//----------------------------//
ArtMatic 3 in 4 out components
//----------------------------//


Introduction
Color Polygon N
Color Circle
Color Line
Color Neon Line
Gaussian Dot #
RGBa half plane
Random Verticals
Mondrian
z Random Polygons
L Maze
O Maze
R Maze
z matrix lights
z LED Array
z Square LEDs
3D Tech Noise #
3D Walls & Concrete #
DF City Textures
Jitter Tile xz #
Jitter Spherical #
Jitter Axial #
Motion Cluster #
z Disk Tiles
z Paint strokes
z Strokes
z Line network
z R-patchwork
3D Cellular
3D Multi Bubbles
3D Lava Bubbles
3D Green Marble
3D Color Dots
3D Color Star Field
3D ice cracks
z Multifractal
z Sulfur Fiberrock
z Granular rock
z Green Bushes
3D SkyDome Planet
3D leaves #
Color Grass field #
uvid Sweep Volumes #
3D MultiFractal noise
3D Ridged Fractal
3D Fractal Silex noise
3D Color Patchwork
3D Random Rects
3D Lunar rocks
3D Facet Rocks
3D Granite rocks
3D fractured rocks
Packed z Blend
Packed z Morph
Packed random Mix
Packed Crossfade
Packed mul & add
Packed Maths #
Packed Logic #
Packed Max
Packed Alpha Compose
Memory Packed z Blend
3D Looper
S-Space Scale
34 Compiled tree


Introduction

34 components generally serve as either color texture components that output RGB+Alpha, color texture + elevation components for ArtMatic Voyager, or packed mixers. Oftentimes, these components are treated as 33 components by ignoring the fourth output. A number of 34 Components are especially useful for creating DF objects (3D objects rendered by ArtMatic Voyager).

Inputs and outputs: The color texture component inputs can be either a 3D space or a 2D space plus a controller input. It is often useful to precede these tiles with the 23 Z Set component in order to set the z input value (when you want a constant value for Z). It is often useful to feed the z input with the output of a 21 or 31 component.
Fourth Output: The fourth output is often useful for masks or highlights. Some components were designed with ArtMatic Voyager in mind and the fourth output provides an elevation map for color textured terrains.

Color Shape Primitives: These components are often 3D versions of 24 components. The fourth output can be treated as either an alpha channel, a DF field or an elevation map with the same outline as the shape and peak values at the center. For more information about these components, see the 24 Components page page.

An essential in-depth discussion of ArtMatic structures Trees and components is found in ArtMatic Designer References and in Building trees.


34 Color Polygon N

parameters :
A : Sides (2. : 22.)
B : Radius (0. : 16.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
Color Polygon N provides various sided polygon rendering algorithms as the 24 versions. The third input is used to shift the color and is often use in iterative system to connect the hue to the iteration number. 'Sides' sets the N side of the regular polygon, up to 22.

algorithms :


34 Color Circle

parameters :
A : Amplitude (-8. : 8.)
B : Radius (0. : 24.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
Color Circle provides various disk rendering algorithms like the 24 versions. The third input is used to shift the color and is often use in iterative system to connect the hue to the iteration number.

algorithms :


34 Color Line

parameters :
A : Rotation (d) (-180. : 180.)
B : Size (0. : 32.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
Color Line render a line of variable length according to various algorithms. 'Size' sets the line length while 'Rotation' in degree sets the line orientation. The third input is used to shift the color and is often use in iterative system to connect the hue to the iteration number. Also see
24 Color Line.

algorithms :


34 Color Neon Line

parameters :
A : Rotation (-3.14 : 3.14)
B : Size (0. : 32.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
34 Color Neon Line is the equivalent of 24 Color Neon Line with the third input added to color cycle. The third (z) input is used to shift the color and is often use in iterative system to connect the hue to the iteration number as demonstrated below.


Example file : Libraries/Components demo/34 Neon Line twirl.artm




34 Gaussian Dot #

parameters :
A : Amplitude (0. : 8.)
B : Radius (0. : 24.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
34 Gaussian dot is the equivalent of
24 Gaussian dot with the third input added to color cycle.


Gauss dot twirl is using the "halo light disk " algorithm
Example file : Libraries/Components demo/34 Gauss dot twirl.artm

algorithms :


34 RGBa half plane

parameters :
A : Rotation (-180. : 180.)
B : Offset (-16. : 16.)
C : Color Cycle (0. : 1.)
D : Color Saturation (0. : 1.)

discussion :
34 RGBa half plane is the equivalent of
24 RGBa half plane with the third input added to color cycle. When used in DF mode this component will create an infinite colored plane. See also 34 Color Circle above.

algorithms :


34 Random Verticals

parameters :
A : Amount (0. : 1.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 8.)

discussion :
Random Verticals creates a pattern of randomly-spaced vertical stripes. The z input shifts the color. There is a related 14 component.



34 Mondrian

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)

discussion :
Three-input version of 24 Mondrian. The z input influences both color and pattern. Left. Mondrian z input fed by a Grid. Middle. Top (normal) view. Right. Side view.



34 z Random Polygons

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Three-input version of the 24 Random Polygons pattern. The Z input influences the polygon pattern.


Human depth map providing the z to Random Polygons.



34 L Maze

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)

discussion :
The z input influences the line width.



34 O Maze

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)

discussion :
O-Maze is a 2D graphic texture modulated by the z input. O-Maze uses complementary colors modulated by the color cycle parameter.




34 R Maze

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
A 2D graphic maze texture modulated by the z input when z sensibility is over 0. R-Maze uses complementary colors modulated by the color cycle parameter. When maze surface is negative it is shaded with a constant color. On the positive side there is a ramp between the 2 other colors defined when the hue circle is divided by 3. Feeding an image in the z input and animating the z sensibility makes the image features emerge from the maze.



34 z matrix lights

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Z Matrix Lights provides a pattern of colored lights on a square grid modulated by the z input. 'Amplitude' increases color variation and luminosity while "color cycle" cycles hues and goes from dark to white. "z sensibility" sets the overall sensibility to z input. When z increases, color hues shift and lights gets bigger.



34 z LED Array

parameters :
A : Amplitude (0. : 2.)
B : Style (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Z Led Array creates a pattern of randomly colored & placed disk LEDs. The z input adjust the light probability to be ON and randomizes the colors. The "Style" parameter blends between various color tables to changes the leds colors. "z sensibility" sets the overall sensibility to z input.



34 z Square LEDs

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Z Square LEDs creates a pattern of randomly placed disk square LEDs. The z input increases the light probability to be ON. The "color cycle" parameter blends between various colored LED layouts. "z sensibility" sets the overall sensibility to z input.


Human depth map providing the z to Z Square LED at different frequency & Color Cycle settings




34 3D Tech Noise #

parameters :
Algorithm slider : (0 : 28)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 64.)
D : Color Variance % (0. : 1.)

discussion :
This component provides a set of vibrant 3D solid "techno" patterns that can be used both for designing ArtMatic Voyager cities and for creating techno patterns in ArtMatic. Parameter A is used to select the pattern created by the component and can be set with the algorithms pop up as well.
The output values are RGB from the leftmost inputs and is used in Voyager to provide the color shading for buildings. The fourth output is an alpha value intended to be used as an extra output in Voyager. Typically, it is mapped (in ArtMatic Voyager) to "Normal" to provide embossing of the window frames. 'Color Variance' controls the range of used colors while 'Color Cycle' will offsets the color hues within the procedurally generated color ramp. Note the procedural ramp cycles hues from dark to white and desaturates colors above 0.75.
The patterns come in "soft" and "hard" styles. Use the "soft" smoother versions when animating in Voyager to minimize flickering and aliasing problems.

algorithms :

34 3D Walls & Concrete #

parameters :
Algorithm slider : (0 : 23)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 32.)

discussion :
This is a component for creating realistic solid 3D color textures for buildings in ArtMatic Voyager. A variety of realistic wall materials and building textures can be simulated with this component. The alpha output is intended to be used as an extra output mapped to "Normal" in ArtMatic Voyager which allows ArtMatic Voyager to provide appropriate bump shading. The inputs use ArtMatic Voyager input mapping: X and Z are the ground co-ordinates and Y (the middle input) is elevation. ArtMatic Voyager users can find many examples using theses textures in old style cities and DF Architecture scenes.

Example: Old Stone



Example: Brick Wall A



Example: Stucco & Windows



Example: Stones bands C



The texture is selected with parameter A or the algorithm popup. The choices are:

algorithms :


34 DF City Textures

parameters :
A : Mutation % (0. : 1.)
B : Scale (0.50 : 4.)
C : Sparseness % (0. : 1.)
D : Smoothness % (0. : 1.)

discussion :
This component is meant to be used with
32 DF Cities or the 32 DF Buildings component. It provides complex textures that are linked to the city geometry and building families. The texture discriminates buildings from roads or other elements. Colors used by the textures can be influenced partially with the colors of the main gradient but some building and roads have their own color shaders.
Keep in mind that to match correctly with a particular City the Mutation, scale and sparseness have to be the same.
Algorithms sets what kind of texturing has to take place. DF City Textures outputs a RGBA value with color and an alpha that can be used for bump shading in case of structures textures. For Windows the alpha is related to the reflexivity and can be multiplied with the structure minus window mask to feed a second output that will control the reflectivity amount in Voyager so that windows will correctly reflect the environment.

Options sets which city to be textured and is basically the same list as the cities. It provides the maps of a particular city :

"Grid city, set A",
"Grid city, set B",
"Grid city, sets A & B",
"Grid City single family",
"City sets B & C",
"City All",
"Cluster city",
"City with canals",
"City single family",
"MetaCity A set B",
"MetaCity A set All",
"MetaCity B set B",
"MetaCity B sets A & B",
"MetaCity B All",
"Perlin city set All",
"Perlin city set B & C",
"Utopia city All",
"Utopia single family"
When a single family mode is used the third parameters sets the "Family Id".

algorithms :

You can add additional casting lights to a city using Volumetric lights in Voyager with a matching Map uv coordinates provided by 3D DF Constructs # to define the light field like in the example below.


Customizing window color is quite easy, either by mixing the default with another one or by inserting a color modifier below the City texture tile. Customizing structures texture is more problematic as the texture channel discriminates roads from buildings. You can mix several textures and use a mask over height to keep roads texture. Some types of modification are easy like adding dirt over everything using multiply.

34 Jitter Tile xz #

parameters :
A : Scale (1. : 2000.)
B : Jitter % (0. : 1.)
C : Clip radius % (0. : 1.)

discussion :
Jitter Tile xz splits the xz plane (the horizontal plane in ArtMatic Voyager) into many similar cells with local centers. When the output is fed into a component a 3D object, the result is non-identical copies of the object. "Jittering" is often used to perform operations like creating a forest from a tree or a field from a blade of grass for ArtMatic Voyager. This has many applications and is especially useful for creating object clusters for ArtMatic Voyager.

Jittering is done as a space transform rather than by duplicating the underlying object. It is a computationally efficient method as the underlying object only needs to be evaluated once which is very important if the object itself if computationally complex.

For proper convergence of DF objects (for ArtMatic Voyager), care should be taken not to use too much randomization or to set the scale too low which may causes objects to move outside their cell. Jittering of a single object can also be performed in ArtMatic Voyager itself.

Example: A forest of non-identical trees created using Jitter XZ. The fourth output, W, (the randomized jitter value) is sent to 43 Rotate so that each copy is rotated differently. By setting up the structure tree correctly, you can create significant variation among the copies.



Parameters:

Output: The output are new co-ordinates X, Y and Z plus a 4th output (W). W is a random number with a range of 0 - Pi that varies with each tile (object copy). Use W to randomize elements of the object. See the example tree above in which W is used to vary object rotation.

Component Options: In ArtMatic 6, several new parameter options were added that create clusters of up to 64 copies arranged in different ways. While the old algorithms scattered all the copies on the same plane, some of the new options create clusters in 3 dimensions. For small numbers of objects (<32) the new options are both more accurate and faster to compute than the original options (Regular Jitter through bypass).

Parameter C for the new algorithms determines the number of clones: from 0 to 64.

Parameter A for the new algorithms determines the distance between the instances. As always, the fourth output of the component provides a randomized jitter value (between 0 and Pi) that can be used to create variations among the instances. For example, the jitter value can be fed to a rotation or scaling or offset component to modify the position. Or, it can be used to manipulate the color.

The "xz" algorithms create finite clusters on the same plane. This can be useful for creating groups of trees or creatures.

Animation tips: When animating 3D clusters, do not move the individual object (except for constrained motions like wing-flapping) as you do not want the object to move out of the central area (the region that is cloned). With the 2D clusters, you may move the objects up and down (the y/vertical axis), but do not move them in the horizontal (xz) plane. To animate the whole cluster, use x, y, and z offsets before (above) the cluster/jitter tile. Another technique is to use the global input matrix's time output (global input w) to affect the motion.

Flying Thing(s) Series. This series is a useful one to study. Flying Thing contains a single animated "bird". Flying Things 4 Birds has cluster of birds whose wings flap but but do not move. Flyings Things Many Birds Motion shows a larger cluster of birds that seem to independently move with changing altitude and relative positions while flapping their wings. The wing flaps and general motion are accomplished by using global input W.

Cluster Motion Perlin Example:




34 Jitter Spherical #

parameters :
A : Number (2. : 256.)
B : Jitter/Angle % (0. : 1.)
C : Offset (-64. : 100.)
D : Angle shift % - Or Amount of Randomisation (0. : 1.)

discussion :
Jitter Spherical creates randomized copies of a portion of space according to various rules set by the Algorithm choice. It creates its "cells" radiating outward from a central sphere or hemisphere which makes it useful for creating biological structures like plants or corals that have branches arms or tendrils extending out from a central area. There are several algorithms available and different parameter options that provide for a large number of possibilities. As with
Jitter Tile xz, the fourth output is a randomized value that can be used to modify the individual cells. Use multiple instances of this component in a cascade to create complex plants and branching structures.


Spherical jitter clones space radiating from the origin using the Random Spherical algorithm.

Parameters:

Note: Parameters may change with Algorithm choice.

Parameter Options set the main axis for the rotation:

algorithms :


34 Jitter Axial #

parameters :
A : Number (2. : 128.)
B : Rotation angle % (0. : 1.)
C : Offset (-40. : 40.)
D : Randomize % (0. : 2.)

discussion :
This component "jitters" space by creating copies that are distributed along a main axis. Several algorithms are available for creating different sorts of patterns. This is very useful for creating tree-like branching patterns and is often used for designing plant structures.

The pattern created is determined by both the algorithm and number of branches. Some combinations of algorithm and N (parameter A, the number of branches) create both a main axis (the trunk) and branches while with other N settings only branches are created.

"Offset" usually controls the offset along the main axis between branch levels.

"Randomizes" usually controls the amount of random variation.



algorithms :


34 Motion Cluster #

parameters :
A : Number (2. : 128.)
B : Size % (0. : 4.)
D : Random Seed % (0. : 1.)

discussion :
This component is a jitter component whose purpose is to create co-ordinated clusters of cells whose motion is automatically animated. Several motion and topology algorithms are available.

The algorithms determines the motion of the "cells" while the parameter option determines the initial cell pattern. For example, you can choose the algorithm 'Explosive 3D' to create an explosion pattern of motion and the Cluster 3D Spherical parameter option to start with the objects distributed around a virtual sphere.

This component is useful for creating interesting schooling, herding and flocking motion as well as for exploding objects and collections of particles.

Parameter options:

algorithms :


34 z Disk Tiles

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Z Disk tiles creates a modulated textures of overlapping slanted disks. The z input provides a color shift and a rotation of the disk slant.

Example: Feeding a black & white U&I logo output into z-Disk






34 z Paint strokes

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
z Paint Strokes evokes undulating brush strokes. The z Input influences the orientation of the brush strokes while the "z sensibility " adjust the sensibility to z input. 'Amplitude' scales the alpha output and raises the color variation probability.

Example:The image below was created by patching the output of
Perlin Noise to the z input






34 z Strokes

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : z sensibility (0. : 1.)

discussion :
Z Strokes is another brush-stroke like texture. The z input influences both orientation and color of the strokes.


Feeding the Z Strokes with an human silhouette depth map




34 z Line network

parameters :
A : Amplitude (0. : 2.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 8.)
D : z sensibility (0. : 1.)

discussion :
Z Line Network is a pattern that resembles a layer network of colored strings. The z input influences both color and the relative orientation of the strings.


Feeding the Line network with an human silhouette depth map




34 z R-patchwork

parameters :
A : Amplitude (0. : 1.)
B : Sharpness % (0. : 1.)
C : Frequency (0. : 8.)

discussion :
3-input implementation of 24 Time R-Patchwork. Z controls the phase of the pattern within the blocks. Color is provided by the current gradient.




34 3D Cellular

parameters :
A : Amplitude (0. : 8.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 32.)
D : Color Saturation (0. : 1.)

discussion :
3D Cellular color texture. The z input influences the pattern. The pattern is very similar in top and side views.




34 3D Multi Bubbles

parameters :
A : Amplitude (-8. : 8.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : Color Saturation (0. : 1.)

discussion :
3D Multi Bubbles creates a pattern similar to 32 Multibubbles. The z input modulates the arrangement of the bubbles. The pattern is very similar in top and side views.




34 3D Lava Bubbles

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
3D Lava Bubbles is a solid color texture evoking glowing lava. The elevation map passed in z are akin the various 3D Bubbles scalar noises.






34 3D Green Marble

parameters :
A : Amplitude (-16. : 16.)
B : Roughness (0. : 1.)
C : Frequency (0. : 8.)

discussion :
Green Marble is a true 3D RGBA texture can be used as both elevation map and color solid texture in ArtMatic or ArtMatic Voyager.






34 3D Color Dots

parameters :
A : Amplitude (0. : 8.)
B : Color Cycle (0. : 1.)
C : Frequency (0. : 16.)
D : Color Saturation (0. : 1.)

discussion :
The z input modulates the pattern. The pattern is very similar in top and side views.




34 3D Color Star Field

parameters :
A : Amplitude (0. : 4.)
B : Phase (-32. : 32.)
C : Frequency (0. : 64.)

discussion :
3D Color Star Field is a texture reminiscent of a star field. The z input modulates the texture's pattern. The pattern is very similar in top and side views.




34 3D ice cracks

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)

discussion :
3D Ice Cracks creates a texture resembling cracked sea ice. It is especially useful for creating ArtMatic Voyager ice floes where the alpha output provides the elevation map and the first three inputs provide the color textures. It is also a great terrain generator for cracked rocks or system of faults. The "roughness" parameter influences the balance between the blue and the white areas and 'Amplitude' the global height.






34 z Multifractal

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
Z Multifractal creates a 2D color multifractal noise where the z input influences the contrast and saturation. When the Z value <=0, the result is a constant gray with zero elevation. The shades of colors created by the multifractal noise have a often a subtle painting dripping aspect. See also the
3D Color MultiFractal function.




Z Multifractal color terrain




34 z Sulfur Fiberrock

parameters :
A : Amplitude (0. : 4.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
Z Sulfur Fiberrock is a 2D color+elevation texture especially useful in systems for ArtMatic Voyager. The z input controls contrast and saturation.When z<=0 the function outputs a gray with zero elevation. The fourth output is useful as either an alpha channel or elevation map. When Z has a low value, the output is gray. 

Example: Z Granular Rock with a z input at 2.25 used as both color texture and elevation map in ArtMatic Voyager






34 z Granular rock

parameters :
A : Amplitude (0. : 4.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
Z Granular Rock is a 2D color+elevation texture especially useful in systems for ArtMatic Voyager. The z input controls contrast and sparseness of bumps. When z<=0 the function outputs a gray with zero elevation. When used by itself as both color texture and elevation map, the result is a planet surface like the one shown. Use it in ArtMatic Voyager's Combination mode to add surface rocks.

Example: Z Granular Rock with a z input at 4.5 used as both color texture and elevation map in ArtMatic Voyager






34 z Green Bushes

parameters :
A : Amplitude (0. : 8.)
B : Amount (0. : 1.)
C : Frequency (0. : 16.)

discussion :
Z Green Bushes is a 2D color+elevation texture shader designed for use in ArtMatic Voyager to provide bush, mold or lichens infested rocks. This component is very effective when used in ArtMatic Voyager's combination mode. The z input influences the color and contrast. At low values, the color, contrast and bush density. The fourth output is useful as either an alpha channel or an ArtMatic Voyager elevation map.

Example: Z Green Bushes as both color texture and elevation map in ArtMatic Voyager






34 3D SkyDome Planet

parameters :
A : Angle xz (-3.14 : 3.14)
B : Angle yz (-3.14 : 3.14)
C : Sphere Radius (0. : 5.)
D : Frequency (0. : 8.)

discussion :
When working with 3D sky dome this component is useful to add a planet that intersects the sky dome sphere and that can be rotated anywhere in the sky dome.

The output 4 is the depth value of the sphere and is zero at the edges of the planet. It can be used for shading and masking.

Example: An atmospheric halo was added using the 4th output.




34 3D leaves #

parameters :
A : Period / scale (0. : 1.)
B : Bending amount (0. : 1.)
C : Shape (0. : 1.)

discussion :
This component creates a variety of leaf-shaped density fields that are especially useful for creating leaves or other DF objects for ArtMatic Voyager. A typical structure tree demonstrating this component is shown below. The input is a 3D space and the output is a 3D space warped into a leaf shape (which will be sent to a color texture function) and a density field (which will be used in Voyager to define the leaf shape).

Example: Palm Tree Voyager example



Example: Tropical B Leaf Attached to a Cactus Branch





Examples: Algorithms Illustrated (3D Leaves)

Algorithm Shape = 0 (Min) Shape = 0 (Max)
1. Heart
1 Heart Saw
2 Palm Leaf A
3 Palm Leaf B
4 Lozenge Saw
5 Tropical A
6 Tropical B
7 Tropical C
8 Alien Rings
9 Alien Flower


Examples: Parameter Options Illustrated: Orient xy, Orient zy, Symmetric 30 xy, Symmetric 45 xy, Symmetric 60 xy, Triple 30 xy, Triple 45 xy, Eventail xy


Orient xy

Symmetric 30 xy

Symmetric 60 xy

Triple 30 xy

Orient zy - Camera rotated off-axis
slightly for this image.

Symmetric 45 xy
-

Fan xy

Triple 45 xy


algorithms :


34 Color Grass field #

parameters :
A : Modulation scale % (0. : 1.)
B : Modulation amount % (0. : 1.)
C : Contrast % (0. : 1.)

discussion :
Creates an infinite field of DF grass for use with Voyager Landscapes. The output is color (the leftmost 3 outputs) + field value (object). The field value defines the shape of the blades of grass. This component is faster than using a jitter function with a repeated single grass object. The Option popup provides several different grass types. Those with "random" in the name have randomized colors. In general you will have to make the altitude of grass follow the terrain by adding the elevation global input to the y coordinate of the grass field object. In Voyager realistic sizes for the grass object would be between 1 and 5. If the built-in modulations are not enough you can also insert a 3D Multi Perlin noise to bend and twist the grass field.

Grass Options:

Example: Example of Random Green Grass following the terrain tightly



Example: Example of Yellow Grass loosely following the terrain



Example: Example of Random Sparse Grass



Example: Example of Random Strange Grass






34 uvid Sweep Volumes #

parameters :
A : Radius (0. : 64.)
B : Width % (0. : 8.)
C : Height % (0. : 16.)
D : Curvature/Smooth % (0. : 1.)

discussion :
This component incorporates profiles (like 21
Profile Shapes) and path sweeps (like 32 Revolution & Sweeps) into a single component that is very useful for generating complex building and object structures. It also generates an uv map suitable for 2D textures. The unique UVID output scheme allows you to easily map different 2D color textures to different parts of the created objects. uvid Sweep Volumes provides a choice of profile shapes via the algorithms popup and paths via the parameter options popup. Profiles are cross-section shapes and the the path is what you might call the floor plan. The cross-section is swept along the path to create an object. 9 shape profiles are provided and 16 paths which provided 144 different solids. UVID and Input/Output. This component takes 3D space as the input and the outputs are:

Very complex objects and architecture are possible by combining multiple UVID Sweep Volumes. We recommend exploring the example files to learn strategies and techniques for combining them.

Example: UVID Sweep Volumes - Two towers built using several mixed UVID Sweep Volumes in conjunction 24 XYza Patterns # (bauhaus algorithm).



Example: UVID Sweep Volumes - Simple UVID Roman Church with 24 XYza Patterns # (Arcades Stones algorithm).



Parameters Notes: Parameter A, Radius, sets the overall size of the object. For rectangular paths, Width (parameter B) controls the aspect ratio. For Revolution II paths, it sets the radius of the ring. The Height parameter (C) is a percentage applied to the radius. So, changing the radius will also change the height. For a circle, keep the height at 0 to have a true circle. Parameter D varies depending on the profile and path.

Note: that because profiles and paths are combined in this component, the parameters can change both the overall path and the profile shape. It might adjust curves or angles or smoothness or a secondary radius as with the rectangles and squares path.

Application Notes: There are two versions of most paths. One version has II at the and the other does not. The option with 'II' at the end sweeps the profile so that it is centered on the path center. Otherwise, the profile is more or less centered on the layout created by the path and may extend unbounded in one or more directions (such as X axis).

For example, when the rectangle and squares II path is applied to the wall & roof profile, the result is a wall/roof structure that follows the the path and has a plaza in the center.

Example: Path - rectangle & squares II; profile: wall & roof



On the other hand, when the path is the plain rectangle & squares, the result is an enclosed area with the wall & roof profile, as shown below.

Example: Path - Without the "||" option, the roof expands all the way and the walls enclose the path.



Example: Path - Revolution || and "revolution" used with the "arch iy-" profile





Unbounded paths:

A few of the paths (x axis, x axis II and z axis II) are infinite along one axis and should be combined with other primitives to give the bounds. For tips about limiting infinite shapes, see 21 Profile Shapes. Example: Path - Without the "||" option, the roof expands all the way and the walls enclose the path.



Example: Path - Using the above X Axis II path transformed into a pentagon by applying N-Fold Mirrors & Offset with N-fold 5 on the xz plane, the endless line is given a finite shape.



Example: Path - Profile: wall & roof. Path: z Axis Clipped. This is a good starting point for a basic house. Note that the edges have an index value of 3. If they are not mapped to a particular texture (using 44 Packed Index (w) Mixer), they will appear as gray edging.





Paths: The path is selected via the Parameter Options popup

algorithms :


34 3D MultiFractal noise

parameters :
A : Amplitude (0. : 16.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Contrast % (0. : 1.)

discussion :
3D Multifractal Noise provides a true 3D Multifractal solid texture both in the RGB and scalar/elevation domains . The 'Amplitude' parameter influences the scalar/elevation passed in the alpha channel contrast. The "Contrast" controls colors independently from amplitude.

This component is related to
3D Color MultiFractal for the colors & the 31 Multi Fractal Noise for the scalar value.




34 3D Ridged Fractal

parameters :
A : Amplitude (-16. : 16.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Tint (0. : 1.)

discussion :
3D Ridged Fractal is a color version of the
3D Ridged Fractal noise especially useful for designing terrains in ArtMatic Voyager. The fourth output is useful as either alpha channel or elevation map.




34 3D Fractal Silex noise

parameters :
A : Amplitude (-16. : 16.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Contrast % (0. : 1.)

discussion :
3D Fractal Silex Noise is a 3D color + elevation solid texture whose pattern is reminiscent of certain silicates. It is useful as an RGB + Elevation component and as a 2D natural looking texture generator. The contrast affect the contrast of the features in the RGB without changing the terrain amplitude.



Example: Fractal Silex Noise seen as a texture and as a terrain in ArtMatic Voyager.




34 3D Color Patchwork

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Contrast % (0. : 1.)

discussion :
Color patchwork uses a clamped cubic multifractal noise to create a highly colored fractal texture.



The elevation evokes alien layered plateaux. Combined with its amazing colors Color Patchwork generates an out of this world terrain that looks sometimes like a close up of a weird thick oil painting. Below a rendering of the terrain it produce in ArtMatic Voyager.




34 3D Random Rects

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
3D Random Rects is a procedural 3D texture that accumulates random cubes colored with the current gradient. It is not realistic but can still be used for terrain designs when modulated by a fractal displacement noise. For 2D texturing it creates an interesting discontinuous patchwork of fields.




34 3D Lunar rocks

parameters :
A : Amplitude (-16. : 16.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Contrast % (0. : 1.)

discussion :
3D Lunar Rocks creates a color texture reminiscent of lunar rocks with a bluish tint when "Contrast" is set high . The fourth output is useful as either an alpha channel or as an ArtMatic Voyager elevation map.


Lunar Rocks seen with its own colors and terrain in ArtMatic Voyager.


34 3D Facet Rocks

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 16.)

discussion :
3D Facet Rocks creates a natural looking facetted stone 3D texture not unlike silex. It uses the current gradient to shades the rocks. The fourth output is either an alpha channel or the elevation map. In ArtMatic Voyager, it is often used in Combination Mode to add rocks to a planet surface.


Facet Rocks seen with its own colors and terrain in ArtMatic Voyager.


34 3D Granite rocks

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)
D : Contrast % (0. : 1.)

discussion :
3D Granite Rocks is useful for designing natural looking stone textures and systems for ArtMatic Voyager. The fourth output is useful as either alpha channel or elevation map. In ArtMatic Voyager, it is often used in Combination Mode to add rocks to a planet surface.T

Example: The 4th parameter "Contrast" controls the color contrast independently from amplitude.


34 3D fractured rocks

parameters :
A : Amplitude (0. : 8.)
B : Roughness (0. : 1.)
C : Frequency (0. : 32.)

discussion :
3D Fractured Rocks is useful for designing natural looking highly fractured stone textures for ArtMatic Voyager often in conjunction with other primitives. The fourth output is useful as either an elevation map for bump mapping and terrains or a displacement map for DF objects.




34 Packed z Blend

parameters :
A : Feather (0. : 4.)
B : Offset (-4. : 4.)

discussion :
This component uses the z (third) input to blend the images received in inputs 1 and 2. Inputs 1 and 2 should be packed RGB or RGB+alpha streams. When inputs 1 and 2 are RGBA the resulting alpha (the fourth output) is the blending according to z (the third input) of both inputs' alpha channels. When inputs 1 & 2 have no alpha (they are RGB or scalar) then the resulting alpha is the z input modified by feather and offset parameter settings. If either input 1 or 2 is a single value, it is treated as RGB grayscale.
'Offset' parameter displaces the z prior the blending. Note that since ArtMatic Engine 8.x the blending occurs when z is between 0 and 1 (assuming Offset is zero). Over one inputs 2 wins, below zero inputs 1 wins.
See also
31 z Blend to blend single values.


34 Packed z Morph

parameters :
A : Feather % (0. : 1.)
B : Morph center offset (-16. : 16.)
C : Morph slope % (-2. : 2.)

discussion :
This mixer composites two RGBA streams (inputs 1 and 2 which should come from a 41 Pack tile) using the third vector or scalar input stream to control the blend. Several algorithms are available.

algorithms :


34 Packed random Mix

parameters :
A : Amount (0. : 2.)
B : Phase (-32. : 32.)
C : Frequency (0. : 32.)

discussion :
This component mixes three RGBA streams using a low frequency random noise internally. It is a handy component to build complex terrains for landscapes rendering in ArtMatic Voyager as you can mix 3 different types of colored terrains (Elevation is stored in alpha) into one. 'Phase' and 'Frequency' adjusts the mixing noise while 'Amount' controls how much input B & C will be mixed in.


34 Packed Crossfade

parameters :
A : Interpolate AB (0. : 1.)
B : Interpolate C (0. : 1.)

discussion :
This component mixes three RGB or RGB+Alpha streams. Interpolate AB determines the relative mix of inputs 1 and 2. Interpolate C controls the relative mix of input 3.


34 Packed mul & add

parameters :
A : A * B level (0. : 1.)
B : Add C level (0. : 1.)

discussion :
Multiply the pixels of image A (input 1) with those of image B (input 2) and add the pixels of image C (input 3). Essentially this creates an image where input 1 * input 2 is the background image. There is a related 33 component.


34 Packed Maths #

parameters :
A : Amplitude x (0. : 1.)
B : Amplitude y (0. : 1.)
C : Amplitude z (-1. : 1.)

discussion :
34 Packed Maths was reimplemented in ArtMatic engine 8.07. It provides various algorithms to mix 3 RGBA streams at once and performs various images compositing. The alpha channel (w) is treated as any other component of the streams. When the output can or has to be packed you may use the 31
S:P Maths # version that provides the same functions.

algorithms :


34 Packed Logic #

parameters :
A : Smoothness % (0. : 32.)

discussion :
This component provides a number of algorithms for combining 3 packed streams. It is particularly useful for constructing DF objects. It s similar to the
24 Packed Logic component but handle 3 inputs instead of 2 . Similar operation also could be done with additional flexibility with a cascade of two 21 S:P Logic & Profiles # when the final output can be packed RGBA.

algorithms :


34 Packed Max

parameters :
A : Level balance (-1. : 1.)
B : Level C (-2. : 2.)
C : Alpha smoothing % (0. : 32.)
D : Color smoothing % (0. : 1.)

discussion :
RGB+A, the alpha channel is used for the comparison. Otherwise, the R + G + B is used as the value.



34 Packed Alpha Compose

parameters :
A : Feather A & B (0. : 2.)
B : Feather C (0. : 2.)
C : Background Color (0. : 1.)

discussion :
Compose 3 RGBA streams using the alpha channel as opacity value. 'Feather A' and 'Feather B' scales the alpha values. Keep them at one for normal compositing. The first RGBA stream is composed over a background color defined by parameter C The background color will shows through where the inputs are transparent. See also the 2 stream version at
24 Packed Alpha Compose.



34 Memory Packed z Blend

parameters :
A : Feather (0. : 4.)
B : Offset (-2. : 2.)

discussion :
Memory Packed Z Blend is a memory version of the 34 Packed Z Blend component. Input 1 is not iterated and serves as the background image while both inputs 2 and three are iterated. See the chapters Memory Components and Compiled Trees and Iterations for more information about using memory components.




34 3D Looper

parameters :
A : Iterations (0 : 500)
B : Count Multiplier (0. : 4.)

discussion :
This component is a fully 3D looper and is similar to the 23 Looper. Like all loopers, this component is recursive. The leftmost 3 outputs of the component are fed back into the component that feeds the loop. The rightmost output is the count value (the iteration number times Parameter B, count multiplier). All components between the looper and the next memory component are looped.




34 S-Space Scale

parameters :
A : Scale (-50. : 50.)

discussion :
This function scales 3D space input (x,y,z) uniformly and passes out in 4th output a space scaling value 'S' that can be used for DFRM systems to properly scale the DF field. It takes space as its input and the output is a scaled space in xyz outputs plus S in w output, S being the scaling value set by parameter 'Scale'.
In mathematical terms the function output the 4D vector (Sx,Sy,Sz,S).
This component is especially useful to initiale a constant scale when using non-linear transforms (perspective or radial spaces) that often cause convergence problems. Theses S-Space compatible transforms will modify this initial value to keep track of space distortions so that the final DF field can be adjusted with varying scaling values.

S-Space Scale lets you resize DF object uniformly using space scaling (as opposed to field offsets) as long as you divide the DF field by S at the end. It is also practical for iterative systems where the space is iteratively scaled to pass the space scale along automatically.
Once an S-Space is generated with this component you may further scale it with the
44 S-Space Scale function.

Take a look at the examples in:
Voyager Examples/3D fractals
Voyager Examples/Components/DF 44 Spaces


Learn more in the Scaling & Size chapter in DFRM guide :ArtMatic 3D DF objects.



34 Compiled Tree :

parameters :
A : Scale 0:1
B : Iterations

discussion :
Compiled trees are groups of tiles that can be used in place of single tiles as a kind of macro or subroutine.
34 compiled tree is usually used to create 3D RGBA functions. Any 3 inputs / 4 outputs tree structure can become a 34 CT.
Select a 34 tile and use "New compiled tree" to create a new CT from the selection (Tree Edit menu or type 'n' key).
To save a CT on disk to use the function elsewhere use "Save compiled tree" from the Tree Edit menu.
You may also copy and paste the entire CT by using Copy Tile and Paste Tile from the Edit menu.
You may iterate the tree by "Iterations" number when the tree contains an
Iterations tile to modify and accumulates various values. "Scale" provide an optionnal scaling of outputs.