Riegl, proceeding from the concept of 'Kunstwollen', regarded technique as far less important, more as the 'frictional coefficient' in the realization of a style; while not denying technique's effect on style, Riegl did not consider its influence to be as crucial as Semper did. Paul Taylor's recent research into the concept of 'Houditng' have demonstrated the extent to which aspects as tone and colour served to create an illusion of space in the 17th century, the chief priority being the painting as a tonal and colouristic entity. If we assume that the working principles of a 15th and a 17th-century painter did not fundamentally differ, it becomes clear that the pictorial 'management' involved in attuning tones and colours so convincingly as to produce the tonal unity so typical of Baroque painting, was quite an achievement. The technical and economic limitations mentioned above in connection with the palette may thus be seen as exemplifying Riegl's view of technique as a frictional coefficient in achieving pictorial ends.

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Walmsley, A., and T. P. Kersten. "LOW-COST DEVELOPMENT OF AN INTERACTIVE, IMMERSIVE VIRTUAL REALITY EXPERIENCE OF THE HISTORIC CITY MODEL STADE 1620." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W17 (November 29, 2019): 405–11. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w17-405-2019.

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Abstract. As virtual reality and 3D documentation and modelling technologies become increasingly powerful and affordable tools for architecture, planning, and cultural heritage preservation and communication, it has become increasingly important to develop low-cost methodologies for the creation of 3D immersive virtual environments and interactive experiences. Doing so makes this technology more viable for institutions such as museums and other cultural institutions, who often work within strict budgets. In this paper, we describe a workflow used to build an interactive, immersive virtual reality experience around a virtual city model of the town of Stade (Germany) in the year 1620. This virtual city model is based on a physical 3D model of the town, exhibited in the Stade town hall. The workflow begins with the digitization of this model using digital photogrammetry, followed by the subsequent low- and high-polygon modelling of the individual architectural assets in Autodesk Maya, texture mapping in Substance Painter and finally visualisation within Unreal Engine 4. The results of this workflow are a detailed 3D historical environment with a high degree of realism and in which interactivity can easily be added. In addition, the workflow takes a highly iterative approach that allows the performance of the virtual environments in the game engine to be monitored at each stage of the process, and that allows adjustments to be made quickly. To increase the potential of the virtual environment as a tool for education and communication, interactive elements and simple game mechanics are currently being integrated.

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Khashaba, E., M. El-Helaly, AH El-Gilany, SM Motawei, and S. Foda. "Risk factors for non-fatal occupational injuries among construction workers: A case–control study." Toxicology and Industrial Health 34, no. 2 (2017): 83–90. http://dx.doi.org/10.1177/0748233717733853.

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Background: Substance abuse is a serious problem, because it affects both workers and young people. Prevalence and consequences of cannabis abuse among construction workers in particular are not well studied in Egypt. Objectives: To determine the association between non-fatal occupational injuries among construction workers and their demographic and occupational factors and to assess the frequency of cannabis abuse and its relationship to injury severity and workdays lost. Subjects and methods: A case–control study was conducted at Mansoura Emergency Hospital. Cases were 100 acutely injured male workers. A control group of 90 healthy age-matched workers was selected from 8 construction sites. Workers were interviewed, and a questionnaire was completed that included socio-demographic data, full occupational history, and causes and type of injury. Injury outcome measures included lost workdays and the injury severity score (ISS). Cannabis abuse in injured workers was monitored by preliminary testing of urine and confirmatory testing of blood. Results: Logistic regression analysis revealed that the independent predictors of occupational injuries were rural residence, being a carpenter or painter and past history of injuries. The most common accidents were slipping falls (62%). Confirmed cannabis test was positive in 51.1% of the injured workers. Median days away from work were greater among cannabis users than non-users. The ISS was significantly higher among users compared to non-users ( p < 0.05). Conclusion: Cannabis abuse can increase injury severity and prolong workdays lost. Drug testing is recommended for at-risk construction workers with inadequate safety measures.

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Kiepuszewski, Łukasz. "Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession." Ikonotheka, no. 30 (May 28, 2021): 51–67. http://dx.doi.org/10.31338/2657-6015ik.30.3.

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Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898–1964), Artur Nacht-Samborski (1898– 1974), and Jan Cybis (1897–1972). The focus on the strategy of incorporating physiognomy into the matter of painting stems from the fact that on this particular level the intensification of the relationship between the author’s image and his painterly gesture gains the strongest self-reflective potential. This allows for a reading of self-portraits as developing the artist’s reflections about art and himself, included in theoretical writings and intimate journals. Analyses presented in this paper can, therefore, be defined as an attempt to recreate rhetoric of the painterly trace on the basis of choices particular for given work. In this optic, crucial are these aspects of painting that manifest a form of the author’s subjective investment in artistic activity: from emphasising the distance through which the painting presents itself as a code offered to the viewer to decipher (as in Nacht-Samborski’s work) through to declarations to blur the boundary between the artist and the work, which results in an almost organic communion of the body and the matter of painting (Cybis).

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Alekand, Katrin. "Henna: ühe kehamuutmistehnika lugu / Henna: The Story of One Body Transformation Technique." Studia Vernacula 5 (November 5, 2014): 172–82. http://dx.doi.org/10.12697/sv.2014.5.172-182.

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The henna bush (Lawsonia inermis) is known the world over for the colour imbuing properties of its leaves. Henna leaves contain a dye that has been used in many cultures and religious traditions for medicinal, cosmetic and decorative purposes. The orange-reddish colour of henna comes from lawsone, a substance found in the leaves – henna tannic acid. To obtain the colour from the leaf cells, henna leaf powder is mixed with an acidic liquid. The paste is then applied to skin, hair, nails or animal fur, and the henna tannic acid binds with a keratinized protein molecule. The colour fades as hair, fur and nails grow out and as dead skin cells naturally slough off.Use of henna to adorn the skin has become popular and widespread around the world. Its popularity requires us to study the history, traditions and safety of the technique and to develop a scientific rationale. Although henna has been mentioned in various respects by cultural historians, botanists and anthropologists, scholarly research into the technique is yet in its infancy.In traditional henna cultures, some now consider the use of the plant oldfashioned – people prefer either ready-to-use commercial pastes made by the cosmetics industry or “black henna”, which carries serious health risks. In the West, henna has become a separate art form in its own right: practitioners dispense know-how and place value on the fact that every henna artist mixes his or her own paste and is not afraid to share his or her knowledge. Knowledge as to what is used and why it is used ensures responsibility for both the outcomes and the customer’s health. This requires at least a elementary knowledge of the history and traditions of the plant and of the body art techniques, and of the biochemistry and physiology of the human skin.Henna paintings are a visually appealing, safe, temporary body art form – something well within the means of any amateur with an interest in the subject. When using henna, it is important to remember that natural henna is always orange-red on the skin after the paste is removed, oxidizing to a darker colour within 24–48 hours. Maximum darkness and permanence depend on different factors, of which only the quality of the paste can be controlled by the henna painter.

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Alekand, Katrin. "Henna: ühe kehamuutmistehnika lugu / Henna: The Story of One Body Transformation Technique." Studia Vernacula 5 (November 5, 2014): 172–82. http://dx.doi.org/10.12697/sv.2014.5.172-182.

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The henna bush (Lawsonia inermis) is known the world over for the colour imbuing properties of its leaves. Henna leaves contain a dye that has been used in many cultures and religious traditions for medicinal, cosmetic and decorative purposes. The orange-reddish colour of henna comes from lawsone, a substance found in the leaves – henna tannic acid. To obtain the colour from the leaf cells, henna leaf powder is mixed with an acidic liquid. The paste is then applied to skin, hair, nails or animal fur, and the henna tannic acid binds with a keratinized protein molecule. The colour fades as hair, fur and nails grow out and as dead skin cells naturally slough off.Use of henna to adorn the skin has become popular and widespread around the world. Its popularity requires us to study the history, traditions and safety of the technique and to develop a scientific rationale. Although henna has been mentioned in various respects by cultural historians, botanists and anthropologists, scholarly research into the technique is yet in its infancy.In traditional henna cultures, some now consider the use of the plant oldfashioned – people prefer either ready-to-use commercial pastes made by the cosmetics industry or “black henna”, which carries serious health risks. In the West, henna has become a separate art form in its own right: practitioners dispense know-how and place value on the fact that every henna artist mixes his or her own paste and is not afraid to share his or her knowledge. Knowledge as to what is used and why it is used ensures responsibility for both the outcomes and the customer’s health. This requires at least a elementary knowledge of the history and traditions of the plant and of the body art techniques, and of the biochemistry and physiology of the human skin.Henna paintings are a visually appealing, safe, temporary body art form – something well within the means of any amateur with an interest in the subject. When using henna, it is important to remember that natural henna is always orange-red on the skin after the paste is removed, oxidizing to a darker colour within 24–48 hours. Maximum darkness and permanence depend on different factors, of which only the quality of the paste can be controlled by the henna painter.

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Salvant, Johanna, Julie Barten, Francesca Casadio, et al. "László Moholy-Nagy’s Painting Materials: From Substance to Light." Leonardo 50, no. 3 (2017): 316–20. http://dx.doi.org/10.1162/leon_a_01430.

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This article presents results from an extensive scientific examination of the painting materials used by László Moholy-Nagy. The artist employed modern materials, such as metals and plastics, alongside more traditional artists’ oil paint and canvas, creatively manipulating these diverse media to generate a unique visual vocabulary. This study highlights the intimate link between the material properties and the expressive content of Moholy-Nagy’s painted works.

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Yurenkova, L. R., I. A. Voronin, and N. A. Kostyaev. "Improving the method of grinding substances to a nanostate." Glavnyj mekhanik (Chief Mechanic), no. 2 (February 26, 2021): 28–33. http://dx.doi.org/10.33920/pro-2-2102-03.

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At the end of the 20th century, a theory was put forward, suggesting that with the help of universal molecular robots, it would be possible to collect any objects from improvised molecules according to a given program. The process was called "nanotechnology". The term «nano» comes from the Greek word "nanos" (dwarf) and corresponds to one billionth of a unit. Nanotechnology is the most modern and advanced direction of science and technology development. The excavations of archaeologists prove that nanomaterials were widely used in the ancient world, for instance, the Mayan civilization used clay, the structure of which contained nanofragments. In ancient Mesopotamia, weapons and glasses painted with metal nanoparticles were produced. In 2007, the state corporation "Russian Corporation of Nanotechnologies" was officially registered in Russia. For the implementation of processes occurring at the molecular level, it was necessary to develop methods for grinding substances to design new substances with super-efficient properties. Due to the introduction of nanotechnology to science, technology, medicine and other fields, there will be significant changes in people's lives. Recently, the problem of introducing nanotechnology into medicine and pharmacology to obtain effective medicines of superhigh quality is especially urgent. One of the main issues nanotechnologists are facing is the problem of grinding substances to a nanostate. The existing processes of grinding substances often require not only high energy costs and labor intensity, but also do not allow achieving the desired result. The article presents an original method of grinding various substances to the molecular level by grinding the molecules of the substance with the particles of the complex "carbyne-cyclic ion-ligand" during the rotation of the complex under the influence of an external electric field. The conducted laboratory tests confirm the effectiveness of the proposed method.

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Dissertations / Theses on the topic "Substance painter"

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Криштоп, М. О. "Платформа з вивчення зразків озброєння та військової техніки". Master's thesis, Сумський державний університет, 2018. http://essuir.sumdu.edu.ua/handle/123456789/71866.

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Дипломний проект присвячений розробці платформи з вивчення бойової машини ПТРК 9П149. В роботі проведено аналіз існуючих платформ та тренажерів з різного виду озброєння, а також проведено проектування платформи. В роботі представлено створення 3D зразка бойової машини, текстурну розгортку корпусу та окремих елементів, анімацію ураження цілі та руху ПТРК 9П149. Процес імпорту моделі та різних видів анімації до UNREAL ENGINE 4. Результатом проведеної роботи є створення платформи з вивчення зразків озброєння та військової техніки з можливістю подальшого створення рівнів та її наповнення новими зразками техніки.

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Eldstål, Emil. "Generating Procedural Environments using Masks : Layered Image Document to Real-time environment." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74667.

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This paper will explore the possibilities of using an automated self-made procedural tool to create real-time environments based on simple image masks. The purpose of this is to enable a concept artist or level designer to quickly get out results in a game engine and to be able to explore ideas. The goal of this thesis was to better understand how you can break down simple ideas and shapes into more complex details and assets. In the first part of this thesis, I go over the traditional workflow of creating a real-time environment. I then go on and break down my tool, what it does and how it works. I start off with a Photoshop file, make tools in Houdini and then utilize those in Unreal for the end result. I also argument about the time-saving possibilities with these tools. From the work, I draw the conclusion that these kinds of tools save a lot of time for repeating tasks and the creation of similar environments.

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Agada, Otokpa C.-M. "Catalytic efficiency of zerovalent iron compounds as paint driers compared with conventional substances: The use of ferrocene and other iron compounds as driers in autoxidative paint systems at ambient and elevated temperatures." Thesis, University of Bradford, 1985. http://hdl.handle.net/10454/3543.

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Novel paint driers based on iron co-ordination complexes were investigated for use as stoving finishes in oil-based coatings. Cis 9, cis 12-octadecadienoic acid was employed as a model vehicle because of its high drying capacity. Iron compounds generally have low catalytic efficiency at low temperatures which however improve with rises in temperature. The catalytic efficiency of some iron compounds was compared with those of some conventional driers at room temperature; 60 C, 80 C and 1200 C. To make the results comparative, equal weights of drier (0.05%) metal were employed in one series of experiments. In another series, a much higher concentration (0.25%) metal based on the weight of 9,12-octadecadienoic acid was employed. Equal weights of drier combination(s) and variable drier weights were examined to determine synergism or antagonism in the autoxidative systems. Maximum oxygen absorption, changes in iodine and peroxide values were monitored to determine a comparative catalytic performance of the driers at the reaction temperatures used. The reactivity of iron co-ordination complexes was found to be influenced by the organic compound with which the iron is chelated. Zerovalent iron complexes can be employed as high temperature driers. For convenience some common names have been used for major chemicals of importance in this work, e. g., Linoleic acid; cis 9, cis 12-octadecadienoic acid. Ferrocene; dicyclopentadienyl iron.

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Agada, Otokpa Christopher-Marius. "Catalytic efficiency of zerovalent iron compounds as paint driers compared with conventional substances : the use of ferrocene and other iron compounds as driers in autoxidative paint systems at ambient and elevated temperatures." Thesis, University of Bradford, 1985. http://hdl.handle.net/10454/3543.

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Novel paint driers based on iron co-ordination complexes were investigated for use as stoving finishes in oil-based coatings. Cis 9, cis 12-octadecadienoic acid was employed as a model vehicle because of its high drying capacity. Iron compounds generally have low catalytic efficiency at low temperatures which however improve with rises in temperature. The catalytic efficiency of some iron compounds was compared with those of some conventional driers at room temperature; 60 C, 80 C and 1200 C. To make the results comparative, equal weights of drier (0.05%) metal were employed in one series of experiments. In another series, a much higher concentration (0.25%) metal based on the weight of 9,12-octadecadienoic acid was employed. Equal weights of drier combination(s) and variable drier weights were examined to determine synergism or antagonism in the autoxidative systems. Maximum oxygen absorption, changes in iodine and peroxide values were monitored to determine a comparative catalytic performance of the driers at the reaction temperatures used. The reactivity of iron co-ordination complexes was found to be influenced by the organic compound with which the iron is chelated. Zerovalent iron complexes can be employed as high temperature driers. For convenience some common names have been used for major chemicals of importance in this work, e. g., Linoleic acid; cis 9, cis 12-octadecadienoic acid. Ferrocene; dicyclopentadienyl iron.

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Moran, Michael Patrick. "Dissociation of hexavalent chromium from primer paint particles into simulated mucus fluid /." Download the thesis in PDF, 2005. http://www.lrc.usuhs.mil/dissertations/pdf/Moran2005.pdf.

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Abbass, Omed Akber. "Ozone Interaction with Indoor Building Materials and HVAC Filters." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/3771.

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As modern life develops, humans spend most of their time inside buildings. Understanding the effects of different building materials that exist indoors on indoor air quality is crucial to ensure comfort, health, and productivity of building occupants. Indoor air quality (IAQ) is an important field of building science that focuses on studying the existence of different compounds indoors. These compounds include: airborne particles such as dust, volatile organic compounds (VOCs) such as carbonyls, reactive gases such as radon, ozone and others. Ozone is a strong oxidant gas that has adverse effects on human health, and is highly reactive with building materials that exist indoors. This reaction may reduce its concentration indoors, but may produce other by-products that could be more harmful for human health than ozone itself. In this dissertation, ozone reaction with different building materials is investigated in four studies. The first includes studying the effect of indoor carpet fiber type on ozone removal and carbonyl emissions. This study provides valuable data and knowledge about the importance of selecting carpet type and its effect on indoor environment. In the second study, different indoor plants were tested to evaluate their ability to remove ozone. The results from this study show wide variation between plants tested on ozone removal. Also, the ability of plants as ozone removal agent changes as light levels change. The third part studies ozone removal efficiency of HVAC filters previously installed in air handling units located on green and white membrane roofs of a commercial building. Detailed filter surface analysis using scanning electron microscope (SEM) was performed to understand the nature of deposits on these filters. The reason for differences in ozone removal efficiency of two filters in comparison with new filter is also discussed. The fourth study investigated ozone removal and carbonyl emissions from three different VOC content indoor latex paints. The outcomes from this research show that zero VOC latex paint has the most ozone effective removal capacity and this paint is the least carbonyl emitter. The research presented in this dissertation adds new data, valuable knowledge, and expands the understanding of the importance of selecting indoor materials to raise indoor air quality and make the buildings' indoor environment healthier and safer.

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Нікітін, Владислав Андрійович, та Vladyslav Nikitin. "Створення 3D моделі комп’ютерної гри для Unity Asset Store засобами Blender та Substance Painter". Bachelor's thesis, 2021. http://elartu.tntu.edu.ua/handle/lib/35794.

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Кваліфікаційна робота присвячена розробці 3D моделі для комп’ютерної гри з використанням Blender та Substance Painter. В першому розділі кваліфікаційної роботи розглянуто засоби, з допомогою яких відбувається створення моделі, їх інтерфейс та основні принципи роботи. В другому розділі кваліфікаційної роботи розглянуто етапи створення виско-кополігональної та низькополігональної моделі, UV-розгортку та текстурування. В третьому розділі кваліфікаційної роботи розглянуто питання безпеки життєдіяльності та охорони праці. Мета роботи: пройти всі етапи створення 3D моделі, яка буде готова для використання в ігрових рушіях.<br>Qualification work is devoted to the development of a 3D model for a computer game using Blender and Substance Painter.Purpose: to go through all the stages of creating a 3D model that will be ready for use in game engines. The first section of the qualification work discusses the means by which the model is created, their interface and the basic principles of work. The second section of the qualification work considers the stages of creating a high-polygonal and low-polygonal model, UV-scanning and texturing. In the third section of the qualification work the issues of life safety and labor protection are considered.<br>ВСТУП 7 1 ОГЛЯД СЕРЕДОВИЩ РОЗРОБКИ 8 1.1 Огляд Blender 8 1.2 Огляд Substance Painter 11 2 РЕАЛІЗАЦІЯ ПРОЕКТУ 13 2.1 Створення викокополігональної 3D моделі 13 2.2 Деталізація високолігональної моделі 15 2.3 Створення низькополігональної моделі та її оптимізація 18 2.4 Матеріали та UV розгортка 23 2.5 Експорт моделей 31 2.6 Запікання карт 34 2.7 Текстурування моделі 37 2.8 Імпортування моделі в Unity Asset Store 45 2.9 Висновок до другого розділу 46 3 БЕЗПЕКА ЖИТТЄДІЯЛЬНОСТІ, ОСНОВИ ХОРОНИ ПРАЦІ 47 3.1 Підбирання оптимальних параметрів мікроклімату на робочих місцях 47 3.2 Вимоги до виробничого освітлення та його нормування 48 3.3 Психофізіологічне розвантаження для працівників 49 3.4 Висновки до третього розділу 50 ВИСНОВКИ 51 ПЕРЕЛІК ДЖЕРЕЛ 52 ДОДАТКИ

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Books on the topic "Substance painter"

1

Smart, Tom. The art of Mary Pratt: The substance of light. Goose Lane Editions, 1995.

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Pollution, Illinois Bureau of Land. Guide to household paint disposal. Illinois Environmental Protection Agency, Bureau of Land Pollution, 1992.

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Illinois. Environmental Protection Agency. Bureau of Land. Guide to household paint disposal: How to deal with unused or unwanted paint. Illinois Environmental Protection Agency, Bureau of Land, 1997.

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M, Coluccio Vincent, ed. Lead-based paint hazards: Assessment and management. Van Nostrand Reinhold, 1994.

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Dagdigian, Chris. Abrasive blasting, high pressure washing and lead-based paint in San Francisco. The Bureau], 1994.

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Services, Illinois Dept of Human. Facts you should know about inhalants. Illinois Dept. of Human Services, 2004.

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Illinois. Dept. of Human Services. Datos que usted debe saber inhalantes. Illinois Dept. of Human Services, Bureau of Customer and Provider Assistance, 2004.

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Dagdigian, Chris. Abrasive blasting, high pressure washing and lead-based paint in San Francisco. The Bureau], 1994.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490.

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Li, Jingtian, Kassandra Arevalo, and Matthew Tovar. Creating Games with Unreal Engine, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003053101.

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Book chapters on the topic "Substance painter"

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Kumar, Abhishek. "Substance Suite and Substance Painter." In Beginning PBR Texturing. Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5899-6_6.

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Kumar, Abhishek. "Texturing Assets Using Substance Painter." In VR Integrated Heritage Recreation. Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-6077-7_7.

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Kumar, Abhishek. "Tips and Tricks of Substance Painter." In Beginning PBR Texturing. Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-5899-6_19.

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Zoolfakar, Md Redzuan, Muhammad Zaihasrul Zahari, and Fatin Zawani Zainal Azaim. "Natural Superhydrophobic Material as Alternative Substance in Antifouling Paint." In Advanced Structured Materials. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92964-0_8.

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Eklund, Britta, and Jenny Karlsson. "Assessing Chemical Risks: Evaluating Products Rather than Substances, and the Case of Anti-fouling Paints." In Regulating Chemical Risks. Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-9428-5_11.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "Maya Modeling." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-1.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "Rigging." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-10.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "FPS Animation in Maya." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-11.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "Auto Rigging." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-12.

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Li, Jingtian, Adam Watkins, Kassandra Arevalo, and Matthew Tovar. "Introduction to C#." In Creating Games with Unity, Substance Painter, & Maya. CRC Press, 2020. http://dx.doi.org/10.1201/9781003050490-13.

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Conference papers on the topic "Substance painter"

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Mosser, Mark F. "Progress on Environmentally Compliant Aluminum Ceramic Compressor Coatings." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-54294.

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During the last decade there has been an increasing emphasis on compliance to ever stricter environmental laws as well as compliance to regulations that have been designed to protect workers from exposure to toxic or otherwise harmful substances or processes. This world-wide emphasis has forced a continuing review of materials and processes used in the manufacture and protection of compressor materials from corrosion. Turbine compressors have been coated with silicone aluminum paint, diffused nickel cadmium and aluminum pigmented ceramic coatings that contain hexavalent chromium. These three processes utilize various chemicals including toxic substances, carcinogens and volatile organic compounds (VOC). All three of the coating processes need to be either made compliant or eliminated from use. This paper will review efforts that have been made to develop compliant aluminum ceramic compressor coating materials as applied to various steel and stainless steel substrates. In all cases the new materials that have been developed are free of toxic or carcinogenic materials. Test results will be compared to specification requirements for chrome containing compressor coatings in the area of physical properties including surface finish, thickness and adhesion. Additionally, environmental test data will be presented based on standard test methods that compare new compliant coatings with conventional chrome containing materials. Finally, process steps and conditions will be described for these new coatings.

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