Download Basic Coloured Pencil Techniques by Bet Borgeson PDF

By Bet Borgeson

Easy-to-follow demonstrations assist you use coloured pencils to color timber, vegetation, animals, humans and different renowned matters. the coloured pencil is an easy-to-use, low-cost and highly expressive medium. and no-one is extra expert with the pencil than wager Borgeson. utilizing many visible examples to demonstrate her issues, guess will educate you ways to exploit layering, burnishing, lifting colour and different simple coloured pencil strategies to create a thrilling variety of effects—from hugely distinct realism to free, luscious colour. She additionally bargains recommendation on selecting the right fabrics, conveying textures, layering in backgrounds, and mixing coloured pencil with different mediums.

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Basic Coloured Pencil Techniques

Easy-to-follow demonstrations make it easier to use coloured pencils to color bushes, plants, animals, humans and different well known matters. the coloured pencil is an easy-to-use, low-cost and really expressive medium. and no-one is extra expert with the pencil than guess Borgeson. utilizing many visible examples to demonstrate her issues, wager will train you ways to take advantage of layering, burnishing, lifting colour and different simple coloured pencil recommendations to create a thrilling variety of effects—from hugely special realism to unfastened, luscious colour.

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In ¨ ahnlicher Weise erfolgt auch die rechnergest¨ utzte Keyframe-Animation. Keyframes sind hier die Hauptbewegungsphasen, die wir jeweils als Start- und Zielkonfiguration eines interpolierten Bewegungsablaufs betrachtet k¨onnen. Sie werden vom Benutzer mit Hilfe von Parameter- oder Koordinatenfolgen, die diskreten Zeitpunkten entlang einer Zeitachse zugeordnet sind, festgelegt. Bei einer Figur, die aus starren gelenkig verbundenen Segmenten besteht, kann dies, wie Abb. 1 zeigt, durch die Festlegung der Gelenkkoordinaten erfolgen.

18. 9) mit n = [ n1 n2 n3 ] = −zk /|zk | , u = [ u1 u2 u3 ] = (yk × −zk )/|yk × −zk | , v = [ v1 v2 v3 ] = n × u. Schritt 3: Translation des PRP in den Ursprung des WKS. Der dritte Transformationsschritt (s. Abb. 19) verschiebt entsprechend der Glg. 10 das Projektionszentrum (PRP) in den Ursprung des Weltkoordinatensystems. Dieser Transformationsschritt bestimmt mit dem Parameter zprp und der ¨ Gr¨ oße des Sichtfensters (wx , wy ) den Offnungswinkel und damit den Zoom der virtuellen Kamera. 10) 36 2 Globale Bewegungen Z Z Projektionsebene Y Y VRP VRP zprp PRP X PRP X Abb.

N ∂θ1 ∂θ2 ∂θn y = fy (Θ) = fy (θ1 , . . , θn ) = fy (Θa + ∆Θ) ∂fy (Θ) ∂fy (Θ) ∂fy (Θa ) ∆θ1 + ∆θ2 + . . + ∆θn ≈ fy (Θ) + ∂θ1 ∂θ2 ∂θn Hieraus lassen sich die Positions¨ anderungen des Effektors ∆P = (∆x, ∆y) bestimmen: ∂fx (Θ) ∂fx (Θ) ∂fx (Θa ) ∆θ1 + ∆θ2 + . . + ∆θn ∂θ1 ∂θ2 ∂θn ∂fy (Θ) ∂fy (Θ) ∂fy (Θa ) ∆y = ∆θ1 + ∆θ2 + . . + ∆θn . ∂θ1 ∂θ2 ∂θn ∆x = q*3 = ? Y q*2 = ? q2 q3 P* q*4 = ? DP P q1 q4 X Abb. 28. Darstellung des IK-Problems 46 2 Globale Bewegungen Y P* Dqe = q*e - qe q*e Dq2 P qe Dq3 X Dq1 Abb.

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