User manual DIGITAL ANARCHY TEXTURE ANARCHY

[. . . ] infinite and seamless, organic or surreal. make beautiful procedural textures. the Texture Anarchy suite. a suite of three filters for Adobe Photoshop [ from Digital Anarchy ] © 2003, digital anarchy, inc :: f/x tools for revolutionaries texture anarchy : table of contents introduction & overview About Texture Anarchy About Digital Anarchy About Ambient Design 8 8 9 9 support & stuff Contact Information 10 10 installation and registration Macintosh OS X Macintosh OS9 Windows, all variants 11 11 11 11 section one : the three filters Texture Anarchy Explorer [ TAE ] Tiling Texture Anarchy [ Tiler ] Edge Anarchy [ Edge ] 12 12 13 13 14 Procedural Textures and Fractal Noise section two : working in photoshop Applying Any of the Filters How Does This Affect My Photoshop File?Photoshop Properties Stay Intact Are There Any Limitations?Can I Import a Texture? 15 15 15 16 16 16 2 infinite and seamless, organic or surreal. [. . . ] Two compositions use the same brick texture thats in the Color Well. When that grayscale image is used in the top well, it provides a rougher texture than when its used in the lower well. This is because in the latter example, the Bump texture is filtered by a Mask. In our final composition, a different grayscale texture has been loaded into the Bump Well. This spotty pattern contrasts with the brick pattern in the Mask Well that interacts with it. 64 infinite and seamless, organic or surreal. [ the texture anarchy suite ] section seven : [ tae ] : the layer editor room the mask well The Mask Well plays a very important function in the composition of your texture. It determins which values of the Color and Bump wells will be revealed along the pipeline of the Layer Editor Room. This determination happens based on the gray values of the Mask. Black pixels in the Mask are fully transparent, and fully reveal any pixels sitting below. White pixels are fully opaque, and dont reveal any textures below. All gray values are semi-transparent, with light grays showing less and dark grays showing more. please see page 59 for a comparison of mask layers with layer masks Sometimes turning off the Mask results in a subtle change. [ left ] With a Mask that mimics the rectilinear pattern of the Bump Wells its filtering, the white mask areas cover over the lower bump map, which makes With the Mask turned off, the resulting texture is rougher looking. This is because the lower Bump is now fully showing through the entire brick texture. the texture relatively smooth in those areas. Compare the grittiness of the ceement to the bricks. [ right ] tip :: blend mode of normal With the Blend Option alongside set to Normal, a Mask Well turned off means that it doesnt matter what Layer Well is showing beneath. The result is the same, no filtering through between layer one and layer two. 65 © 2003, digital anarchy, inc :: f/x tools for revolutionaries section seven : [ tae ] : the layer editor room [ right column ] A further example of How Masks Work for You. This gold-aqua swirled texture is very its Mask is turned off. [ top ] With the Mask on and yellow Color pattern appears, as Well off, an aqua swirl the mask imposes its transparency values Bump Well above. homogenous looking if that translate the white [ middle ] With the Mask on and the aqua Color Well off, the yellow Color Well has the hues that are accessed by the swirls. [ bottom ] With the [ left column ] In a different example, the Mask of this grassy texture above green Color Well below is turned off. The interaction of the green Layer 2 to do with the Mask well, actually. Its dark values (black, deep gray) is no swirl pattern Mask turned off, there imposed. [. . . ] Its useful for adding shadows or shading to an image. Multiplying any color with black results in black. This also has the sometimes useful effect of causing white to drop out unless its over another white pixel. White compared with any darker shade will result in the darker shade. 7 - multiply norm. Normalizes the output so that the result is not quite as dark. [. . . ]