SOMA School of Design

Hello, everybody!

I hope that most of you are aware, that SOMA School of Design has been in existence for almost 10 months and it’s ROCKING!

If you are a member of Xstreet, visit this link, get FREE stuff and VOTE for SOMA (yes, right there on Xstreet, after getting free items!):

https://www.xstreetsl.com/modules.php?name=Marketplace&file=item&ItemID=1499191

You will find all the information about the school on the notecard in the package with free items – just in case you missed all the new developments ;p

KaoSome in May

Anti-Matter_FAnti-Matter_M

Virenea Gown

Old Posts are going to be removed from here

Attention!!!!

All the old posts have already moved to http://kaosome.com.

I will be removing them from here shortly.

This blog is going to cover new stuff from KaoSome Inc.

Raw Lace Textures for MFD 205-206

ktnjeanset1-11.jpglace81490.jpglace93980m.jpg8878.jpglace91673cream.jpg

Restoring Alpha Transparency in Targa files Downloaded from SL

1.
01_creatinglayerfrombackground.jpg

2.

02_makingselectionfromchannel.jpg

3.

03_addinglayermask.jpg

4.

04_applyinglayermask.jpg

5.

05_duplicatinglayer.jpg

6.

06_showtransformcontrols.jpg

7.

07_transforming.jpg

Photoshop for absolute beginners – Practical. Making Frame Texture

This exercise is meant for those who have no experience in Photoshop whatsoever.

Before we start making our texture, you might want to use some materials for that which you can download from here:

s_s_koa.pngs_s_oak1.pngs_s_pine1.pngs_s_wood0008.png

We shall begin with setting the workspace in the following way so that if you are using CS2 you can see more or less the same layout as in my illustrations:

01_defineworkspace.jpg

In the next step we are going to convert the wood textures, which you have downloaded, into patterns. This is very simple – open the texture file in Photoshop and do the following:

03_definingpattern.jpg

A small dialog will appear where you can specify the name for your pattern. Click OK.

Now let’s open a new document, where will be creating our Frame. Go to File >>> New.

Set the New File dialog box as follows:

02_opennewfile.jpg

After the new file is opened select Rectangular Marquee from the toolbox:

04_selectingrectangularmarqueetool.jpg

We shall use marquee to make a selection with which we will work further. So that we can place the selection nicely aligned we can enable grid:

05_showgrid.jpg

To customize grid you can do the following:

06_specifyinggridappearance.jpg

Note that gridline set to appear every 32 pixels – it makes sense because 512 (the dimensions of our document) can be divided by 32.

Now we can use rectangular marquee to draw our selection in the document:

07_makingselection.jpg

Fine dotted line, a.k.a. “marching ants” signifies selection.

Next we have to INVERT this selection by pressing ctrl shift I (for Invert):

08_invertingselection.jpg

You notice that now there are “marching ants” at the edge of the document as well, going all along the perimeter.

Next, with marquee tool still selected – right-click on the document and select “Fill” from the menu:

09_fill.jpg

Fill dialog box will appear. Select Pattern for Use, click on the small pointer next to the custom pattern sample and you will find the patterns you have created earlier in the end of the pattern picker:

10_filldialogbox.jpg

Click OK.

Now you will see your selection nicely filled with pattern and since we don’t need this selection any more, you can click ctrl D to deselect.

Let us have a look at the Layers Palette. Here we can see one layer with our “frame”. Double-click on the blue space of the layer:

11_openingblendingoptions.jpg

This will open big Blending Options Dialog box:

12_openingbedialog.jpg

Click on the words “Bevel &Emboss” and it will automatically apply the default options for this style and open it’s own dialog at the same time. You can play with the options or set them as on this illustration, then click OK:

13_bevelembosssettings.jpg

Now if you wish you can even place some picture in this frame:

14_dragdrop.jpg

You can use Move tool (red check mark on the picture above) and simply drag and drop one image from it’s document to another document. New layer always appears on top of the layer active in the file where this new layer appears. We have to change this layer order by pressing ctrl [ (this will send the active layer below the layer under it):

15_changelayerorder.jpg

We might want to resize the picture to fit it into the frame:

16_transformations.jpg

17_scaling.jpg

In order to be able to continue our work we need to apply transformation and exit transformation mode:

18_committransform.jpg

Now we can make a little more sophisticated frame.

This time we will start in the same way (except that you don’t need to define patterns again – they already exist in your pattern preset picker), but we will use elliptical Marquee (right-click on rectangular marquee tool to pick up elliptical marquee from the list) and again after drawing the selection we will have to invert it (ctrl shift I) :

19_selection4newframe.jpg

Now we will see a different method of filling the selection :

20_anotherway2fill.jpg

It will open the same Fill dialog box which we have seen before.

After the selection is filled with pattern you may deselect (ctrl D) and double-click on the layer again to open Blending options dialog box. As before, click on the words Bevel & Emboss, and set the options, after which do not exit this dialog, but click on the word “Contour” instead:

21_bevelemboss.jpg

Choose the contour you like from the contour picker:

22_contour.jpg

In addition you might like to add Texture Bevel and Emboss – using the same pattern which you used for fill:

23_addtexturebe.jpg

Click OK.

Now it’s time to save this file:

24_save4web.jpg

25_save4webdialogoptions.jpg

Your frame is ready for upload to Second Life!

Image Interpolation

In our very first class on Photoshop, when we are just getting familiar with Workspace, in General Preferences we come across the setting called Image Interpolation:

01_generalpreferences.jpg

Interpolation has several meanings.

The word comes from inter meaning between and pole, the points or nodes. Any means of calculating a new point between two existing data points is therefore interpolation.

In the mathematical subfield of numerical analysis, interpolation is a method of constructing new data points from a discrete set of known data points.

In the context of computer graphics interpolation refers to the use of (usually) piecewise polynomial interpolation (given some data points (such as obtained by sampling), the aim is to find a polynomial which goes exactly through these points) to draw images semi-automatically.

Polynomials can be used to approximate more complicated curves, for example, vector shapes, given a few points. A related application is the evaluation of the natural logarithm and trigonometric functions: pick a few known data points, create a lookup table, and interpolate between those data points. This results in significantly faster computations.

The essential data for performing interpolations is obtained through sampling. Whereas Image Interpolation setting in General Preferences regards to polynomial interpolation used largely for completing the vector data, based on the points defined by the artist (e.g. calculation of a curve between 2 anchor points), it also refers to Image sampling necessary for scaling images, and defines the Quality of the resulting image after its size has been changed.

In computer graphics, image scaling is the process of resizing a digital image. Scaling is a non-trivial process that involves a trade-off between efficiency, smoothness and sharpness. As the size of an image is increased, so the pixels which comprise the image become increasingly visible, making the image appear “soft”. Conversely, reducing an image will tend to enhance its smoothness and apparent sharpness.

Apart from fitting a smaller display area, image size is most commonly decreased (or subsampled or downsampled) in order to produce thumbnails. Enlarging an image (upsampling or interpolating) is generally less common (it occasionally has to be done to upscale images for printing). The main reason for this is that in “zooming” an image, it is not possible to discover any more information in the image than already exists, and image quality inevitably suffers. However, there are several methods of increasing the number of pixels that an image contains, which evens out the appearance of the original pixels.

When we prepare textures for using them in Second Life or any other 3D environment, we deal with a little bit more interesting phenomenon – in most cases, particularly when it comes to clothing, we will not be looking at the image in its original size – since avatar clothing will occupy much smaller space on the computer screen than the original image (which is normally 512×512 pixels at resolution 72 pixels per inch). Yet we would like to preserve as much detail as possible, also because there is a chance that we want to zoom into the clothing texture. As we create clothing on 1024×1024 pixels documents, but then have to downscale them to 512×125 in order to upload them to SL, preserving maximum quality while changing pixel dimentions is one of our big concerns.

Image Size dialog box includes options for Image Resampling:

02_imagesampling.jpg

Resampling is the digital process of changing the sample rate or dimensions of digital imagery by analysing and sampling the original data.

A digital image is known as a bitmap (and you already know that we always deal with bitmap images in SL, besides we have seen how much Image Resampling does NOT matter for vector objects scaling), it being a literal map of which pixels are what value, to construct an image.

A bitmap is said to be sampled on each pixel, rather than being supersampled (more than one point of data per pixel) or subsampled (less than one point of data per pixel). Resampling this bitmap involves creating a sample grid, which is overlaid on the pixels. According to how far each grid point is away from the original centre of each pixel, and according to whatever resampling algorithm is in use, the new sample point is given a colour value.

The simplest method is known as nearest neighbour or point sampling. The closest pixel center to each sample grid point is used, with no input from other surrounding pixels.

As an example i used this image – a RASTERIZED text layer with gradient applied to it.

The image size is 844×124 pixels:

03_original844x124pixels.jpg

Since in our work for clothing we will be dealing mostly with downscaling the images, for this example, too, i scaled the image down to 20% of its original size in each case.

Nearest neighbor:

04_20nearestneighbor.jpg

This image is shown at 500% zoom, as you can see. Nearest neighbor interpolation preserved the original image, but since the pixels were replaced by the average of the resampling you can see that the gradient lost quite a bit of its smoothness and the resulting image has considerably jagged edges.

Nearest Neighbor is a fast but less precise method that replicates the pixels in an image. This method is for use with images containing edges that are not anti-aliased, to preserve hard edges and produce a smaller file. However, this method can produce jagged effects, which become apparent when you distort or scale an image or perform multiple manipulations on a selection.

Other scaling methods are better at preserving smoothness in the image. For example, bilinear interpolation produces the following result:

05_20bilinear.jpg

*Remember, that we generally will NOT be looking at our images at such close-up.

Bilinear method adds pixels by averaging the color values of surrounding pixels. It produces medium-quality results.

Linear (or bilinear, in two dimensions) interpolation is typically better than the nearest-neighbor system for changing the size of an image, but causes some undesirable softening of details and can still be somewhat jagged. Better scaling methods include bicubic interpolation.

The bicubic algorithm is frequently used for scaling images and video for display. It preserves fine detail better than the predominant bilinear algorithm.

Bicubic is a slower but more precise method based on an examination of the values of surrounding pixels. Using more complex calculations, Bicubic produces smoother tonal gradations than Nearest Neighbor or Bilinear.

In Photoshop we have finer choices for bicubic interpolation:

Bicubic Smoother – a good method for enlarging images based on Bicubic interpolation but designed to produce smoother results. This methos is required in Photoshop not as much for digital images per se (even though sometimes that can also be necessary), but mostly because this program is widely used for printing, where one more often has a situation when the original image has to be enlarged.

In making clothes for Second Life we have to deal with DOWNSCALING our original work, which is normally done in the documents 1024×1024 pixels, and has to be reduced to 512×512 pixels with minimum detail loss. In this case our choice should be Bicubic Sharper – a good method for reducing the size of an image based on Bicubic interpolation with enhanced sharpening. This method maintains the detail in a resampled image:

08_bicubicsharper.jpg

In this snapshot from Second Life you can see fine detail of the metal buckles and texture of the pants reasonably well, due to the fact that the original clothing textures were resized using bicubic sharper interpolation.

CONCLUSION

1. For best Image quality for SL clothing textures (but not in every other case for textures – that will depend on the screen space occupied by your texture under average zoom) it is better to set Image Interpolation in General Preferences to Bicubic Sharper. This is a SLOWER algorithm, but it produces higher quality images.

2. For downscaling your ready work you can use a few methods:

1) After merging all the layers of the ready image – group it into vector smart object before resizing and you don’t have to bother about any interpolation whatsoever.

2) If you are still dealing with bitmap data, set Image Resampling in Image Size dialog box to Bicubic Sharper.

3) If you are saving your 1024×1024 document DIRECTLY in .png format, before you resized it, via Save for Web, use Image Size tab for changing the size and set quality to Bicubic Sharper:

07_quality.jpg

Note: If you have Image Interpolation set to Bicubic Sharper in General Preferences both Image Size and Save for Web dialog boxes will show this choice by default.

Fabric Textures

25756-50_b.pngearthyplaid.pngglj32142-big.pngredswirlsnonseamless.png

Important information for saving transparency

It’s been quite a while since LL indroduced PNG image file format for upload to SL. Although it’s a very crucial development, I haven’t been able to find any information on this whatsoever neither on SL official Knowledge Base, nor anything substantial on SL Wiki, so if you are aware of any documentation available on it in reguard to SL, please, do post it in Comments for this article.

My personal observation is that together with availability of .png format for SL, image size for upload (byte-wise) has been RESTRICTED, which is not at all a bad thing, since it will help us all to fight texture lag in SL. I still have to do some research on the exact restriction numbers.

Now, what is .png and how to deal with it for best results.

PNG, pronounced by English-speaking users as “ping” (non-english speakers are allowed to say “pee-en-gee”…heh) stands for Portable Network Graphics and was designed to replace rather deficient .gif format and .tiff to some extent.

I don’t want to get into technicalities (for geeks – http://www.libpng.org/pub/png/libpng.htm) , just summarize most important features of .png:

1. PNG is an explicitly BITMAP format (There are some private extensions to PNG that add vector information in addition to PNG’s regular pixels–Macromedia’s Fireworks does something along those lines–but no valid PNG may omit the pixel data.)

2. PNG supports three main image types: truecolor, grayscale and palette-based (“8-bit”).

3. PNG’s compression is fully lossless–and since it supports up to 48-bit truecolor or 16-bit grayscale–saving, restoring and re-saving an image will not degrade its quality, unlike standard JPEG (even at its highest quality settings).

4. PNG was designed for transferring images on the Internet, that’s why it uses RGB color space, and does not support other ones, such as CMYK.

5. For the Web, PNG has three main advantages over GIF: alpha channels (variable transparency), gamma correction (cross-platform control of image brightness), and two-dimensional interlacing (a method of progressive display). PNG also compresses better than GIF in almost every case.

6. Unlike TARGA (Truevision Advanced Raster Graphics Adapter, a.k.a. TGA – Truevision Graphics Adapter) PNG is a metadata container that does not place the image data or attributes at a fixed location within the file, which considerably reduces byte-size of a .png image as compared to the image of the same resolution and pixel dimentions saved in targa. For example, transparency alpha channel is not stored within PNG file.

The implications of all the above are:

1. We are going to reduce our hard disk usage A LOT by storing our clothing files in PNG.

2. We don’t have to bother saving alpha channel for transparency anymore (which does not mean we don’t have to be well versed with it – SL still stores images in targa, and you need to know and understand transparency alpha channel to be able to work with files downloaded from SL, which contain it).

3. We need to understand image interpolation and how to use it (i will post another article on that soon, but those who attend my classes already know about it in a gist)

4. Even though PNG is a raster format, we need to acquire good skills for manipulating vector data available in Photoshop (Paths, Shape Layers, Smart Objects (from CS2 onwards), Smart Selections(CS3), Smart Filters(CS3),Text) to make the best of our editing, before images are fully prepared for saving.

Simplified guide to saving image with transparency in .png

*Even though multiple layers in .png do NOT increase file size as compared to merged layers (since PNG implies compression by default, unlike uncompressed through RLE targa files), for clothing work it is always better to store your ready files separately and keep only important data on master files with templates. Use Preset management (i.e. keep your brushes, curves, contours, colors, patterns, gradients, calculations etc. saved in separate groups for each project) and annotation tool for reminders.

1. File >>> Save for Web

2. Under Presets select PNG 24

3. Interlacing, when checked, marginally increases file size, and although it’s a useful feature, i haven’t observed and specific advantage for it in SL (but that will depend on your graphic card), so i usually recommend to keep it unchecked but this decision is up to you. If you want to see examples of how different types of Interlacing work – explore jpeg2000 Save dialog box – it shows nice previews of interlacing at work (Save As >>> JPEG2000, see under Optimization Order – this is basically how interlacing looks for PNGs on viewing – the options are different, though).

4. You will get what you see in Preview window.

5. Click Save, choose saving location and Save.

Post your questions and suggestions in Comments.

Have a good day :)

More Textures….

Feel free to use any of these textures. They are seamless when it matters.

twirls.pngametistsbutton.pngwrinkles.pnganomalyseamless.pngmysterious.pnglaqcuerboxtile.pngoriental.pngmilkystonebutton.pngbrushedsteeltube.png

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