text:
Wings 3D/User Manual/The Face Operations Menu

Reference
If one or more faces are selected, right clicking in the workspace will display the Face Operations Menu. This will allow you to perform functions unique to face manipulations.

Move
Normal – moves the selected face or faces along their normal(s).

Free – Will move the selected face(s) in the direction of mouse movement. Since all movement takes place on planes that are parallel to the monitor screen, some care is needed to avoid problems when used in a general 'tumbled' view. This command is especially useful when used in conjunction with View | X,Y or Z, as it allows the user to keep moved faces on the 2D axial planes associated with the relevant viewing direction. If working with background reference images, Ortho should also be used (with View | XYZ) to eliminate perspective distortion issues.

X – constrains movement along the x axis.

Y – constrains movement along the y axis.

Z – constrains movement along the z axis.

Rotate
Connected faces (Regions) will rotate about their collective center of mass. Non connected, isolated faces will rotate about their individual centers of mass.

Free – Will rotate the selected faces in the direction of mouse movement. Note that the axis of rotation is perpendicular to the plane of the monitor screen.

X – constrains rotation about the x axis.

Y – constrains rotation about the y axis.

Z – constrains rotation about the z axis.

Scale
Uniform – Scales the face uniformly in all directions at once.

X – Scales the face in the x axis.

Y – Scales the face in the y axis.

Z – Scales the face in the z axis.

Radial X (YZ) – Scales the face radially from the x axis; i.e. The distances in y and z are effected while x remains constant.

Radial Y (XZ) – Scales the face radially from the y axis so that the y dimension remains constant.

Radial Z (XY) – Scales the face radially from the z axis; so that the z dimension remains constant.

Extrude
Normal – extrudes the selected face(s) along their normal(s). By extruding in the negative normal direction you can create indentations into the body of the object, such as a mouth or nostrils.

Free – will extrude the selected face(s) in the direction of mouse movement.

X – constrains the extrusion along the x axis.

Y – constrains the extrusion along the y axis.

Z – constrains the extrusion along the z axis.

Extrude Region
Normal – extrudes the selected face(s) along their normal(s) as a unit. By extruding in the negative normal direction you can create indentations into the body of the object, such as a mouth or nostrils. By using Extrude Region on a group of faces rather than simply using Extrude, you keep the faces joined together into one coherent surface, which is often preferable to having distinct stems "growing" out of the object.

Free – will extrude the selected face(s) in the direction of mouse movement.

X – constrains the extrusion along the x axis.

Y – constrains the extrusion along the y axis.

Z – constrains the extrusion along the z axis.

Extract Region
Normal – extract faces and then move the faces along the regions normal.

Free – extract faces and then move faces freely in all directions.

X – extract faces and then move them along the X axis.

Y – extract faces and then move them along the Y axis.

Z – extract faces and then move them along the Z axis. Extracts a region, or group of faces, from the parent object to create a completely new object. Note that the faces do not have to be contiguous. To create a new object that abuts the original object do an Extract Region and immediately left click without moving the mouse, to lock it in place. You probably will not be able to successfully select the new object due to the underlying original and may have to use the Hide function in the Object enu to hide the parent object so that you can work with the new object. If you have created a new object from non abutting faces and want to work with them as separate objects, then use the Separate command to break them into their component parts.

Flatten
Normal

X

Y

Z

Last Axis

Default Axis

Region Sometimes faces can become non-planar as you work with your model, especially if you Move vertices. This can cause problems latter. One way to fix a non-planar face is to Flatten it, i.e., get all of its vertices onto the same plane. Smoothing the model will also create planar faces, but if you do not want to smooth your model, you can Flatten offending faces. It is also good for setting up geometry for further manipulation, so that extrusions go in the direction you want them to go, for example.

If you have a default axis defined (see Tools | Set Default Axis) you can flatten to that axis or you can flatten to the last axis used. Flatten Region will flatten the edge loop, the boundary between selected and non-selected faces, of the selected faces. Note that the vertices on the edge loop become planar, not the faces contained therein.

Inset
This creates a new face, of the same shape, inside the selected face. It works on one or more faces at a time, creating a new face for each of the selected faces. This could be used, for example, to create a picture inside a picture frame. The inner face could then be extruded in the negative direction to cause the frame to stand out. You can also Inset and make the new face larger than the original face. See the Dog House Tutorial in Section 3 of this manual for an example of this in action.

Intrude
You can make some very cool models very quickly with the intrude function. It is especially handy for making lattice work type of objects, such as the Eiffel Tower or a bird cage. It works by creating an inverted copy of the entire object, then doing a Bridge on all pairs of selected faces. The thickness of the walls is controlled by how far you move the mouse during the operation. The Dog House tutorial in this manual demonstrates the Intrude function quite nicely.

Bevel
Bevels all the edges of the selected face or faces simultaneously, thus creating a smaller selected face and small surrounding faces.

Bridge
Causes two co-planer or nearly co-planar faces to snap together, thus fusing new geometry between them. Only two faces can be selected at a time for Bridge. The faces must have the exact same number of edges and vertices but can be shaped differently. This can be used to attach one object to another, one part of the same object to another part of the same object, or to create holes in an object if the selected faces are on opposite sides of the object.

Bump
Moves selected faces out along their normals while at the same time creating new faces that meld into the existing geometry via newly beveled faces that are created. This is great for building up muscle tone on a model.

Lift
The Lift Command is only available if Advanced Menus are activated. Therefore, Lift will be discussed in the Advanced Menus section.

Put on
The Put On command allows you to drop one object onto another, much like dropping a box to the ground. Select the face you want to put onto another object then select Put On from the Face Menu. The Icon Bar will change to show you that you can select a vertex, edge or face to put the object on. Select the vertex, edge, or face you want and then Right Click to execute. The first object will jump into place right on the vertex, edge, or face you selected on the second object. This can be very useful when you go to weld parts together with the Bridge command.

Quick Tip – Put On and Bridge

To perform a bridge-like function at the same time, select both faces prior to Put On and Store | Selection. Use Put On, then Recall | Selection, Bridge, Cleanup, etc. This is quite quick, especially if on hot keys.

Mirror
Mirrors an object around one or more selected faces. By choosing multiple faces to perform Mirror multiple mirrors are performed simultaneously in the direction each face points. Thus care must be exercised on complex models least self colliding geometry be created. The Mirror command is most effective for doing symmetrical modeling, wherein only half of a model is built, then a mid model face is selected and Mirror used to create the other half of the model. If you maintain a clean central edge loop while modeling you can model, Mirror, continue to model, select the middle edge loop and do a Loop Cut, Delete the half of the model that needs to be updated, and then Mirror again.

Quick Tip: Fix that mirror plane.

If you use the Loop Cut, model, and Mirror method described above you will sometimes find that the object does not Mirror back together properly. This is often caused by the mirror face getting out of kilter i.e. non- planar, while modeling. Mirroring in such cases will cause a real mess. To fix it up, select the mirror face and do a Flatten on the appropriate axis to make it planar again. Then do the Mirror to make a whole object from the half. Finally, select Tools | Center All to get the whole thing re-centered in the workspace.

Dissolve
Deletes inner faces in a region of faces. You can also slice an object into several parts with the Dissolve command by selecting the faces that would separate the parts and doing a Dissolve. The parts will still be grouped as one object until you use the Separate command (in Object selection mode) to separate them.

DRAFT 1.6 83

� Section 5.2 The Context Sensitive Menus WINGS3D USER MANUAL FACE MENU | COLLAPSE

Deletes the selected faces, replacing each face with a vertex. The selection mode will be changed to Vertex, and the newly created vertices will be selected, allowing you to apply further commands.

Smooth
Connects all the edges of a face and tightens up the vertices so as to form a smoother shape from the original face. You can make round eyes from square faces with Smooth.

Quick Tip: Smooth To Check For Anomalies.

To check for self colliding 'internal' geometry smooth once and eyeball in wireframe mode, as it won't usually be obvious as an unsmoothed wireframe.

Set Material
New – Will prompt you for a Material Name in a pop-up dialog. Type in a new name of your choice and click OK. This will bring up the Material Editor as pictured here.

Here you can custom design a material to be applied to the selected face by setting the properties Diffuse, Ambient, Specular, Emission, Shininess, and Opacity. The ball on the left will show a preview of your material design and starts out as a neutral gray. To change any of the first four settings simply click on the box to bring up a color mixer. In the color mixer you can type in the RGB values in the fields on the left or use the slider bars to interactively mix the color. Once satisfied, click on OK. The ball on the left will immediately change to reflect your settings. Click OK again when you have finished adjusting all the settings to your liking. The new material will be added to the list of materials along with Default and Hole, with the name that you gave it. This new material can then be applied to any face selection you choose with the Face | Set Material command. The materials are saved with the model. In order to see it properly you will need to look at your model as Smooth Shaded, which you can do by pressing the Tab key. Note that a File | New will purge the materials list.

Default – will set the selected faces to the Default material color.

Hole – will set the selected faces to the Hole material color.

Tesselate
Triangulate – Will convert all the polygons in the selected faces to triangles. Some programs, such as game engines, expect models to be triangulated before import.

Quadrangulate – Will fix n-gon faces by converting them to quads whenever possible or to triangles if necessary. An ngon is a polygon with more than four edges. These are generally considered bad things to have in your model. This is often useful following a Face | Smooth since that type of smooth operation can result in adjoining ngon faces.

Figure 52: The Wings Material Editor. Materials are assigned to faces, and therefore initially defined with the Material Editor accessed under the Face Menu. They can later be edited via the Material Editor accessed under the Edit Menu. 84 DRAFT 1.6


text:
Wings 3D/User Manual/The Object Operations Menu

� WINGS3D USER MANUAL Section 5.2 6The Context Sensitive Menus 5.2.5 The Object Operations Menu Figure 53: The Object Menu. If one or more objects are selected, right clicking in the workspace will bring up the Object Operations Menu. This will allow you to Object Operations Menu – General

OBJECT MENU | MOVE

Free – Will move the selected object or objects in the direction of mouse movement. This can be very useful when in Orthographic mode, since it allows you to use the mouse to move objects in two cardinal directions while "locking" out movement in the third.

X – constrains movement along the x axis.

Y – constrains movement along the y axis.

Z – constrains movement along the z axis.

OBJECT MENU | ROTATE

Free – Will rotate the selected object(s) in the direction of mouse movement.

X – constrains rotation about the x axis.

Y – constrains rotation about the y axis.

Z – constrains rotation about the z axis.

OBJECT MENU | SCALE

Uniform – Scales the object uniformly in all directions at once.

X – Scales the object along the x axis.

Y – Scales the object along the y axis.

Z – Scales the object along the z axis.

Radial X (YZ) – Scales the object radially from the x axis; i.e. The size in y and z are effected while x remains constant.

Radial Y (XZ) – Scales the object radially from the y axis so that the y dimension remains constant.

Radial Z (XY) – Scales the object radially from the z axis; so that the z dimension remains constant. Figure 53: The Body or Object Menu.

OBJECT MENU | FLIP

X – will flip the object on the X axis. Y – will flip the object on the X axis. Z – will flip the object on the X axis.

OBJECT MENU | INVERT

Invert will flip all the normals of the model, in effect turning it inside out. This can be useful if an imported model loads into Wings inverted, i.e., the normals all pointing inwards instead of outwards. Invert will fix the normals so that they all point outward. It can also be useful to fix model parts that are created via Extract Region on inward facing

DRAFT 1.6 85

� Section 5.2 The Context Sensitive Menus WINGS3D USER MANUAL regions, though it may take some getting used to working inverted.

Quick Tip: A way to create the juice object inside a glass and have it line up.

On the inside of a glass or jug create a loop that defines the height of the liquid. Then select the loop, do a Shift-L to select the region next to it (Ctrl-Shift-I if it selects the wrong side). Do an Extract Region, Normal, and click without moving. This will separate off that area and make it solid. Switch to Body Mode (B), then do an Invert, which will flip the normals to align correctly. You now have a separate juice object that fits the jug exactly.

Tip provided by Mestela.

Quick Tip: Invert vs. Intrude.

With Intrude you can create a hollow object but the inside will be the same shape as the outside. Invert, on the other hand, can be useful to create an object that has a different shape on the inside than on the outside, connected via a bridged tunnel. Using invert, can put a totally different object inside another, invert the inner object, and bridge a tunnel between inner and outer objects, to get different inner/outer volumes. Tip provided by PuzzledPaul

OBJECT MENU | TIGHTEN

This will move all the vertices of an object towards each other, or away from each other. The effect is to round out or "soften" the model with a slight Tighten, or exaggerate the angles if you "un-tighten".

OBJECT MENU | SMOOTH (S) This smoothes the model by performing a Catmull-Clarke subdivision on all the faces. This will have the effect of smoothing out angles between faces if they have not been set to hard, and eliminates poles by creating clean quad topology. If you want to maintain sharp angles in your model be sure to set the necessary edges to hard, either via the Edge Menu Hardness command, or by first doing an Auto-Smooth.

OBJECT MENU | COMBINE

This will combine the selected objects into one object. Unlike Mirror, it does not actually fuse or change any geometry. This can be very useful if you have a model composed of several parts and want to Scale, or Rotate them as a single entity. If you scale such a model without first using Combine, the parts will either pull away from each other or collide with each other since they all have their own local origins. Combine will allow you to scale everything together as if it were all one object, because they do indeed become one object. Objects need not be touching or even near each other to be combined. Object names previously assigned are lost.

OBJECT MENU | SEPARATE

If two or more objects have been fused via the Combine command, this will Separate them into their component parts. Former names will not be reestablished. Bodies that were separated by a Face | Dissolve operation can also be separated into separate bodies.

OBJECT MENU | CLEANUP

This command will find all non-intersecting vertices in the model and Collapse them. Good for maintaining the topological integrity of the model.

OBJECT MENU | AUTO-SMOOTH

This command will find all edges formed by sharp angels and automatically set them to be hard edges. Then when you Smooth the object, it will retain much of the original form and detail. By default the edge will be set to hard if the angle between the faces is more than 60 degrees. However you can set the crease angle by clicking on the parameters box to the right on the menu to suite your own needs.

86 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.2 6The Context Sensitive Menus OBJECT MENU | DUPLICATE

Creates a copy of the selected object. Moving the mouse before doing another click will move the copy in the desired direction as chosen in the sub-menu; Free, X, Y, or Z.

Free – Moves the newly created object in the direction of mouse movement.

X – The newly created object will move in +X or -X directions only.

Y – The newly created object will move in +Y or -Y directions only.

Z – The newly created object will move in +Z or -Z directions only.

OBJECT MENU | DELETE (Bksp or Del)

Will delete one or more selected objects. They can be recalled via Undo.

OBJECT MENU | MODE

This lets you shift from Vertex Color mode to Material mode on selected objects. Note that objects that have UV Texture coordinates cannot be shown with vertex colors.

OBJECT MENU | STRIP TEXTURE

This will strip the textures from an imported model.

OBJECT MENU | UV MAPPING (experimental)

This brings up the AutoUV utility, a subprogram to Wings3D. To execute AutoUV select the whole object you want to map and then choose UV Mapping (experimental) from the Object menu. The Wings geometry window will change to have only three icons at the top; Vertex, Edge, and Face selection icons. Furthermore, right clicking in the workspace will bring up a new menu (the AutoUV Menu). It is not immediately apparent what you need to do to work with AutoUV, so this and the next several posts will explore what the AutoUV options are and how to use them. Since AutoUV is experimental, all of this is, of course, subject to change. The next section will explain the use of this complex tool.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Wings 3D/User Manual/Advanced Menus

DRAFT 1.6 87

� Section 5.3 Advanced Men WINGS3D USER MANUAL 5.3 Advanced Menus We have put off discussion of advanced menus because it is generally agreed that new uses are best off leaving them alone until they have a firm grasp of basic Wings operations. However, I strongly recommend that you become proficient with the basic operations quickly and turn Advanced Menus on, and then leave them on forever since they offer so much additional modeling capability. Here we will discuss the Advanced Menu system, explain the mechanics of their use, and detail the advanced menu options available to you.

You can turn on the Advanced Menus by selecting that option in the Edit | Preferences Menu. After doing so you will see some changes to the Wings pop-up context sensitive menus. Most notably, the small sub-menu indicators on the right side of the menus change from small arrowheads to

small dots. This is your visual clue that Advanced Menus are enabled. Also, the Lift command becomes available in the Face Operations menu.

What Advanced Menus do for you is enable secondary selections. This does not sound all that significant at first, but it is. Just what a "secondary selection" is may need a little explanation. After making your primary selection, say you select an edge, normally you will be given options to manipulate that edge along its normal, free, or along the positive or negative X, Y, Z axis only. Sometimes you would like to use another axis, or vector, to work from. This is what enabling secondary selections does for you. It allows you to define just about any vector as the axis of operation for a given command. Consider the simple example presented in Figure 54.

88 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.3 Advanced Men Figure 54: Standard vs. Advanced Menus.

In the top two panels are screen shots taken with the standard menus on. In 54.a you can see that we can move the selected vertex along its Normal, Free, or in the X, Y or Z directions only. 54.b shows the result of moving the vertex along X by 0.5 units. Now take a look at panel 54.c, where Advanced Menus have been turned on, and compare it to panel 54.a. Notice two things

immediately. First the arrowheads in 54.a have become small dots in 54.c. Second, the messages on the status bar have changed dramatically. Be sure to pay attention to the status bar when modeling in Wings, especially when you have Advanced Menus on, for very important instructions are given there. In this case the status bar is telling you that a Left mouse click [L] will allow you

DRAFT 1.6 89

� Section 5.3 Advanced Men WINGS3D USER MANUAL to move along the standard axis, just like normal, but that a Right mouse click [R] will allow you to select a user defined axis to move along. In panel 54.c we have clicked the Right mouse button and are now presented with a new interface which will allow us to make our secondary selections,

meaning that you can define virtually any vector with a bit of set up. It is also handy to note that if you only need one selection to define your vector you can use a single right click to select it and then drag to execute all at once.

Figure 55: The Wings magnets.

which in turn, will define our new axis (often referred to as a vector). Notice that the icon bar has changed to indicate that you can select vertices, edges or even faces to define this vector and the status bar is giving you new instructions (Panel 54.d). Make your selections (you can use more than one element to define the vector) with the Left mouse button and then Execute with the Right mouse button. Panel 54.e shows the newly defined axis as a thick blue line passing through the vertex we chose as the vector. Finally panel 54.f shows the result of a move along that axis, also by 0.5 units. As you can see, you get very different results. Note that you can use another object completely on which to make your secondary selections,

But that is not all that Advanced Menus do for you. By enabling Advanced Menus you also get access to the magnets in Wings. Remember in the example above we Right clicked on the Move command to enable secondary selections. We said if we left click we would get to work on standard axis only. But we also would see the magnets suddenly appear, as seen in Figure 55 below.

With Advanced Menus enabled, on many of the commands a Left click will reveal the Wings magnets as seen in Figure 55.a above. If you click on the actual command (Normal, Free, X, Y, or Z) you will work as normal without the magnets. But if you click on the little magnet icon to the right of the

90 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.3 Advanced Men command, then you will enable the magnets. Also notice that important instructions are being passed to you via the status bar once again.

In panel 55.a we have a vertex selected that we want to move but we want the movement to affect some of the surrounding vertices as well. So we left click on Move, which brings up the Move menu with magnets enabled. Then we hover over the magnet icon next to the X option and read the status line. The status bar tells us that we must use the left mouse button to define an area of influence, or fall off zone, for the magnet to affect, that a Middle mouse button click would allow us to enter a numeric radius as seen in Figure 56, and that a Right mouse button would use the last radius used. We then use the Left mouse button and select a set of vertices not too far from the initial selection, in this case three (one hidden from our current view) which results in a big blue dot as seen in panel 55.c. This dot indicates the center of the extent of our fall off zone. Now the status bar is giving new instructions, specifically, that you can begin the magnetic move with the Right click of the mouse. Panel 55.d shows the result of doing a magnetic Move. Keep in mind that you can use of the Middle mouse button to dolly around during this operation to get a good look at things as you go.

Further more, you can combine these two types of operations. You can define a vector and then Alt-Right Click to bring up a Vector+Magnet operation. Doing so bring up this little gem:

Figure 57: Vector Magnets revealed.

Just click on the little magnet icon and set up magnets as described before. You get the power of both vectors and magnets combined. Note that for users of Maya camera mode, Hold Ctrl instead of Alt while right-clicking. (This is shown in the help prompt in the status line.)

Finally, there is the new Face command, Lift, that becomes available when Advanced Menus are activated. The reasons Lift is only available with Advanced Menus is that it requires a secondary selection to use as the pivot for performing the lift. And secondary selections is what Advanced Menus are all about. Lift is explained in more detail in the following section.

Figure 56: The Influence Menu. Numeric entry of the magnetic fall off zone is accessed via the Middle mouse button.

title: Wings 3D/User Manual/Advanced Menus


text:
Wings 3D/User Manual/A Little Tutorial

DRAFT 1.6 91

� Section 5.3 Advanced Men WINGS3D USER MANUAL 5.4 A little tutorial. The first thing you need to do is make sure that you have Advanced Menus activated. Under Edit | Preferences make sure the Advanced Menus option (near the bottom of the form) is checked. Then click OK to return to the workspace.

Create a cube and select the top face. Then right click in the workspace to bring up the Face Operations Menu. Now hover over Move. Don't click anything!

Read the status bar and notice that a left click will use the standard axes whereas a right click will use custom vectors. I hope you have realized by now just how important the message passing in the status bar is. I cannot emphasis it enough. Click the Right Mouse Button to begin using vector operations.

At the right of the status bar Wings will tell you to Select Axis for Face Move. This is how you will define the vector. Click on the positive Z face and notice the appearance of a blue vector. Now click on the positive X face and notice that the direction of the vector changed. You can continue to select and deselect faces until you get the vector going the way you want it to. You can even use a remote object for this vector definition process.

Once you are happy with the direction of your vector then click the Right Mouse Button. Now you can move the mouse and watch the face move along the vector you just defined. Notice the instructions on the status bar as you are dragging. It now tells you that you can constrain the movement by holding down modifier keys while dragging. Dragging with the Shift key depressed will cause movement to be constrained to whole units, while the Ctrl key will cause movement to be constrained to tenths of units. That's it. You now know how to use Wings vector operations. Just try doing this a couple of times then try a few of the other commands. You'll have the routine down in no time.

Now let's practice a little with magnets.

Delete your cube and bring up a Grid primitive; right click to bring up the Primitives menu and look for Grid in the list of primitives. Don't click it, instead, click the option box on the right to specify how big we want our grid to be. A little pop-up box will ask you to specify the number of Rows/cols. Enter 20 and click OK. Grids are great for seeing the effects of magnets.

Select a vertex four in from the +Z/+X corner as shown below (Figure 58.a). Now Right Click to bring up the Vertex Operations menu. Then Left Click on Move to bring up the options sub-menu (Figure 58.b). Click on the little magnet icon to the right of Normal. Now read the status bar and notice the icon bar has changed. At the right of the status bar Wings is telling you what you need to do while to the left it is telling you how to do it. Right now it is telling you that you need to select the magnet influence (fall-off zone) for the move operation and that you do this by Left Clicking some elements. The Icon bar is telling you that those elements can be vertices, edges or faces (with vertices being the default).

The fall-off zone is defined as a radius from the initial selection point, so we only need to pick one other vertex to define it. Pick one that is four vertices away from the initial selection (Figure 58.c). It shows up as a big blue square on the +X edge of my grid in this case.

Notice that the status bar is still telling us that a Right Click will execute the command. So let's Right Click now and see what happens when we move the mouse around. As you move the mouse around watch the status bar again. It will tell you by how much the original vertex is moving, but it also tells you the radius of the fall-off zone. But we already defined the radius, so what is that for? Well, you can change the fall-off zone radius interactively as you drag by using the plus and minus (+ -) keys as indicated on the right side of the status bar. Go ahead and press the Plus key a couple of times and see

title: Wings 3D/User Manual/A Little Tutorial


text:
Wings 3D/User Manual/Outliner

6.1 OUTLINER The Outliner gives a list of all objects, images, lights and materials used in the workspace. You can quickly edit, with a right click, all of the items in this list.

Quick Tip: Drag and Drop

Currently, you can drag a material into the Geometry window and you can drag an image into the AutoUV window. There will be more in a future release.

Tip by Bjorn Gustavsson

title: Wings 3D/User Manual/Outliner


text:
Wings 3D/User Manual/UV Mapping Mode

102 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.2 6 AutoUV Mapping Section 6.3 UV Mapping

The UV Mapping Segmenting Mode window. Note the new menu available in this mode. Here you will divide up your model into slices called charts which will be laid out on a texture map. You can hand create the charts or have wings do it for you.

UV MAPPING | SEGMENTING MODE

There is a new step in the autoUV, called 'segmenting'. You use the segmenting step to create charts and cuts. A chart is an area (a set of connected faces) of your model that will be mapped to a 2d surface as a separated area. You can let Wings do the work for you by clicking continue or if you want more control you can do it yourself in this window. This sections explains how.

When you enter the segmenting step, you'll have the model’s materials as your charts, you can use them as your charts by pressing 'continue'. You can also do it by hand to have more control over how the charts are

created. Select faces and choose one of the AuvChart[1-9] charts. If two, or more, groups of selected faces use the same AuvChartX they will treated as two, or more, charts if they share no edges. In this way you can create more than 9 charts.

Continue

Despite being on top of the list Continue will be the last thing you will do. When you're satisfied with your charts (and cuts if your are going to use the unfold algorithm). Press 'continue' and choose the 3d to 2d mapper; method. Projection or Unfolding.

DRAFT 1.6 103

� Section 5.2 6 AutoUV Mapping WINGS3D USER MANUAL Continue | Projection

Projection computes the weighted normal for the chart (larger faces contribute more to the normal than smaller faces) and projects the 3d to chart on a 2d plane (This was the method used in the old autouv). Projection needs almost flat charts (2d planes) to be able to create a good 2d mapping. It will also use your materials as a guide to breaking up your model into smaller charts.

SEGMENT BY | PROJECTION

Continue | Unfolding

Unfolding computes a 2d drawing by unfolding the model mathematically, this method should be used when your charts isn't flat (close a 2d plane). If you have bad charts and cuts the unfolding algorithm may produce strange results, but provided good charts and cuts in the right places, the result should be acceptable.

When the mapping 3d to 2d is done you end up in the autouv window, which works as before.

There are basically three ways you can segment (or cut up) your model for UV mapping. Two of them are so fast and easy as to truly merit the name AutoUV. The third method is not much harder, once you get the feel for it, and much more suited for complex models. We will discuss the first two methods first, and save the third for last.

If your model is fairly simple in nature (such as my smoothed cube) it is a good candidate

for using one of the truly automated methods of segmentation. If you choose Segment By you will be given the choices of Projection or Feature Detection. Choosing Projection will segment the model so that faces are chosen based on which of the six primary axes they most closely approximate. Below you can see that my smoothed cube has been assigned six materials based on their orientation. This should minimize stretching in the UV map.

104 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.2 6 AutoUV Mapping SEGMENT BY | FEATURE DETECTION

This option will automatically segment your model into the minimum number of charts necessary; often just two. Below you can see that my smoothed cube has been assigned two materials, breaking the model into two nearly equal sections. While this is very fast and easy, it could lead to layout and/or stretching problems later, when trying to paint the texture on the resulting map.

AuvChart1~9

Charts should be created with care, they should be used to minimize the stretching and still contain something that you are able to paint. Fewer charts is better from a user perspective because they are easier to paint on, but more charts will lay flatter so they will have less texture stretching. You will have to decide how best to divide the surface so that it is as flat as possible.

Note that I picked up where I left off, that the smoothed cube starts out here projected. You can switch back and forth between the two as long as you do not choose Continue.

DRAFT 1.6 105

� Section 5.2 6 AutoUV Mapping WINGS3D USER MANUAL Creating Cuts

The Segmenting Right Click Menu

The third option is to segment your model by hand. The task is to break up your model into as many charts as you need in order to make your model lay flat. A flat model will not have texture stretching, but if you make too many charts you will not be able to easily paint your textures. The art of proper chart number to ease of painting is a skill learned with practice. Once you have finished making your charts and appropriate cuts you click Continue | Unfolding

Mark edges for Cuts

A 'Cut' is used to simplify a chart for the UV Mapper to correctly spread out your charts on the texture. If you want to unfold a cube in one chart, you can do that by cutting the correct edges, or if you want a spherical or cylindrical mapping you must have cuts. A spherical mapping is done by making a cut between the poles of the sphere. And a cylindrical mapping is done by making three charts, two discs, one with a cut. See the image on the right.

Quick Tip: Using Cuts

In the cube example, there is only one chart. I selected the edges that are green and used

the command "Mark Edge for Cut". I then choose "Continue | Unfolding".

In the cylinder example, there are three charts. To have the middle part of the cylinder unfold properly, I have marked a single cut along one vertical edge. In this case I simply used "Segment by | Feature Detection" which created the charts and the cut automatically. I can keep the layout it gave me or do some minor edits. Once done I click the Continue | Unfolding.

106 DRAFT 1.6

� WINGS3D USER MANUAL Section 5.2 6 AutoUV Mapping SEGMENT BY | FEATURE DETECTION

Once you have decided on how to segment your model (via Projection, Feature Detection, or by hand) then you can use the Continue option. This will bring up a new window titled AutoUV, which will contain the

Quick Tip: Is having more charts better

I think the general rule is that fewer charts gives more stretching per chart but are easier to paint. Both these ops gives the user an initial suggestion, which they can alter, but feature detection shouldn't be used together with projection parameterization. Projection segmentation often gives more charts than feature detection.

Quick tip: Updating the UV Maps after edits to the mesh

Here is a tip that might not be obvious.

Let's assume that you have done some changes in the segmenting phase. You might have recolored faces or cut edges. You then do "Continue | Unfolding" and find that the

layout for your texture map. In the example above you can see that I had done my segmenting by Projection (left image) and then by selecting Continue an AutoUV map comes up (right image) with the model nicely laid out.

result is not quite what you expected. For instance, you might want to have chart cut or split in two.

Currently, there is no way to go back to the segmenting phase directly. But the following trick will work:

1) Quit and save all changes. 2) Use the "UV Mapping" command again. 3) You will be asked whether you want to edit the current UV mapping or discard the current UV mapping and start over. 4) Choose the second alternative -to DISCARD the UV mapping. The texture and UV coordinates will be discarded, but before they are discarded, AutoUV will use them pre-color faces and insert cuts according to the UV coordinates. 5) Do the needed changes.

DRAFT 1.6 107

� Section 8: Plug ins WINGS3D USER MANUAL AUTO UV WINDOW

Once you have your charts in the Auto UV window you can further tweak the position of your charts to make it easier to paint them without getting stretching. You have a small selection of tools with which to edit the charts. All edits affect the entire chart. Currently there is no way to reposition vertices directly in this window.

Move

Move allows free movement in the whindow.

Scale

Scale only allows uniform scaling.

Rotate

This gives you the following options

Z Free

Z 90 deg

Z -90 deg

Z 180 deg

X 180 deg

Y 180 deg

Rescale all

Place objects in the lower left hand corner of the texture (the square). Rescale then tries

to squeeze everything else back in to fit on

the texture. ReMap UV This has three options. Project normal –Projects chart normal. UV from Unfold ? Stretch Optimization – ? Project normal and unfold. Draw Options These are the settings for textshowing textures and colorsbackground. And others. ure in size, the Apply Texture

Applies the texture to the object. (you will need to right click on the AutoUV window to close it.

Quit

Quits out of the AutoUV window and asks if you want to discard or keep your texture.

title: Wings 3D/User Manual/UV Mapping Mode


text:
Algebra/Chapter 5/The Coordinate (Cartesian) Plane

A Quick Review...
What is the Cartesian Plane?

Named for "the father of analytical geometry," 17th century French mathematician René Descartes (Cartesius), uniform regular grid (Cartesian) coordinates is one system used for graphing. Many algebraic expressions lend themselves to graphical analysis. The location of a point's Cartesian plot is found by indexing numerical values (coordinates) along numbered grid lines. The trivial single R number line comprises a one dimensional, single ordinate, system with all locations existing only on that line. This study begins with graphing in two dimensions (see the two diagrams below). Plots and points are located and labeled with the offsets of their 'projections' from two number lines (R2 axes) anywhere on the page and plane.

We choose the values or ordinates for points on the Cartesian plane using two perpendicular numbered axes. By convention the point where the two axes cross is labeled as 0 on each axis, making the ordinate for their intersection a special point called the origin and labeled (0,0). Generally, the horizontal axis is labeled x and the vertical axis y. An ordered pair (x,y) specifies the location of a point P on the plane. If we don't want to talk about ordered pairs as x and y we can refer to the first variable in the ordered pair as the abscissa and the second as the ordinate. The axes cross where the abscissa is 0 and the ordinate is 0. We can generalize about the signs of the abscissa and ordinate in ordered pairs because the two axes form four quadrants when they cross. Moving counter clockwise, starting in the upper right quadrant, the quadrants are labeled I, II, III, and IV. In quadrant I, all x- and y-values are positive, in II, x is negative and y positive, in III, all values are negative, and only x is positive in IV. The ordered pair (0,0) represents the origin where the axes intersect.

We use the axes to define relationships between two sets of numbers for which we substitute variables. A relationship implies that changing the value of one variable determines the value of the other. We call the variable that is changing the independent variable and the variable whose value changes the dependent variable. Generally we let x represent the independent variable, y represent the dependent variable so that we can model the relationship between x and y with mathematical symbols. The set of numbers represented by the independent variable is called the domain. The set of numbers represented by the dependent variable is called the range. A special kind of relationship is called a function. A function is a relationship where any value in the domain maps onto one and only one value in the range.

When we graph the points of a relationship on a Cartesian plane then we can determine if the relationship is a function--all vertical lines of the plane cross our graph once and only once. Functions are useful for modeling cause and effect relationships - where the cause is the independent variable and the effect is the dependent variable.

Note that the only thing unique about the Cartesian plane is that it contains a point that we call "the origin" and have labeled (0,0) If we draw another axis perpendicular to the two dimensional graph through the origin we can graph 3 dimensional objects (R3). Imagine a thin extensible numbered wire through the origin of the two dimensional graph. By using a 3rd coordinate this line (X, Y, Z) we can locate points that are above or below the page in space. This idea can be expanded to higher dimensions (including time) and is the basis for a field of theoretical physics called [[w:String_theory| string theory

Determining Points
Continuous sets of points can be represented by lines or curves on a graph showing how continuous paired quantities relate to each other. Such numbers or quantities are called variables. A function, relation, or equation can define how, as an input quantity varies, a related output quantity can vary. A graph can then illustrate how these variables are related to each other. The independent variable is one which is sent to the function because a person can control or vary it at will. The dependent variable is the one that comes out of the function. The definition of the function determines the value of the dependent variable depending on the value of the independent variable.

Any equation which has two variables can effectively define a relation between the two variables and the relation can be plotted on a two-dimensional Cartesian coordinate graph. In any particular equation, relation, or function definition, numbers which stay the same, i. e. which are not variables, are often called constants. Even if someone does not know much fancy algebra, a person may start getting an idea of what a function or a two-variable equation or relation looks like in a graph by choosing various numbers for one of the variables from the domain and calculating corresponding numbers of the other variable (in the range) to determine as many ordered pairs as practical and plotting those points on a graph. After enough points are plotted, one may be able to estimate what a continuous relation looks like by connecting the calculated points by a straight or curved line, depending on the situation.

Determine as many points as you feel comfortable to make a plot of this equation on a graph. Then on graph paper draw x and y axes on a grid of squares. Then plot the (x,y) ordered pairs as points on the graph. Finally, when you think you have plotted enough points to get a feel for the shape of the function, connect the points to see what the function graph looks like. If you are not sure in a part of the graph, you can always calculate more points to fill in that place.

Plotting Points on a Graph
A formula, equation or inequality that is solved for just a single instance of one variable is an implicit relation of, and dependent in, that variable in terms of the remaining and independent variable(s). An explicit relation is one noting which variable(s) is(are) independent. A point solution is a group of values (one for each independent variable) together with a corresponding calculated dependent value. Consensus-notation comma-separates these with the dependent variable's value last in an ordered group (parenthesis are optional iff there's no ambiguity). The independent variable's(s') valid-values solution set(s) constitutes the relation's domain and the dependent's its range. A function is a relation restricted to independent value(s) which generate unique dependent values.

A complete plot depicts all possible point solutions to a relation. 'One' independent variable plus 'the' dependent variable presents a 'two' dimensional map (graph) with 'two' perpendicular (orthogonal) number lines (axes) which cross (intercept) at the origin (O). By consensus the first coordinate relates to offset along the horizontal axis and the second to the vertical (an ordered pair).

This Function Graphing (section) uses a two-dimensional rectangular Cartesian coordinate system, the first coordinate is abscissa and commonly references an x-axis and the second is ordinate for a y-axis. The axes values are numbers and are elements of and closed to R and together constitute R2. The origin point is the number pair 0,0. Positive numbers increment to the right and up and negative numbers decrement to the left and down. The notation x,y is the common form/formula of an ordered-pair point and is plotted on/in the following graph.

To remember the order of coordinates think of a roller coaster--"If you do it RIGHT, you might throw UP"; or if the graph were a street with tall buildings—you have to go along the street (RIGHT/LEFT) before you can enter and go UP the stairs; or you crawl (RIGHT/LEFT) before you walk (Stand UP).

The axes and plane field extend out as close to infinity (positive and negative) as is necessary for any analysis. In practice graphs are abbreviated to areas of examination. In our example the generic point x,y is assigned to number values (x = 3, y =4) by plotting it at point 3,4. A line and a dotted line show that this position is located by starting at (0,0), moving 3 units in the positive x direction (right), and moving 4 units in the positive y direction (upwards).

Conceptual Questions
 Problem 5.1  Determine the quadrant each point is located on.


text:
Guide to Social Activity/Courtship

"Courtship or dating is the process of selecting and attracting a mate for marriage, sexual intercourse, or other intimate activities." So claims Wikipedia.

In some parts of the United States, at least, the "dating" concept is very important. Dating is commonly featured in US music and movies, and is also a major feature of bars serving alcohol. Some persons who give much attention to dating give almost no attention to other social activity.

The phrase "getting a date" (and variants like "getting a girl") has a variety of meanings in English. This text attempts to document the process of courtship, which is sometimes described (well or not) as the getting of a date.

Disclaimer
Though drawn from thorough research and established authorities, this module is at best a rough guide, and any courtship situation will be highly specific to both the courting party and the courted. No single piece of advice will be appropriate for all people under the relevant circumstances. Everything contained herein should be taken in with a good dose of scepticism as most of the advice when carried out will have unexpected results. Any advice carried out without the exercise of good judgement could have harmful or undesired effects.

So you have a girl that is compatible. You know she likes you, or was attracted to you at some point in time, but things just went sour at some point and it is now awkward to talk to each other. Even though two people like each other, it can still be awkward if there isn't clear communication. You are either not reading her signal to approach, not approaching her right away (taking too long), not starting with a leading comment (not saying the right thing).

The simplest mistake and easiest to correct is taking too long. Use the three second rule. As soon as you know she's sending you a signal approach her right away and start with the right comment. Of course you'll need to know how to read signals and what to say. That is what we talk about next.

Pick Up Her Signals
She will be giving out flirting signals. She will look at you, make an open circle with her girlfriends or brush her hair when you look at her. She might walk by you or loosen her blouse when you are around. Other less direct signals are when she stands alone and not busy and makes herself captive (captive audience).

She will go somewhere where she's alone and not doing anything in particular. It is somewhere in an open space where you can easily approach her. She might be looking at a board, or looking out the window or standing at the door, or sitting by a table in the middle of the room, or sitting in a sofa in the middle of the room. The area is very accessible. If no one is approaching her, that means it's for you. She shouldn't be busy with anything, only something trivial as an excuse to stand in that place. If she's really busy and still in a central location, just look at her and make eye contact instead of approaching her all the way.

She will make herself captive. Girls want you to come on to them to see your intentions and you have to do this or else she will not feel appreciated enough. But she doesn't want to look like a slut for being with you, or talking to you so forward. So what she will do is put herself into a situation where she can not leave, so that she has an excuse to listen to you. The key here is to not chase her away. Stop doing your spiel before she has a chance to leave and disengage before your time is up.

For example. This girl likes you, she moves into a cubicle next to yours in the office. She's made herself captive because now you can talk to her in between tasks. Let's say you work a nine to five day. You get off at lunch and at five o'clock. Lay off the lingo half an hour before lunch and half an hour before five. All the other time you are going to be flirtatious, forward even mischievous. Remember, she moved next to you to make herself captive. It's up to you to make a move. She will be calling you fresh and bad and calling your comments annoying and inappropriate which is ok as long they are flirtatious and not rude and as long as you cool off before you leave, half hour before lunch and half hour before five.

Girls make themselves captive in all sorts of ways. When they do, that means they want you to approach them and be a little too forward and use her being captive. Being too forward is ok as long as you keep it flirtatious and sexual as opposed to obnoxious or anything rude, no put downs. And as long as you disengage before your time is up, as a cool off. If you chase her away she will not come back, but if you cool off before the time is up, the cool off will make it seem ok to come back and she will make herself captive for you again.

Some examples of girls making themselves captive: sitting next to you during a class, sitting next to you in church during a sermon, sitting next to you during a bible study, sitting next to you during a shift at work. Two things. First she is the one who set's up the situation, she is the one who comes near you and sits with you no the other way around. Second, there is a particular duration so you know when your time is coming close so you know when to cool off.

Girls also crouch, they sit down on steps, or sit in an open space to read a news paper for fun. Psychologically it is harder to stop doing something to get up and walk away. As long as she's not actually busy with an assignment on the article in the newspaper, she's making herself captive. Use that opportunity, because if you don't she will feel neglected and not come back again.

Sometimes a girl would be on her way to walk past you, and just as she's next to you she kneels down to tie her shoes. Make a witty remark to be flirtation, something about how the thicker the show laces the harder it is to get them in the holes. And turn away to disengage before she has a chance to leave. This way you are not chasing her away and she will come by you again.

Approach Right Away
The next thing to know is once you have detected those signals from her, to move in right way and start talking. as long as you know that you have to respond right away, it shouldn't be a problem. If it doesn't go smooth just walk away. As a matter of fact it will not go smooth the first couple of times: you will have to approach a girl several times before she's comfortable. Move in right away and leave right away to give her personal space. Move out of her territory and turn away from her to cool things off. Mean while keep glancing back at her every couple of minutes or so for another signal. When you see the signal, you move in again and so on.

Say The Right Thing
Sometimes things get awkward just because you are not saying the right thing. What ever the reason is, if it's awkward leave and wait for your signal again. It helps a lot knowing what to say. One of the worst mistakes is with a yes or no question. The only time you start with a yes or no question is when you approach her first without her giving you a signal, such as at a party when you first see her. If she already gave you a signal to move in, that is your yes, ask open ended questions.

One of the best things to say is a leading phrase. A leading phrase implies that there is move information and it directs where the conversation will go. For example: how awesome is this party? That is a leading question because it directs you to talk about the party being awesome. It doesn't ask are you enjoying this party? It verifies with confidence that this party is awesome.

Even better than a leading question is a leading phrase. A leading phrase is based on what you know about one word or one thing that the girl is doing at the present time. If a girl is next to you tying her shoes she is thinking one thing: shoe laces. Of course she's also thinking about work, dinner, the next assignment dues date, what ever. But at this point right now the one thing in her mind is shoelaces. Say one line, what ever you know about shoelaces. Some of them are too thick and it's hard to get them into the holes. Add a little sexual connotation and you have got your self pick up line.

To figure out what to talk about look at what she doing. She might be stretching, eating, drinking etc. If she's not doing anything in particular notice what she's looking at. She could be looking at a picture on the wall, a puppy, a rose. Do not talk about this one particular rose, it's not an opinion. Say something what ever comes to mind that you know about flowers because that is her connection with you.

If she's not doing anything in particular, and she's not looking at anything in particular, notice what she's doing with her hands. She might be holding something, like playing around with a pen, then talk about that. So the ingredients are to find the one thing that's on her mind right now at the present time. Some trivial simple little thing. Talk about what ever you know about those things, nothing related to the actual thing, but something from your own knowledge. Add sexual connotation. The whole process puts her and you together with sex involved and you've got the recipe for attraction.

It's not really that hard to approach women. Once you have figured out the formula for coming up with one liners breaking the ice will be easy. The hardest step is to do it right away, as soon as you get the signal from the woman. And the solution for that is off course to leave right away so you can wait for the signal and try again.

Complexity of dating
Men and women are remarkable creatures, and in some respects, easily predictable. The one most important thing they want, trumping all other concerns, is proximity.

Or is it?

Generalisations are dangerous here. To suggest that persons are predictable or are seeking "only one thing" is to underestimate the complexity of modern dating.

From the anthropological or historical perspectives, courtship ought not to be difficult. After some initial tough competition, the male wins a female and their joining forms the basis of future progeny. Arranged marriages, marriages of convenience, inter-tribal relationships designed to seal a political connection (as with the Campbells and MacDonalds on the eve of the Glencoe Massacre) all suggest a time when the matter was out of the hands of the young man or woman.

On the basis of many of the greatest writings in the history of English literature, some claim that courtship should be natural, free and almost dreamlike, as fate guides two uplifted hearts together breathlessly. Others suggest that dating in contemporary society has become mechanical and deterministic.

Example process
Here is an example process:
 * 1) Locate a man or woman
 * 2) Get within ten metres
 * 3) Smile, make eye contact
 * 4) Prepare for the consequences

This oversimplification might not result in dating, but only social contact.

For the purposes of this text, the term partner is applied to each of the two persons that are dating. If the two partners remain in courtship after the first meeting, then they enter a day-to-day phase. For some partners, this is a time to explain their love to each other while investigating how or why the other person loves them. That is, you investigate the mystery of why your partner loves you. Also, you be honest and explain how, when, where, and why you like your partner. This means talking about oneself, and not what one does. (FIXME is there a difference?)

Both persons should maintain their extraneous interests, such as friends, careers, etcetera, but should also enjoy themselves together. The maintenance of these other interests supplies new topics to discuss with a partner, but the cessation of these activities can limit potential conversation topics, and appear needy and insecure. By making oneself available all the time, one removes the element of scarcity that is a component of attraction.

Where To Meet Women
To attract women takes exposure. Where ever you are, to get a woman to like you and to spend time with you will take time and work getting to know one another. That is why most places where people meet are where men and women frequent automatically because they don't have a choice. Women have no choice about going to work. The work place is the number one area where people meet often. Everyone has to work. Even the most beautiful women have to make a living somehow. They go to work and they have to talk to the people that are there. At work you will encounter women as you carry on with the tasks of the day. This brings us to the number one spot to meet women:

1. At Work

Statistics show that some 70 percent of married people got together at work. The key ingredients are time, getting to know each other and similar interests. Women search for men with similar talents to their own and none of the flaws in what is called compatibility. We all have flaws, but we try to limit those by meeting a person with different flaws of our own. When it comes to aptitudes and natural talents women look for men similar to themselves. This ensured the dissolution of bad genes and concentration of good genes. At the same work place people tend to have similarities in their abilities, especially when it comes to the same lines of work. Combined with time and the opportunity to get to thoroughly know one another, the right people automatically click together. That is why it's so important to work at something you are good at and really enjoy.

2. Church

Church is supposed to be a spiritual place and not a dating service and yet it's a known fact that a lot of people meet and get married through church. The kind of church to join is one with similar background to yourself as well as your faith. The more similar people are the more chances there are for compatibility. Even in one denomination there are different locations. Join the one with people the most similar to yourself. The more you like the people there the more you will be eager to help out and as a result you will get noticed.

3. School

Studies show that people build special emotional bonds at an early age. The girls you have met in high school, especially near the age of sixteen usually will have a special memory of you. People were not meant to get married and have kids as late as they do in today's day and age. In the old times, girls used to get pregnant in their teens. Nature equipped girls with a special imprinting during those early years. Keep in touch with a girl you knew in high school. She probably has deeper feelings for you than you knew.

4. Friends

Needless to say, every group has their own spots they like to hang out at. It's different for every group of friends, but the facts are that a lot of people meet through a friend or a friend of a friend. It could be a buddies ex or a friend of your ex-girlfriends friend, whatever the case. Most people consider it immoral to date your friends ex-girlfriends, but look at it this way, statistically most people end up doing it anyway. Just don't hit on your friends current girlfriend or somebody that he is currently dating. Chances are she is more interested in him, and in this case jeopardizing the relationship is more than it's worth.

The way to get access to your buddies girls is to be facilitating with you own female friends. This does two things. It makes you popular with the ladies because they want to meet guys just as much as we want them. Second, it gets your buddy to be less possessive. When he's involved with someone, she's not going to like him being jealous over someone else. This is when all of his female contacts become fair game.

5. Sports Teams

Gym memberships are increasing worldwide. However, it's not in the gym or the wait room where couples tend to meet. Instead consider joining a team that gets together once or twice a week on a regular basis. Good sports are volleyball, soccer and Frisbee. These are usually stand alone organizations you just have to find them. The idea is that team sports set the tone for interaction. Also, body smell such as from sweating during physical activity helps females determine genetic compatibility from pheromones and Androstenone smell. To recap, yes most successful marriages do start off in the work place or from the high school years. However, with the right ingredients of time, compatibility and interaction other places could be an opportunity for meeting women as well.

6. Grocery Stores

As with work, everyone has to go to the grocery store or supermarket. Again, this includes even the most beautiful women. One advantage of supermarkets is that single men and women, as well as single parents, must shop there. Also, visits to the supermarket are likely to be very frequent, as frequent as for example going to church services. It is thus possible to meet and get to know men or women by regularly visiting your local supermarket. In the UK, Sainsbury's stores are particularly good for meeting potential partners.

So can you meet a woman just about anywhere? Successful pickups have happened at bars, clubs, coffee shops, mall, elevator you name it. It's not a question of getting a date. To find the right woman takes time with her and getting to know her. Meanwhile, all those other places are great practice.

Submodules that might be retained

 * These modules are not yet merged in.

 * ../Losing fear/
 * ../Appearance/
 * ../Masculinity/
 * ../Dating ideas/
 * ../Dating online/
 * ../General Tips/
 * ../The Catch/
 * ../Stubborn Difficulties/
 * ../Building a relationship/

Submodules that should be separated
This modules need verification. They also should be expanded beyond courtship.
 * ../Body Language/

News Links

 * Romantic love 'lasts just a year'

title: Guide to Social Activity/Courtship


text:
Bicycles/Introduction

The world of cycling

Bicycles are one of the most ubiquitous forms of transportation in the world. Most children remember their first bike; with it came the chance to explore their world with more freedom than ever before. As we grow, however, bicycling becomes more than just a childhood rite of passage.

Wind in our hair and feet on the pedals, we have several good reasons to climb on and take a trip. Much of the world uses bicycles as a primary form of daily transportation.

What would take several hours of travel on foot becomes faster and more efficient on two wheels. Many people use bicycles to run short errands, commute to work, or get groceries. Some cyclists take trips across entire states or cross-country solely on a bicycle. Reaching speeds of 15-19 miles an hour (24-30 km an hour) is achievable by even beginning cyclists, while more experienced riders can reach speeds equivalent to automobile travel.

"Century riders" travel 100 miles or more within a typical day. Complimentary to simple transportation, bicycles (stationary and otherwise) have helped people become healthier by losing excess weight and improving cardiovascular fitness. The exercise benefits of cycling are well known. Using the largest muscles in the body, bicycling allows riders to reach aerobic heart rates that drive up metabolism, and give a good workout. With the relative newcomer in the bicycle world, mountain bikes, this form of transportation is taking us on rugged terrain once thought impassable by anything other than hiking boots or pack animals.

Extreme sport enthusiasts have adapted the bicycle to perform gravity defying stunts, such as flips and mid air acrobatics, in a style known as BMX (Bicycle Motocross). In short, bikes remain a popular way to get people between points A and B, whether those destinations are found on a map, from one state of health to another, or to explore the unknown.

Bicycles have become an important part of the landscape. Most people understand the saying, "as easy as riding a bike." Or we understand that some dormant skill is easy to pick back up if it's "just like riding a bike." Likewise, many immediately think of bicycles when we make an allusion to "coasting", "picking up speed", or "going downhill".

Wikibook Bicycles
This wikibook will examine bicycles from various perspectives. The book aims to appeal to the complete beginner, the potential cyclist, and budding or seasoned bicycle mechanics. We will look at choosing the "right bike" for what you want.

We will also examine the kind of gear you might want for your bike. Then we will see how to maintain and repair your investment. Unlike automobiles which require knowledge of the internal combustion engine, electrical systems, and a series of other intricate assemblies, bicycles are relatively easy to diagnose and (oftentimes) fix. Many road riders include a small mechanic's kit that fixes many roadside mishaps.

Likewise, upgrading a bike is relatively pain free, with the exception of some more exotic parts. Many bikes can be upgraded by changing out a few key components such as brakes or shifters. Furthermore, many bicycles can be modified by the owner to better fit their cycling needs.

title: Bicycles/Introduction


text:
User talk:Nemyax

Image copyright
Can you insert copyright tag to Image:Spiral2.PNG? I also suggest that you change license of Image:LoopsAndRings.jpg to free one - you are the author so you are allowed to do this. --Derbeth talk 09:36, 22 January 2006 (UTC)

Image:Spiral2.PNG
If you created this work, just insert GFDL-self or PD-self. You have these two options described as "self-made" in license list. --Derbeth talk 10:45, 27 January 2006 (UTC)

title: User talk:Nemyax


text: User talk:72.192.219.59

title: User talk:72.192.219.59


text:
Talk:Piano

New Page
I'm new to WikiBooks but I just created my first page on accidentals. I do not know if it fits the WikiBook format but I tried my best! -Sage Jim

Purpose
What is the intent of this wikibook? Is the Piano wikibook, as it is, aiming for a more informative angle - telling readers about the piano? If so, we wouldn't need chapters on improvisation and practice. I want the book to slant toward teaching readers how to actually play the instrument, eventually going into deeper music and complicated techniques. I don't think duplicating the 'structure of the piano' and 'how it works' is really necessary, because that's already on Pedia. I'm new to Books, so I'd appreciate if someone could clean up the Pedal page I've started as well. --Zen 10:22, 15 July 2006 (UTC)
 * Yeah, I would like it if this book teaches how to play it as well, just like the language wikibooks. -- H  A YSON1991  03:40, 23 November 2007 (UTC)

Chords
The chords are wrong. They all should be in same inversion, or otherwise it will be confusing for the beginners.

Masahiko 11:18, 22 January 2006 (UTC)

In Response: Actually, the author is trying to show a simple chord progresson. This is one of the basic chord progressions. He/She is also showing that chords don't always have to be the same three notes in the same basic pattern. But I do agree with you Masahiko, this would be very confusing for beginners and the chords should be shown in their "natural" state and not in a inversion until the inversion has been taught and explained. --CherryT 00:40, 27 January 2006 (UTC)

Improv?
How about chapters on basic and intermediate improvisation techniques, the pedals and pedaling techniques, stylistic concerns (like... not using pedal in baroque pieces). Maybe we could even include simple drills for learning chords and getting the hands comfortable on the keyboard? Fun ways to play with scales? Learning piece suggestions? I could make some basic animations, given time. But I think this book needs a lot of work. :) --Akashayi 18:36, 6 April 2006 (UTC)

Great Ideas! I need to do something for them! I will begin to work now. But I will not do anything related to improvisation, because I am myself dull and boring in it. Masahiko 20:59, 7 June 2006 (UTC)

Improvisation can be applied if some theory is known by using pentatonic scales. I think the scales section needs some work as well. you can introduce the dorian, frigian or locrian scales but i don't see the notes that you play for them. i would first explain the basic scales (major and minor) and then go onto intervals and making people see the relationship and importance of intervals for identifying scales and the construction of chords. Then I could move onto playing some chords and then we can come to augmented and diminished chords, adding "blue notes" to some of them and such. The problem is that piano usually is the basis for musical theory and you have to introduce it wether you like theory or not. 68.205.240.133 00:51, 6 August 2007 (UTC) 68.205.240.133 00:51, 6 August 2007 (UTC)

Sections for deletion?
i was confused about the categorizing of some well constructed chapters as part of the new "categories to be incorporated or deleted". The titles seem to be worthy of their own page and i could not find another article which would easily mesh with them. does anyone know why they were categorized like this?

techniques and other sections?
I think improvisation could be on this book, although if this book aims at beginers we must introduce music theory as well. You really cannot play piano without the theory. If you have your hands on theory your improvisational skills will surely improve. You can also listen to recordings and learn from them if you can pick out the pieces by ear, or even better to see notes separately, use midi. I have introduced most concepts into the intervals chapter but if this is aimed to play for the beginer then I don't see why we need to explain chord progressions and other stuff. Piano is really difficult to understand at length because the diversity of styles and how broad the music theory is. Many atempt to learn piano and want to play like proffesional pianists such as Michael Camilo or the more famous classical pieces by mozzart. Unfrtunately many will be frustrated because of lack of practice and mostly patience. I think we could separate books by levels: Beginners, intermediate and advanced. I still strongly suggest the addition to music theory as it makes the piano more suitable for mostly everything. If you do have the talent to improvise naturally and mix theory along with your playing (like I do) you will eventually find out that theory can help you when you don't have things on mind to call for improvisation. Learning classical music first is a really good basis to develop finger dexterity and will really help you playing many styles, especially montunos. In fact, playing such styles can be considered as a language that has to be spoken, but mostly felt. That is why music theory can sound really boring to many but knowing some theory and having experience playing really does help. 68.205.240.133 00:46, 6 August 2007 (UTC)

title: Talk:Piano


text:
User talk:Anwar Farooq

Newton was a great scientist and philosopher.

title: User talk:Anwar Farooq


text:
Applied Ecology/Habitat Creation

Habitat creation as a distinct ecological movement can be traced to the choice of the topic of 'Ecology and the Industrial Society' by the British Ecological Society for its fifth symposium, held at the University College of Wales, Swansea, on 13–16 April 1964 (Goodman, Edwards and Lambert, 1965). It was a time in the 1960s when ecologists became aware of the contribution they could make to solve the special environmental problems created by urban and industrial living. Academics were stepping tentatively out of their ivory towers into the real world. Ecologists emerged into a decade when it had became clear on many fronts that the United Kingdom had passed through the 'industrial revolution phase' of economic development. Unwanted side effects of the use of land and water for mass production had become obvious, such as the disposal of industrial and urban wastes, and had clearly brought about land dereliction on a scale and severity that was previously unknown. These impacts serious created large-scale problems of pollution, erosion, flooding, loss of wildlife, and unsightliness.

The organisers of the Swansea conference felt that ecologists had something important to offer in the recognition, analysis and solution of these problems. In applying ecological thinking that was traditionally derived from investigating more "natural" communities, it is clear that ecologists can often forecast the likely outcome of a particular urban or industrial development on the local biological processes. This, in turn, may lead to ways of modifying further developments, and cleaning up past outcomes, so as to avoid any economically or aesthetically undesirable long-term side effects in the environment. It was recognised that although restoration of derelict land and polluted water was an important part of modern planning, applied ecology could produce new industrial operations aimed at solving the problems and at the same time create stable diverse habitats.

In his opening address, the botanist, A. R. Clapham, outlined the main theme of the conference as the solution of problems involved in shaping new ecosystems or restoring old ones. In other words it would involve the deliberate determination of a recipe for the correct floristic composition and structure as a starting point for producing a viable ecosystem. This prescription had to meet a new objective for purposes other than agricultural. In Clapham's view, these 'contrived ecosystems' would be needed more and more, as the principles of multi-purpose land-use become more widely understood and accepted, especially for recreation and amenity.

The conference recognised that there would often be great difficulty in achieving a permanently satisfactory result, other than by prolonged trial-and-error, unless applied ecologists played a part in planning the operation and continued to give advice. Otherwise there would be danger of a situation in which technological expertise might outstrip ecological understanding, or in which the technologist went ahead without prior consultation with the ecologist. What was needed for the future was a synthesis of an ecological technology, for which there would need to be some strategic preparation, and long-term conservation management systems.

Among the chief factors causing the formation of industrial wasteland are the production and disposal of industrial and domestic refuse and the creation of post-industrial barren land, such as unsightly heaps and pits by mining, and quarrying activities, and the sites of former factories and industrial infrastructure.

Even in the 1960s, in many countries throughout the world, attempts were being made to prevent this misuse of land and, where it has happened, to reclaim it. Ecological studies had indicated that the absence of vegetation on this type of land was mainly due to either fresh disturbance by machines, or the detrimental effects of persistent site factors. These factors were toxic ingredients, the unstable nature of the waste material, erosion, or air pollution. Reclamation schemes were being undertaken in all European countries, from Hungary to the United Kingdom and also across the Atlantic Ocean, and in South Africa and Malaysia. There was extensive forestation on American strip-mines; the Danish 'Desert Arboretum' was founded on lignite spoil banks, topsoil management was underway in Czechoslovakia, and there were rehabilitation schemes in UK county of Lancashire. Some of the biggest projects involved forestation of colliery waste in the Ruhr basin, and the combination of mining, agriculture, and forestry to build up new land in the Rhineland. From these very beginnings, ecological principles and experimental evidence have been further developed to return wasteland to economic or recreational use. The over riding objective was been the production of an ecosystem that restores a productive and visual amenity

Since the 1960s ecology applied to habitat creation has been exended to intensive agricultural systems where it has encompassed meadows, ponds and wetlands. The term ‘wilding’ has recently been given to large-scale projects to created contrived ecosystems on land previously used for agriculture or forestry. These schemes are taking place on a suck-it-and see approach with minimum interference except for controlling visitors. Wildings cannot replace primeval systems that have been lost through economic development, but they have the potential to act as more stable refuges for wildlife and offer the right scale for offering people spiritual and aesthetic contacts with ‘big nature’. Most landscape architects regard ecological science as an important source of principles. Planting native trees and shrubs on a housing or industrial estate is of more value than filling in with a collection of Japanese Cherries and ornamental-leafed Maples. Applied ecology is also becoming a force in garden design, where urban gardeners are starting to care about what kind of an impact they have on the environment. For example, the Connecticut Department of Environmental Protection website advises gardeners to:

"Use Native Plants: A built green landscape uses native vegetation that competes well with weeds and other pests. These plants are native to your region and climate. Emphasize plant diversity with a palette of plants that naturally grow together, are reseeding, and spread without much maintenance. This strengthens the ecology of your yard requiring less fertilizer and pest control. Native plants also attract more birds, butterflies and other wildlife."

Since urban dwellers are now in the majority, the parks and gardens in towns and cities have major potential for increasing biodiversity, and what the town gardener decides to plant in a container or garden, is a very important factor in determining local biodiversity. The choice of Swansea for the Ecological Society's meeting in 1964 was significant in that a large area to the north, in the lower valley of the River Tawe, was one of the most extensive areas of industrial wasteland in Britain. Of about 300 ha of derelict land, around half was covered by almost bare waste-tips between 3–30 metres high. These were composed of slags derived from ores after extraction for heavy metals. A pioneer cross-disciplineary research project in the University, involving ecologists, microbiologists and conservators, had been investigating the area with a view to total rehabilitation. These pioneer ecological studies have long since been applied to create a new, clean, and ecologically productive environment in the Tawe valley and have been duplicated in similar areas of industrial dereliction elsewhere. By and large knowledge and experience has been directed towards the following four approaches:

 * 1) Accepting the site conditions as they are after the wasteland has been left by industry, and planting the area with pioneer plants of low requirements.
 * 2) Changing infertile or polluted sites by re-shaping the contours and by adding soil amendments before or after planting.
 * 3) Planning the future land use before displacing the waste, and following this by restoring fertility to the site to a state that may easily become productive once more.
 * 4) Allowing former farmland and plantation forest develop as large contrived ‘wildings’, gathering information on the processes involved through surveillance with minimum habitat management.

The first three approaches are bound up with the flows of industrial and domestic waste through the human food chain. All wastes are now a significant part of the planetary system. Ecological knowledge is required for application at all levels of their disposal, from finding sites, coping with mining wastes, hazardous wastes, air pollution, water pollution, pesticides, waste heat, radioactive wastes, and coping with the greenhouse effect and breaks in the ozone layer. Sound scientific knowledge is required not only to minimise undesirable effects but also to get an accurate and balanced picture of threats and future risks.

title: Applied Ecology/Habitat Creation


text:
Wings 3D/User Manual/Wings3D Links

8.1 Wings3D Links Wings3D Home Page – Here you will find the latest source code and Windows binaries, several tutorials and some useful links. Link: http://www.wings3d.com

SourceForge Wings Project Page – Here you can find both the current and historical source code and release notes, file a bug reports, or log feature requests. Link: http://sourceforge.net/projects/wings

Erlang – the Wings programming language. The best reference is the PDF document Concurrent Programming in Erlang which is the first six chapters of a book by the same name. Most of the people now writing plug-ins for Wings got started by reading this document. You will also find a Glossary, an Index and a Getting Started guide at the same site. Link: http://www.erlang.org/

Wings Warm & Fuzzy 3D – Wings discussions. This is the unofficial Official Wings Board. This is where most of the on-line Wings discussion takes place, especially oriented to helping new users and for hashing out development issues. Link: http://www.wings3d.com/forum/ and Wings3D - Official Development Forum Link:http://nendowingsmirai.yuku.com/directory#.VN3CHSzUVFY

CGChat Wings Board – A Wings discussion board more centered around the art of modeling with Wings. They tend to run Seminars on a given modeling topic. Link: http://www.cgchat.com/board/forumdisplay.php?s=&forumid=69

Bernie's Downloads – Many free models in .wings format plus other 3D resources. Link: http://www.bernieloehn.de/downloads.html

3dbaseart – a Wings tutorial on building a drag car. Link: http://www.3dbasedart.com/

Wings3D Tutorial: Soccer Ball – a tutorial by Anthony D'Agostino on making a soccer ball with wings. Anthony is a master at modeling geometric shapes, and this tutorial is Wings3D specific. Link: http://home.comcast.net/~chronosphere/tut-wings-soccer1.htm

And there are two links that may help you understand the winged edge data structure of Wings that I would like to point you to. The first one is The Winged Edge Data Structure by Dr. Ching- Kuang Shene. This is the reference used by Bjorn Gustravson to develop Wings. Link: http://www.cs.mtu.edu/~shene/COURSES/cs3621/NOTES/model/winged-e.html

And you can find winged edge topology illustrated from a geographic point of view here: Link: http://www.bequia.swinternet.co.uk/edgeex.html

title: Wings 3D/User Manual/Wings3D Links


text:
Wings 3D/User Manual/Polygon Modeling Links

114 DRAFT 1.6

� WINGS3D USER MANUAL Section 8: Resources 8.2 Polygon Modeling Links IZware – Nendo® download and discussions, Mirai discussions. Nendo® is a fantastic modeler and was the inspiration for Wings. The demo is fully functional except for the ability to export to other formats and the full version is only $99. Sadly, hard to get. Link: www.izware.com

Amim8or – Anim8or download, tutorials and discussions. Link: http://www.anim8or.com/main/index.html

The Human Head – a reference for 3D artists by Ron Lemen. This is not really a subdivision modeling tutorial but a drawing tutorial. But it will help teach you the proper proportions and shapes needed for modeling a head. Link: http://www.anticz.com/heads.htm

3D Animation Workshop by Robert Polevoi – An excellent series of lessons on all things 3D. The topics range from general 3D concepts to application specific techniques. Lessons 51, 52, and 53 deal with subdivision modeling with Nendo®, but take the time to read some of the earlier lessons (1 – 23) to get a grasp on 3D concepts in general. The VRML lessons are very good (Lessons 27 – 32 and 40 – 45). Lessons 101 – 104 take you through human character modeling, albeit via 3D Max, but they are useful. Unfortunately Mr. Polevoi is no longer producing this series, but it is still valuable reading. Link: http://www.webreference.com/3d/indexa.html

Subdivision Modeling Resource Page by Tamas Varga. It is Mirai centric but there are good discussions on topics fairly universal to subdivision modeling such as the concept of Edge Loops. Link: http://maxrovat.sns.hu/subdiv/

Subdivision Surface Modeling 101 by Erik Asorson, is a 3D Max web page but many of the concepts transfer nicely to other applications as well. Link: http://web.archive.org/20020214125643/www.geocities.com/fyer_starter/tut_1subd.html

Mastering 3D Animation by Peter Ratner, professor of Art at James Madison University. An excellent trilogy of tutorials that cover modeling the human head, the human body, and adding muscles and details. Link: http://www.3dlinks.com/tutorials/GENERAL/Face_Modeling_1.cfm

Spiraloid Digital Sculpting Forum – moderated discussions. What reference guide would be complete without a link to the Spiraloid Digital Sculpting Forum. This is a closely moderated community so be sure to read the rules before posting to avoid being ejected. Very informative discussions from a great collection of master modelers. Just go, read and learn. And if you post, be polite, ask – don't demand, and don't forget to put in that link or image in your post (if you read the rules you know what I mean). Link: http://cube.phlatt.net/forums/spiraloid/


text:
Wings 3D/User Manual/UVMapping and Texturing Links

DRAFT 1.6 115

� Section 8: Plug ins WINGS3D USER MANUAL 8.3 UVMapping and Texturing Links UVMapper – You can download the free "Classic" version or buy the new low cost "Pro" version if this UV mapping mainstay. Has a live link to your paint program, so that you can see changes to your texture map almost in real time (Pro version). Link: www.uvmapper.com

UltimateUnwrap3D – Another mainstay in the UV mapping software area. Link: http://www.unwrap3d.com/u3d/index.aspx

Project Dogwaffle – free natural paint program with an SDK for plug-in developers. Link: http://www.thebest3d.com/dogwaffle/free/

The Gimp – a very powerful OpenSource paint program. Link: http://www.gimp.org/

Infinity Textures – seamless texture generation software. Very reasonably priced ($69). Link: http://www.i-tex.de/


text:
Applied Ecology/Introduction

Current state of the book
This wikibook project is in its first stage, which is to decide the chapters to be included and summarise what they should contain. At the present time, editorial effort is directed towards the writing of introductions to each chapter. This is also a process of selecting the main subsections for each chapter. These will eventually appear as ‘pages’ indented in the table of contents.

Contributors are reminded that it is a textbook to provide an up to date review of important areas of applied ecological knowledge for advanced level university students and site managers.

Definition
Applied ecology is a framework for the application of knowledge about ecosystems so that actions can be taken to create a better balance and harmony between people and nature in order to reduce human impact on other beings and their habitats.

In situ and ex situ conservation systems
With respect to scope, it is intended that the book should contain a body of knowledge about the use of ecological theory and principles to solve problems associated with the intensive human use of the environment. It is beyond our capacity to return Earth to a primeval state, but what we can do is build a technological ‘ark’ to retain as much ecological integrity as possible. To achieve this, many aspects of ecology have to be applied to manage conservation systems where the maintenance, restoration, and creation of diverse and healthy ecosystems are principal objectives.

Some conservation systems may be broadly classified as in situ operations. These include:

 * protection of rare species and habitats;
 * restoration of industrial wasteland and the mitigative creation of new ecosystems;
 * using wetland ecosystems for treating wastewater;
 * environmental valuation in relation to the needs for conservation and development to go hand in hand;
 * integration of sustainable ecosystems with commercial enterprises, such as agriculture and nature tourism;
 * study of the ecology of human diseases in relation to their control.

Other kinds of conservation systems are classified as ex situ. These include operations in zoos, botanical gardens, museums, and germ plasm stores. The objectives are to provide breeding populations of plants and animals for reintroductions, and maintain a classified biodiversity inventory of specimens and genetic resources.

Conservation management
These conservation systems all overlap with each other, but they broadly define topics that most people would recognise as covering distinct applications of management practices to ecosystems, where the outcomes benefit humankind. Each one could be developed as a chapter of this book, but it is important to think hard before initiating a new chapter, because its principles may fall into an existing one. The unifying principle that brings the topics together is that they all centre on the management of species and habitats. A common objective is long-term sustainability, and it is in this sense that the planning and operation of conservation management systems is the practical point of focus.

The endangered resources
In 1974 Norman Myers estimated the annual loss of tropical ecosystems to be about 240,000 km2. This was the outcome of commercial timber extraction, farming operations and fuel gathering; a combination of economic objectives and the subsistence behaviour of native peoples. Biodiversity represents the very foundation of human existence. Besides its profound ethical and aesthetic implications, a loss of biodiversity has serious economic and social costs. As an essential resource, future changes should be tracked through the collection and dissemination of scientific knowledge on a global scale. It was in this spirit that UNEP commissioned the Global Biodiversity Assessment (GBA) project, which reported in 1995 as a first step to assemble an inventory of Earth’s endangered biological resources.

New societies and cultures
The application of ecological principles and knowledge to environmental issues of world development is changing the way societies value natural resources. This new understanding is having a cultural impact through changes in the behaviour of governments, communities and families. This is mainly the result of a combination of publicity and legislation. For example, in 1977 the Countryside Commission for England and Wales organised a national campaign to persuade farmers to enhance the wildlife and scenic value of agricultural land. Although this particular campaign did not halt the destructive ecological outcomes of intensive agriculture, it marked the beginning of a process of change in agrarian culture. This is now obvious throughout Britain, largely because of a shift in the system of farm subsidies away from production towards the creation of environmental goods.

Education is another important factor in creating a culture of sustainable development. This requires the promotion of a knowledge system linking culture and ecology. The aim is to present economic development alongside the work of organisations in society that are promoting the conservation of natural resources.

title: Applied Ecology/Introduction


text:
Wings 3D/User Manual/Books

DRAFT 1.6 119

� Section 8: Plug ins WINGS3D USER MANUAL 8.7 Books 3D Modeling and Surfacing by Bill Fleming, © 1999 by Academic Press; 340 pp. This is the best general introduction to 3D Modeling I have found. Over half the book is dedicated to principles of polygon modeling in one form or another, plus he explains NURBS based modeling, and the principles that deal with texturing. This is not a tutorial, it is a general discussion of principals and practices. Well worth while.

Principles of Three-Dimensional Computer Animation by Michael O'Rourke, © 1998 by Michael O'Rourke; 285 pp. I found the modeling portion of this book to be too elementary to be of much use, but am finding the sections on Rendering and Animation very informative since I have little background in those areas. He explains the theories behind lighting, texturing, atmospheric effects, keyframing, and inverse kinematics among other things. It reads much more like a text book than I would like, but it is very informative.

title: Wings 3D/User Manual/Books


text:
Wings 3D/User Manual/References

3D Animation Workshop by Robert Robert Robert Polevoi;

http://www.webreference.com/3d/indexa.html; INT Media Group Incorporated © 2002 3D Computer Graphics Dictionary; Various authors; http://oss.ckk.chalmers.se/dictionary Chalmers Medialab © 2000

3D Modeling and Surfacing; Bill Fleming; Academic Press; © 1999

Rapid Evaluation of Catmull-Clark Subdivision Surfaces; Jeffrey Bolz and Peter Schroder; Web3D '02, © 2002 The Winged Edge Data Structure; Dr. Ching-Kuang Shenefound; Michigan Technological University Principles of Three-Dimensional Computer Animation, Revised Edition; Michael O'Rourke; W.W.

Norton & Company, © 1998 Digital Sculpting Techniques by Bay Raitt and Greg Minter © Nichimen Graphics, 1998

title: Wings 3D/User Manual/References