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Problem One of the most typical problems with texture mapping of large surfaces is the visible repetition of the texture. While things like GL_ARB_texture_mirrored_repeat can help alleviate the problem a bit by making the period of repetition twice bigger, the hardware cannot solve the problem on its own. However, if we are okey with paying the cost of more than a single texture fetch per sample,
Intro When doing procedural graphics it's always a good idea to add color variation to the elements of the image. From grass blades, to grass clumps, to rocks or trees or hills, all scales of detail benefit from some color variation. In order to achieve this, one can employ different methods of course, but among the cheapest and the most coder-friendly ones there are those based on simple (hard)co
Raymarching SDFs (Signed Distance Fields) is slowly getting popular, because it's a simple, elegant and powerful way to represent 3D objects and even render 3D scenes. But the technique has been around for a long time. The first paper I found describing implicit functions and performing boolean operations by combining them with the min() and max() operators is from 1972 by A.Ricci and by B.Wyvill
Intro Writing a global illumination renderer takes anything between one hour and one weekend. Starting from scratch, I promise. But writing an efficient and general production ready global illumination renderer takes form one year to one decade. When doing computer graphics as an aficionado rather than a professional, the "efficient" and "general" aspect can be dropped from your implementations. W
Intro Warping, or dommain distortion is a very common technique in computer graphics for generating procedural textures and geometry. It's often used to pinch an object, strech it, twist it, bend it, make it thicker or apply any deformation you want. It works as long as your base color pattern or geometry is defined as a function of space. In this article I'm only going to show a very particular c
Please visit my the landing page to find video tutorials on computer graphics and other resources; this page contains only the written tutorials. I write them in my spare time, but I hope you enjoy them despite the errors or imprecisions they might contain. If you do and feel like it, you can support this work through Patreon or PayPal. Lastly, all code snippets you'll find are under the MIT licen
Intro When writing shader or during any procedural creation process (texturing, modeling, shading, animation...) you often find yourself modifying signals in different ways so they behave the way you need. It is common to use smoothstep() to threshold some values, or pow() to shape a signal, or clamp() to clip it, mod() to make it repeat, a mix() to blend between two signals, exp() for attenuatati
Intro Here you will find the distance functions for basic primitives, plus the formulas for combining them together for building more complex shapes, as well as some distortion functions that you can use to shape your objects. Hopefully this will be useful for those rendering scenes with raymarching. You can see some of the results you can get by using these techniques in the raymarching distance
1402 blog posts, written between 2008 and 2016. These are mostly short observations, funny thoughts and word playing. Some are embarrasingly corny, some more deep. I keep it here mostly a little time capsule for myself, organized by month:
Intro Arround 2002 I made my first attempts to visualize fractal mountains and test procedural texturing. At that time I was not able to raytrace polygons and my rasterization engine was really bad. So I chose to do a "raymarcher" to create some pictures cause it's a really simple technique. What I implemented was a quite brute force thing and was very slow. But it was very simple to code, somethi
Intro Fog is very popular element in computer graphics, so popular that in fact we are always introduced to it early in textbooks or tutorials. However these textbooks, tutorials and even APIs only go as far as a simple distance based color blending, and stop there. Even advanced demos, interactive applications and games go no further that the simple color blending. Hopefully one can do much bette
My name is Inigo Quilez, I grew up in San Sebastián / Donostia, a beautiful city in the Basque Country, northern Spain. I work in Computer Graphics professionally in different roles - I've been a Technical Artists, a Product Manager, a Software Engineer and a Research Engineer, see resume. When life and work permit, I enjoy publishing and sharing everything I discover or invent in this very web si
Intro Here I will write some interesting facts about Value Noise (similar but not the same as Gradient Noise, of which Perlin Noise is one posible implementation). Yes, incredibly enough, you will find here some information that you cannot find anywhere else, not that much poeple speaks about the derivatives of the Value Noise, like how to calculate them analytically and what to do with them. So,
Thanks to the demoscene outreach group guys me and few other demosceners could give some seminars at nvscene in San Jose (California) back in 2008. It was some very interesting days, where we enjoyed a nice party, learned a lot with cool seminars and met the American demoscene. The hotel was in the very same conference center, so it was really cool :) Ah yes, my presentation was about rendering pr
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