... but after the AT-11.
Still working on the xp47j VC.
Still working on the xp47j VC.
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The Staff of SOH
In the Queue ...
- Thread starter Milton Shupe
- Start date
Milton
Ya know I think of you as my online uncle....BUT don't ever do that again. I saw "In the queue...." and I got all excited thinking you had posted the AT-11 for downloading. You just caused me to use up the remaining bit of this month's excitement....now I'm going to have a ho hum Thanksgiving.
That plane is shaping up real nice like. Looking forward to it....but not as much as I am the AT-11.
Tim
Ya know I think of you as my online uncle....BUT don't ever do that again. I saw "In the queue...." and I got all excited thinking you had posted the AT-11 for downloading. You just caused me to use up the remaining bit of this month's excitement....now I'm going to have a ho hum Thanksgiving.
That plane is shaping up real nice like. Looking forward to it....but not as much as I am the AT-11.
Tim
Sorry 'bout that
The AT-11 is in the Radice paint shop at LIPB getting the exterior done whilst I try to do magic in the extensive VC.
The AT-11 is in the Radice paint shop at LIPB getting the exterior done whilst I try to do magic in the extensive VC.
Sorry 'bout that
The AT-11 is in the Radice paint shop at LIPB getting the exterior done whilst I try to do magic in the extensive VC.
Just for the record, I've broke down and got a book on PSP so I can learn to use layers and do proper repaints for the AT-11.
nigel allen
Charter Member
both
They look like both kites will be in my hanger when they come out they look wonderful, great work you do milton :ernae: keep them flying if it has a prop its a plane if not its a brick
nigel (real prop fan)
They look like both kites will be in my hanger when they come out they look wonderful, great work you do milton :ernae: keep them flying if it has a prop its a plane if not its a brick
nigel (real prop fan)
That XP-47 looks awesome Milton!
Some brilliant textures on that thing.
Willy,
To understand layers, imagine this. (Very simple). In the old days, Disney would put layers of things in his cartoons when assembling scenes. Note that when he made these scenes, the end result was a camera looking 'down' on the stack of layers of a scene. He had the background (base texture) and then the actors being animated (stripes) then he had foreground objects like bushes and trees that were the 'top' end layers, (this in a plane layer texture would be shading, mud, highlights, divets, etc that would be on 'top' of the paint colors).
So.. On the bottom bottom (on a plane's layers stack), you would have your template you will paint on. Then your base colors. Then your stripes and insignia and things. Then above them are rivets, shadings, etc.. Each one, its own layer... Labeled and strategically placed..
You keep that master file 'layered' and never (never) collapse the stack to one layer. Always keep it expanded. Then when you need a Bitmap burned off of it, click 'Save As' and select Bitmap. You keep your Layers version as well. Imagine a layer stack as like a Gmax file, and a Bitmap as the MDL (model) file.
You can also make Alpha channels easily from 'doctored' Layer files, but rename it before you turn it into a Alpha channel master file. (I call layers PSD files 'Master' files).
I hope that helps in realizing how layers work. It bewildered me for the longest time. I would keep remaking them from scratch and was constantly collapsing the stacks. Bad move. Keeping the layers seperated allows you to 'tune' brightness and opacities of say rivets or panel lines on different colors of paint schemes. For instance, you need less 3D effect on rivets on a black paint scheme, but very 'moderate' 3D treatment and shading on rivets on a white paint scheme or they go transparent against a bright background. So with layers, you are afforded the ability to tune each layer with opacity, brightness, etc, etc..
Bill
Some brilliant textures on that thing.
Willy,
To understand layers, imagine this. (Very simple). In the old days, Disney would put layers of things in his cartoons when assembling scenes. Note that when he made these scenes, the end result was a camera looking 'down' on the stack of layers of a scene. He had the background (base texture) and then the actors being animated (stripes) then he had foreground objects like bushes and trees that were the 'top' end layers, (this in a plane layer texture would be shading, mud, highlights, divets, etc that would be on 'top' of the paint colors).
So.. On the bottom bottom (on a plane's layers stack), you would have your template you will paint on. Then your base colors. Then your stripes and insignia and things. Then above them are rivets, shadings, etc.. Each one, its own layer... Labeled and strategically placed..
You keep that master file 'layered' and never (never) collapse the stack to one layer. Always keep it expanded. Then when you need a Bitmap burned off of it, click 'Save As' and select Bitmap. You keep your Layers version as well. Imagine a layer stack as like a Gmax file, and a Bitmap as the MDL (model) file.
You can also make Alpha channels easily from 'doctored' Layer files, but rename it before you turn it into a Alpha channel master file. (I call layers PSD files 'Master' files).
I hope that helps in realizing how layers work. It bewildered me for the longest time. I would keep remaking them from scratch and was constantly collapsing the stacks. Bad move. Keeping the layers seperated allows you to 'tune' brightness and opacities of say rivets or panel lines on different colors of paint schemes. For instance, you need less 3D effect on rivets on a black paint scheme, but very 'moderate' 3D treatment and shading on rivets on a white paint scheme or they go transparent against a bright background. So with layers, you are afforded the ability to tune each layer with opacity, brightness, etc, etc..
Bill
I need a bib for all this drooling I'm doin'!
b24_witchcraft
Charter Member
Cool update Milton - thanks. I'm sure it will be great as usual! Look forward to the release. :ernae:
:ernae:
:ernae: