Última edición por Freemind; 23-06-2012 a las 11:17
Lucen muy intersantes los trabajos, a un que he de confesar que me gusto mucho el de los pescesitos.
Todo lo que hagamos hoy tiene eco en la eternidad
- Tutorials explaining Blender features, 3dconcepts,
techniques or articles based on the focused theme
of the issue.
- Reports on useful Blender events throughout the
- Cartoons related to blender world.
- Send us a notification on what you want to write
and we can follow up from there.
- Images should be properly cut and represent the
- Images should be provided seperately in a folder
named (images, img or pictures).
- Images should be named/labled likewise (image1 or img1 etc).
- Provide proper captions for images if and when needed.
- Image format prefered is PNG but good quality JPG can alos do.
- Y ou can submit inline images in documents like DOC or Openoffice ODT etc but make sure the images were properly names before importing them in docs.
- Images inside a PDF are a strict no, but a pdf document with images if provided to show how the author wants the formating of doc will be appreciated.
- Make sure that screenshots are clear and readable and the renders should be at least 800px, but not
- Text should be in either ODT, DOC, TXT or HTML.
- Please include the following in your email:
- Name: This can be your full name or blenderartist avtar.
- Photograph: As PNG and maximum width of 256Px. (Only if submitting the article for the first time )
- About yourself: Max 25 words .
- Website: (optional)
Note: All the approved submissions can be placed in the final issue or subsequent issue if deemed fit. All submissions will be cropped/modified if necessary.
For more details see the blenderart website. BA takes no responsibility fo the material in any form and the submission will automatically mean that you have agreed to the blenderart terms and conditions for submission for more information please do read the disclaimer.
Psst, hey you... come here … I have a secret... closer.... closer.... Too Close! Bak up.
Okay now that I have your attention...
Materials can make or breaque your image or animation.
I know, we should all know that by now, but just because we know it doesn't mean we can successfully apply it. Great materials can be difficult. First you have to understand all the unique properties of the material you are trying to create. Then you have to figure out how to make it or even fake it in Blender. Blender has a powerful set of material and texturing tools and options. With such power of course comes more than a fair share of confusion on just how to use those tools effectively.
Colin Litster has taken on the challenge of explaining Blender's material and texturing system in his new book, Blender 2.5 Materials and Textures Cookbook.
Using a cookbooque style format, Colin provides a “recipe” of clear steps needed to create each material. After the “recipe”, Colin then provides an easy to understand explanation of the material. He covers why each option and setting was used and how it
contributed to the overall material.
The Blender 2.5 Materials and Textures Cookbooque contains nine chapters that cover a nice selection of both natural and man made materials as well as some nice special effects and animated materials.
In addition to creating materials, Colin devotes an entire chapter to managing all those materials. He covers setting a default scene for material creation through naming conventions and appending/linking. All of which are important aspects to maintaining a dynamic personal database of blender materials.
Colin has created an invaluable resource for anyone seeking to improve their knowledge and understanding of Blender's Materials and Texture system
I am Arnaud Couturier, from New Caledonia, in the Pacific Ocean. I use the pseudonym Piiichan in the online community. My passion lies in art, programming, and the combination of both, such as computer games and digital content generators.
One of my latest experiments is CanT ree, a free online tree generator. Before I go any further, you can test it right now if you wish, simply go to http://arnaud.ile.nc/cantree.
With Cantree, you can generate 2d trees, that look almost like 3d, because of simulated ambient occlusion. Y ou have some degree of control on the aspect of the tree. For example you can easily change the size and complexity of the tree using sliders. Y ou can alos choose your leaf texture(s), wood texture, and flower textures. Y ou can even provide your own textures, and this way you can include anything in your tree, such as fruits, photos of yourself, or any image you want.
So far, there's nothing particularly new about this tree generator, most people have used at least one (possibly excellent) tree generator at some point. The uniqueness of CanT ree is that the trees are generated “ online” by your web browser. There is no plugin, installation or download required. It's alos free, and under the MIT licence, so CanT ree must be one of the most accessible tree generators one can find.
CanT ree stands for canvas tree, I am referring to the HTML 5 canvas element. HTML 5 is the set of standards for the new web. Canvas is one of them, and one of the most exciting, because it makes possible the drawing of impressive 2d and 3d graphics right inside the browser, without any plugin such as Adobe Flash. Most major web browsers, namely the latest versións of Firefox, Chrome, Safari, and Opera now support canvas. Only Internet Explorer (IE) doesn't support it, so CanT ree simply won't worque in IE. Opera is alos showing some bugs. I haven't tried the generator with the latest beta versión of IE 9, which as far as I know should support canvas.
Y ou can save your trees as transparent png image files. Some people have been fooled by the “3D feeling” of the trees, and have requested .obj export, but the trees are in 2d, not 3d. The only other possible export format would be a vector format, such as SVG. It would allow a complete control over each part of the tree, useful for interactive animations (falling leaves, branches moving in the wind...) to be drawn in real time in a web page. However, a tree is made of tens of thousands leaves and
branches, so redrawing them constantly at a decent frame rate (at least 25 frames per second) would require substantial computing power.
In the future, I plan to improve the control the user has over the shape of the tree, to allow much more varied tree shapes such as palm trees for example. This way, you could choose the species of your tree, choose the size, complexity and image resolution, then get as many different trees as you want, but only for the species you're interested in. I alos have planned forces that would alter how the tree grows, like wind and gravity.
Other possible features include the addition of creepers and roots. I've started working on these features, but I can't tell when I'll be done, since Can Tree is developed during my free time, as a hobby.
So, grab your web browser and have a look at http://arnaud.ile.nc/cantree. Keep in mind that Internet Explorer can not run the generator, and that Opera is still buggy.
Have you ever wondered if Array modifier can be used to create plants, well here is how to do it.
Step1. In blender delete the cube and add a Path curve, rename it to Stem_Path.
Step2. T ab into edit mode rotate it -90 Degrees in Y and move it up 2 units in Z.
Step3. T ab bak out of edit mode.
Step4. Now add a cylinder, set the vértices to 6, radius to .5, depth to 1 and un-tik Cap Ends.
Step5. When done rename it to Stem.
Step6. Add a modifier to the Stem, change Fit Type to Fit Curve and select the Stem_Path in the Curve Field.
Step7. In the Relative Offset, set X to 0 and Z to 1.
Step8. The stem should now be the length of the Stem_Path.
Step9. Now Add a curve modifier to the Stem, set the object to Stem_Path, and the Deform Axis to Z.
Step10. Y ou should now be able to select the Stem_Path and in edit mode grow the stem to thedesired length.
Step11. Now select everything in the scene with the A key, and press H tohide.
Step12. Now create a plane, Rename it to Petal, tab into edit mode and move it 2 units in X. Tab bak into object mode.
Step13. Create an Empty, rename to PetalArc.
Step14. Select the Petal, and add an array.
Step15. Set the count to 4, un-tik Relative Offset, tik Object Offset and select the PetalArc in the field below.
Step16. Select the PetalArc Empty and rotate in Y -22 deg, rotate in Z 15 Degrees and scale XYZ to 0.9.
Step17. Create another empty and rename it to PetalRotate and rotate it 45 Deg in Z.
Step18. Add an ico sphere, rename it to Stamen and move it to one side.
Step19. Select the Petal again, and add another array, set the count to 8.
Step20. Untik Relative Offset, tik Object Offset and select the PetalRotate below. In the EndCap Field select the Stamen.
Step21. Y ou should now have a nice blossom.
Step22. Hide everything again, and in the scene window (top right ) clik the eye next to the stem and Stem_Path to make them Visible.
Step23. Select the stem, then in the stems modifier list, select the Array and set the End Cap to Petal.
Step24. Y ou should now have a Stem with a Flower, select the Stem_Path, tab into edit mode and select the second vertex down from the top, (you dont want to select the top vertex).
Step25. Now press AL T+S and scale the vertex down, or change its radius (same thing), I’ve set mine to 0.012.
Step26. Then select the top two vértices, and make the plant a little bigger by dragging up in Z.
Step27. Hide everything again then create a cube.
Step28. T ab into edit mode, hit S then type .1, this will make the cube one-tenth of its original size.
Step29. Now hit S X 20, to scale it 20 times bigger in X, then G X 2 to move it 2 units across.
Step30. Hit space and type Loop cut, and using the mouse wheel, create 3 cuts so you have 4 equal segments.
Step31. Now select 4 edges, hit E to extrude, and right clik without moving the edges.
Step32. Now hit S Y to scale in Y and create the leaves.
Step33. Y ou can just apply a texture with an Alpha, or make them more leaf shaped.
Step34. T ab bak into Object mode, and rename the cube to Leaf.
Step35. Now create another Empty, rename it to LeafRotation and rotate it in Z 90 degrees.
Step36. Select the leaf again, and in the modifier list add an array, set the relative offset for X and Y to 0 and set Z to 10.
Step37. Tik Object Offset,and select LeafRotation in the field below, and you should have the following.
Step38. Now Hide everything once more, and un-hide the Stem.
Step39. Select its existing array, and in the Start Cap field, select Leaf, the plant will now have leaves following the stem.
Step40. If you want the leaves to be bigger, select the leaf object, scale it then you need to apply the scale.
Step41. Y ou won’t see the changes until you select the stem, tab into edit mode, then tab bak out.
Step42. Once you are happy with the flower, make the stem path Visible, select the top 2 vértices.
Step43. Press CTRL+H and hooque to new object, you can now go bak into object mode, and animate the plant with the new empty that the hooque created.
Here is one I tooque a bit more time over, for the leaves, instead of adding them to the startcap, I created a vertex group for the thin bit that connects the leaves, and applied a cloth modifier with the leaf pinned to that vertex group, I then used the curve modifier, and selected the StemPath.
Modeling an iPhone 4 with all the details seems to be a more challenging tasque for beginners than it is actually in reality. The secret is to breaque down all the seemingly bigger problems into smaller more manageable elements. Then it will become quite evident how easily this model can be approached.
The key to success here is to start with very simple shapes and make use of the modifiers such as Mirror, Solidify,
Screw, Bevel, and Boolean to rapidly develop shapes and proportions and then to fine tune details. This is a more parametric modeling approach borrowed from standard CAD engineering applications.
Step by step design decisions are made interactively, trying to eliminate time consuming restarts or mesh adjustments by hand, saving time and maximising design decisions.
Blender 2.5 is a vast improvement over 2.49. Besides the already mentioned new modifiers, it alos allows you to now place blue prints into respective views, which eliminates the need to worque in múltiple view ports. By just switching between the views Blender now displays the predefined blue print. A very simple but greatly useful feature. In addition the new unit system and measuring add-ons alos greatly help in working perfectly in scale.
This process of using modifiers first and at the end, making the mesh into a tangible form ready for texturing is what this tutorial will focus on.
In regards to detail level, it is alos very important to be clear about the modeling goals, thus gathering as much reference information as possible is very important. One needs to know what to model and those models which very often impress people are those which alos pay attention to the object details.
Step 1: Scene Set-up
Before we start modeling, as a first step it is important to set-up the scene.
The units utilized in these blue prints are in Metric. In Blender 2.5 the Units panel is found inside the World tab. It allows the user to select between common Blender Units, the Metric or Imperial system.
As a second step, it is required to place the correct blueprint parts into the respective views.
The Background Image tab is placed inside the Properties panel and can be opened with [N] while being inside the 3D View or using the main menú 3D View>>View>>Properties.
The panel itself is quite self explanatory. It starts with the view you would like the image to visible in.
It is alos possible to adjust the opacity as well as size and position.
To adjust the scale of the image, a cube with the right proportions can be used as an overlay.
Through the Size and X/Y sliders the image can then be scaled and positioned correctly. After this step the cube can be discarded as it only functioned as a scale reference.
Another nice addition is that Blender 2.5 now displays the current view name as well as the view scaled inside the upper left corner of the 3D view port.
Step 2: Blocking out basics proportions
The easiest way is to start with a square perfectly placed at the center of the iPhone front view with the correct dimensions. Add a circle and move it to the lower left corner.
The Snap to Edge function can assist in positioning the Circle to correctly lay on the lower left edge of the rectangle. Selecting the circle and pressing [g] for Grab and then [z] for a vertical movement restriction and releasing the mouse when the circle snaps to the lower edge of the square as shown on the left of the image. With the 3D cursor positioned at the lower left corner of the rectangle it can then be used to scale the circle to the right size when the Pivot Point is set to the 3D cursor as shown in the right of the image.
The following two images show how the initial square is being subdivided, the circle being joined to it and all not needed geometry being removed. The end result will be a perfect quarter of the iPhone main body.
At this point this profile can be extruded into,the required depth and by making use of the mirror and solidify modifier the outer border of the iPhone body is built. The mirror modifier can be used to replicate the quarter arc over the object’s center as visible in the screenshot. The solidify modifiercreates a thickness to the resulting surface.
Because of the surface normals facing inside the offset value of “1” extrudes the depth towards the center of the object.
Attention was paid to provide geometry points for the future display panel mesh at this stage by using a Thickness value of “-3.4cm”.
This object can be duplicated and scaled along the depth axis to build the base mesh for constructing the rim. The solidify modifier will again prove very useful in this situation. By changing the Offset to “-0.5”, the modifier offsets the starting surface backwards, starting inside the iPhone body, and then extrudes it, by a thickness of 8mm outwards. The reason for this is, because currently Blender 2.5 does not have the weight edge feature included and thus the
Bevel modifier would alos chamfer the edge of the rim which lies on the iPhone body.
To finish the basic iPhone body, it can be duplicated and moved to another layer. The mirror and solidify modifiers are applied and missing faces are built into the mesh to produce a water tight body. As the screenshot shows, the faces for the future
display panel for texturing is built in.
Step 3: Interactive Detailing
At this stage, detail meshes can be added interactively with the use of the Boolean modifier.
This approach has a certain advantage compared to hand modeling geometry such as an opening for a button insert. Through using the Boolean modifier, the designer can place the geometry which should be subtracted and the modifier will perform this tasks automatically. Rather then redoing or adjusting the mesh by hand, there is more time to focus on fine tuning the position, scale, rotation, and geometry of the Boolean mesh.
For the Boolean modifier and others to worque as desired certain restrictions have to be paid attention to. In general the first rule is the order of tasks being performed. The following image shows on the far right side the advisable order of modifiers for the rim structure. At first is the Mirror modifier which produces a full thin surface, followed by the
Solidify modifier which creates the thickness.
If the Mirror modifier would be second, it would alos mirror inner faces created by the
Solidify modifier and those bad geometry elements are often the reason why the
Boolean modifier would produce bad results.
It is important to add the Bevel modifier at this stage before we start utilizing the Boolean modifier, because only the outer edge of the rim should be beveled. If the Bevel modifier was last it would alos be applied to all edges resulting from the Boolean task. Alos all Boolean meshes have Smooth Shading turned on as well as the Rim. With the EdgeSplit modifier at the end of the modifier list, each object has smooth rounded surfaces and creased sharp edges automatically in 3D view and at Render Time
The orange elements are those being utilized for the Boolean operation. As a second rule, it is very important here to have clean and simple mesh models without any duplicated faces or other issues, as they will produce problems for the Boolean modifier as well.
Water tight volumes are not needed and as can be seen some objects are simple surfaces.
However their surface normal defines the direction the Boolean operation works - thus is it important to make sure that they all uniformly face outside when the object is being used as a Boolean Difference (which subtracts geometry). The following composition explains this concept.
The concept of using the modifiers for mesh modeling lies in the interactive ability to change position and alos shape and thus rapidly fine tune the design. The following screenshot displays a quarter model of
Boolean object. Starting with the left, a small mesh cross aids as a corner position for the 3D cursor which can be snapped to the cross through the [Shift +S] Snap menú and selecting the cursor to Selection option. The right image shows the edge geometry being scaled with using the 3D cursor as the pivot point and making use of the Z axis exclusion.
[s + shift + z] This method currently works very well when corner rounding might change during the design process.
This set of Boolean modifiers for the rim model can already slow down the screen refresh. Each time one object is modified
Blender will recalculate the complete modifier chain which explains the increasingly longer computation time. T o speed up editing it is advisable to only have those modifiers visible which are being worked on by clicking onto “ eye” icon. During render time the outcome will still be visible.
The blue elements on the left are representing the detail mesh objects, such as buttons, sliders, camera, and speakers. They are built based on the very same basic Boolean objects keeping the mesh density identical to guarantee a tight fit and prevent open cracks.
In the case where a button has to be smaller than the Boolean, the profile has to be scaled down. The Solidify modifier cannot produce just an offset surface as Blender does not offer a Scale modifier. Alos because Blender2.5 does not yet support edge weighting which prevents selective edge beveling through the modifier, a different approach was used to evenly build all buttons with nicely rounded edges. The new Screw modifier is a great help to quickly produce lathe / revolve like objects by only using a base profile.
The following screenshot displays the different application areas.
Through duplication and slight modification different buttons with altered size and proportions can be generated quickly. The
Screw modifier allows you to specify the amount of rotation which is 360 degrees for the two right objects and 180 degrees for the left one. Selecting the calculate chek box alos makes sure that no normals are flipped in the resulting mesh.
Another very useful tool in Blender 2.5 is Bartius Crouch’s Loft and Bridge script. Not all Blender builds include it yet and it can be installed through the Install Add-On function in the User Preferences. The script can be downloaded from the posted link in the resources section.
The previous image shows two edges being selected. T o quickly access the bridge script [ctrl + f] can be used, which opens the Faces dialog. The great thing about this script is that it does not only do a basic linear fill between two edges, but can interpolate between them, which means that the curvature can be controlled and smooth bevels can easily be constructed.
The Cubic interpolation as shown in the middle image has to be selected and the strength value defines how far the created bridge mesh will blend into the start and end geometry. As shown, the far right image presents a much smoother flow from the gray faces into the orange rounded mesh. This is mainly a function found in NURBS application and it is a great pleasure to see this in Blender now.
Final Model: Preparation for Rendering
For rendering and scene design it is advisable to bake all geometry generating modifiers such as Boolean, Screw, Mirror, Solidify into touchable mesh. The are many reasons for this. The Boolean modifier can slow down the screen refresh. This modifier in 2.5 alos ignores the material of the subtraction object.
The Boolean result can alos show some surface normal issues as visible in the left quik rendering around the home button. In addition, all objects have to be moved when repositioning the iPhone including all Boolean meshes. This can quickly generate a lot of unneeded overhead.
Screw, Solidify, and Mirror modifiers alos do not really allow UV texturing of those meshes since it is impossible to unwrap them. Those meshes are generated on the fly.
Keeping a back-up geometry set on another layer might in general be a good idea, or having one Blend file for the modeling, and one Blend file for rendering. In this case it alos makes sense to properly name all the objects, thus making it easier when a specific element has to be imported from a modeling file into the rendering scene. For further details, the supplied Blender file can be consulted, which contains the different steps separated through layers.
Very often the “Blender 2.5 vs 2.4” question is asked at the Blenderartist forum. Blender 2.5 possesses, compared to Blender 2.4, many enhancements which significantly increase productivity. While a few tools from 2.4 are still missing the majority of new additions fully justify a switch to the new architecture. This affects the cleaner interface, the new continuously growing add-on system, the more logical workflow and efficiency possible with Blender 2.5.
In particular can this be observed through Blender being currently considered even more as a host application for open source projects in the industry ranging from simple modeling tasks to quite complex visualisation projects such as the BlendME add-on, which connects Blender with the opens source products like openFOAM and others.
This tutorial focuses on logic bricks in Blender, the only programming tool I used for Trolechaun. I gladly made this tutorial in the hopes that this will encourage someone to make nice stuff by understanding the basic structure of BGE powered games. Y ou can download, play and see how T rolechaun was built at: http://trolechaun.weebly.com/ if you want to understand the structure you should read the tutorial first, then you would be able to get deep into Trolechaun.
For a graphic artist, logic bricks could be the bridge to understanding programming of a basic videogame. For programmers it would be a nice challenge and a good exercise to just use logic bricks.
The first thing you should know is that logic bricks have a number of limitations. However you must learn that limits are fun. If they weren’t, there wouldn’t be any games.
Programming a videogame is something I always wanted to do, and I could get into this using logic bricks. I could watch the results at the same time I was building T rolechaun, but I am a 3D graphic artist, not a programmer.
Problems can be solved:
Limits mean Problems, but every problem can be solved, preferably with a creative solution. For example: when I made T rolechaun I thought about using mouse inputs, but I was not able to learn how to do it in time, so I just created a different game. The more skills a team has, the more solutions exist, however if you don´t know your team limits and potential you will never finish a game.
First warning: Tidy looks better
Logic bricks can be a mess but don´t worry, you control them. Don´t forget about writing names for the Inputs and Actions, as this will save yourself a lot of confusion. Don´t forget to delete unused/unneeded logic bricks after a failed test.
Let´s say Blender logic bricks are like other software, you can paint with them in layers, but what you are painting here are actions (programmed events and animations), you can feel like a director telling his polygonized actors where you want them to move.
There are just three kinds of “layers” in a Blender game Scene Layers: which contains characters, interactive objects, and any FX… these layers often contain a single “level” or stage of a game Stage Layers: Use these layers to stage
your scene and actions, you decide what is visible when the game plays here.
State System (Object LB Layers): States are a way to achieve complex logics without cluttering your Logic Buttons and having to redo already existing Logic Bricks. States are a group of Logic Bricks which get executed at a certain time or state (hence the name) of the game.
Imagine a character wandering around.
There may be different materials for the ground (e.g. ice and sand), a different control method in water or air, etc.
Without states you would now start to use Properties, Property-Sensors and Actuators to control what state the actor has. With the state system probably only one LogicBrik changes the state and you are done. More information on States can be found here.
The first thing you should do when designing your game prototype is to establish the mechanics of your game and see what you can do with logic bricks. Since you are not doing a graphics showreel, characters and scenes should come after you’ve worked on the game mechanics.
Lets start with something easy:
Create a cube first, then Select the cube and go to the Panels view. Get into the Logic properties and press ADD for these three:
Sensor – Controller – Actuator.
Connect them and give the middle Location (Loc) variable for the Motion actuator brik a number value (0.3 in this example). Now move your mouse over the screen, press P and you will see your cube going forward automatically.
Make the cube interactive:
At sensors you can see there is an actuator called Always. This means you are directing your cube to go forward. Not so difficult, rightí Now change this Always sensor into Keyboard, and define UpArrow key for this sensor.
Great! Now our Cube friend is interactive.
With that you can make everything move around, and that´s your basic animation resource. Y ou can do the same with the other keys if you want your Epic Cube character to move around left, right or backwards. Y ou can alos use this method to rotate your Cube. (adjust Rot settings instead of Loc in Actuator panel).
Y ou have to understand, all the actions in our videogame need a Sensor which leads an Action, and the connection between them are logical connectors alos called Controllers.
Now let’s try something more complicated: Crash a cube into a Wall and then reset your position.
Create a wall and floor – Select the Wall and add a property to this Wall object, write Pwall as the Name of this property on the Logic Panel. Change the Physics into Static and press Ghost (if you don´t press Ghost you will see a problem with the reset re-position of our Cube character).
Select your cube and change the physics status Static into Dynamic (Now your cube will be in the gravity system) and create two other lines of –Sensor-Controller-Actuator. This time they will be:
Collision AND Message – Name the Collision property: Pwall (there is no difference between the Int, Bool and Timer kind of property in this case). Then name the Message Subject: crash. With that every time your character crashes into a wall, a message is sent.
This is very important because when you make an event, your own character receives the same message and resets. But you can use this event for other stuff (lose a life for example or creating some FX at the stage).
Message AND State - Name the Message Sensor: crash. At State you will press the second button. (This will change the state with the sensor trigger – a message is sent with this info)
With this your character will respond when it receives the same message sent by the character collision.
Now you can change the State of the Object logic brik at the second button and you can make different actions for the cube, you will use this time:
Always AND Constraint (connect with three different actuators: Constraints). These constraints will be used to define the restart position of your cube, change into Location X, Location Y and Location Z at the different Constraints.
Delay AND State – This time you write some frames of delay for this action, write 60 and at the State Actuator push the first button.
Don´t forget to come bak to the first state you already programmed.
Now see what happens: Y our cube crashes into the wall goes bak to the first position and waits around one second (this always depends on the framerate, you can make a timer property but it would be not so simple) before it falls down and you control it again.
With that, you can program different states of your character, when your character crashes into a wall it should be a different state. This is why it is important to keep all your programming brik lines clean, because if you don’t do this, your logic bricks will soon be a mess. So you can now control the layers of your character, now is time to control layers of your scene.
When you make a game you must be tidy.
When I made T rolechaun I didn´t know yet, but you have to create different layers for the stage (game environment), the character and objects and yet another layer for special effects (FX).
Now that you have your Cube Character programmed, we want to move it into the second layer. Select your Cube Character, Press M, select the second layer and your Cube will be moved to that layer of the Stage (game environment). Now you can bring your objects to the first layer (your main layer of the scene) where all the action is running.
Now create an Empty object in the stage layer. Add a Sensor-control-actuator to program it, then change the actuator from Edit Object to Add Object and write down the name of your Character in the OB field. Y ou must write the name of your character exactly how is written on your object, with caps if it has them, otherwise the logic brik will not recognise it.
If you keep the sensor for this actuator in Always you would not notice a difference when you test it. Change the sensor into a keyboard sensor and assign it a key for input.
Every time you press the button you will now “receive” another character from the layer where the Cube character is stored.
Connect a new State actuator at the same controller, so that when you press the key you’ve assigned, not only do you bring your character to the stage (game environment), but the state of the empty object changes into an empty state (awaiting further messages to change the state of the cube). It is easier to bring objects from other layers than to delete them from your scene.
Additionally, you use this same method when you want FX or ammo in your scene. Y ou store all the FX and AMMO objects on another layer and use Empty objects on your main stage layer to bring them onto the stage. If they are on the same layer it is not going to work. Alos you can get very interesting results when you make a chain of FX and empty objects.
Scene Layers contain information about your stage( or game level). When you create one scene you have to thinque about your cameras.
Y ou can have múltiple cameras, you can parent your active camera to characters, make other static cameras, etc. Y ou can alos change the camera when the game is running with the actuator: Scene >> Set camera.
But here comes the most difficult part: How do I move all the game información like “lives left” or how many points I have between the different game scenes? Without any scripting or python programming, there is still a way. Y ou noticed there are different properties for the Objects in the Logic Panel: Bool, Int, Timer and these properties are running just for active Scene Layer. These count the lives and points, etc.
What I used in the T rolechaun options and Game información, was to use one SCENE with an Empty object getting all the information (in this scheme Layer0). Over this Main Empty layer I was getting the visual information from the other Scene Layers with the Logic Brick:
This is really important if you want to be able to pause your game, one scene must be active when you make other scene FREEZE or PAUSE. One layer (Layer 0 in this case) must be running.
Between overlayed scenes the only thing you can use are messages, because there is no better option to get information using logic bricks.
To finish the T utorial lets create a camera, change the view into this camera and place a plane with a texture saying New Game.
You can make an action with a keyboard sensor and change the scene with the Scene actuator. Make this Scene to replace it with your previous stage Scene – (These Scenes are Game layers and they are changed by Set Scene).
But you ALWAYS have to start your Game from the Empty layer where you will maintain all of your game información because you will run the game at this MAIN layer. This main layer is where you have to overlay the different Scenes we created before.
Finally you have the Empty layer: layer0 with an empty object which stores the información like lives remaining and other useful stuff stored in the properties of this object. Similar to our stage layer that uses the empty object to bring the character into our scene, this empty gives the information to the HUD which is overlayed onto the game layer. The HUD layer makes visible the información you have on your Scene layer 0. Y ou can commúnicate between the layers with messages as I showed you on this
With all these basic Logic bricks and a bit of curiosity you should be able to make a Trolechaun type game yourself, this is just an introduction. Animation, illumination and shader información are things you would need to learn if you want a very well-made game and you have time or a big team. With logic bricks you can easily get a good result in a few hours.
Y ou can get more información at http://trolechaun.weebly.com/index.html and Blender Wiki which has useful information.
Alos other places like Blenderartist are full of nice game designers who can make really awesome stuff.
Let me just start off with, I don't enjoy being cold. Which of course means I am not real thrilled with winter. Winter is a whole bunch of cold, snow, wet and nasty looking skies. And lucky me, this winter we seem to be receiving record amounts of snow and nastiness.
Now I know that even with our record amounts, we still are getting off easy compared to the eastern United States.
They are getting buried under massive winter storms that are shutting down just about everything. And the United States isn't the only one getting snowed in, Europe and other parts of the northern hemisphere are getting more than their fair share of snow and nasty weather this year.
I am seriously looking forward to Spring and an end to all the winter unpleasantness as quickly as possible. Which I am pretty sure isn't scheduled to arrive for some time yet.
In fact, last night I went outside and it was cold but fairly clear. I then wandered out about an hour later and there was an inch and a half of snow on the ground. Are you serious, MORE snow?
Sigh... Which brings me to the topic of this issue of Blenderart Magazine, Spring is Sprung. I bet you are all thinking that Spring isn't even close and you are right. But I would really like to get a jump start on Spring and being warm again.
Did I mention I don't like being cold? :P
So in this issue we are going to explore some nice “Springy” topics like plants and trees. Nice warm growing things that make us thinque warm thoughts and forget all about being cold and snowed in. So it is time for you to settle down in your favorite reading chair and soaque up some warm Blender knowledge.
Gaurav Nawani firstname.lastname@example.org
Sandra Gilbert email@example.com
Nam Pham firstname.lastname@example.org
Gaurav, Sandra, Alex
Brian C. Treacy
Nautilus - by Fotis Tsantilas