Enhanced descriptions from Syndetics:

This book takes you outside the studio and walks you through the museum of life. This full color book combines traditional texture creation principles with digital texturing techniques to enhance your scenes and animations. In the first half of the book, you will learn about the history of textures in fine art and in the second half, how to apply these principles to your 2D and 3D digital scenes.

Table of contents provided by Syndetics

• Introduction: What Is Texture? (p. 2)
• 1.1 A Handkerchief in Bed Can't Be Found (p. 3)
• 1.2 What You Can Expect from This Book (p. 7)
• 1.3 What You Should Know (p. 8)
• 1.4 What You Will Need (p. 9)
• 1.5 About This Book's Approach to Software (p. 13)
• 1.6 A Final Word (p. 13)
• 1 The Fine Art of Seeing and Dissecting (p. 14)
• 1.1 Exercising Your Artistic Eye (p. 15)
• 1.1.1 Take an Art Class (p. 16)
• 1.1.2 Look Around (p. 17)
• 1.1.3 The Benefits of Exercise (p. 20)
• 1.2 Materials and Textures Defined (p. 20)
• 1.3 The Art of Interviewing: Working from Macro to Micro (p. 21)
• 1.3.1 Identify the Object: What Are You? (p. 22)
• 1.3.2 Identify the Most Important Feature: What Is Your Essence? (p. 22)
• 1.3.3 Identify the Material: What Are You Made Of? (p. 23)
• 1.3.4 Identify the Light Source: How Can I See You? (p. 26)
• 1.3.5 Identify the Location: Where Are You? (p. 28)
• 1.3.6 Identify the Appearance: What Do You Look Like? (p. 30)
• 1.3.7 Identify Tactile Quality: What Do You Feel Like? (p. 46)
• 1.3.8 Identify the History: What's Your Story? (p. 50)
• 1.4 Become Attuned (p. 53)
• 1.5 Exercises (p. 53)
• 2 Reference Materials, Textures, and Practical Stuff (p. 56)
• 2.1 Basic Materials (p. 58)
• 2.2 Basic Textures (p. 63)
• 2.3 Creating a Morgue (p. 70)
• 2.3.1 Your Own Photographs as Reference (p. 71)
• 2.3.2 Magazines as Reference Sources (p. 74)
• 2.3.3 Other Reference Gold Mines (p. 76)
• 2.4 Photo Gallery (p. 77)
• 2.4.1 New York Brick Bundle (p. 79)
• 2.4.2 South of France Water Trough (p. 81)
• 2.4.3 Green Painted Door (p. 83)
• 2.4.4 University Avenue Near Twilight (p. 85)
• 2.4.5 An Office Door (p. 87)
• 2.4.6 Restaurant Wall (p. 89)
• 2.5 Look and Collect (p. 90)
• 2.6 Exercises (p. 90)
• 3 Color Theory (p. 92)
• 3.1 Additive Color Mixtures (p. 93)
• 3.2 Subtractive Color Mixtures (p. 94)
• 3.3 Color Qualities (p. 96)
• 3.3.1 Hue (p. 96)
• 3.3.2 Saturation/Intensity (p. 97)
• 3.3.3 Value/Brightness (p. 97)
• 3.4 Color Schemes (p. 98)
• 3.4.1 Complementary Colors and Compositions (p. 98)
• 3.4.2 Triadic Palettes and Compositions (p. 103)
• 3.4.3 Analogous Palettes and Compositions (p. 104)
• 3.4.4 Monochromatic Palettes and Compositions (p. 106)
• 3.5 Warm and Cool Colors (p. 107)
• 3.6 Colors--Psychology and Physiology (p. 108)
• 3.6.1 Red (p. 110)
• 3.6.2 Orange (p. 111)
• 3.6.3 Yellow (p. 112)
• 3.6.4 Green (p. 113)
• 3.6.5 Blue (p. 113)
• 3.6.6 Violet/Purple (p. 114)
• 3.6.7 White (p. 115)
• 3.6.8 Black (p. 115)
• 3.6.9 The Practical Side (p. 116)
• 3.7 Study Paintings in Museums (p. 116)
• 3.8 Exercises (p. 117)
• 4 Paintings (p. 120)
• 4.1 Evolution of a Style (p. 121)
• 4.2 Subjects that Inspire (p. 123)
• 4.3 The Paintings (p. 125)
• 4.3.1 Morning Sun Edward Hopper (1952) (p. 125)
• 4.3.2 Poor Artist's Cupboard Charles Bird King (1815) (p. 127)
• 4.3.3 The Old Cupboard Door William Michael Harnett (1889) (p. 129)
• 4.3.4 Sumptuous Still Life with Parrot Jan Davidsz de Heem (1660) (p. 131)
• 4.3.5 Woman 1 Willem de Kooning (1950-52) (p. 133)
• 4.3.6 Young Woman with a Water Jug Johannes Vermeer (1660-67) (p. 135)
• 4.3.7 Wiesental--Grassy Valley Gerhard Richter (1985) (p. 137)
• 4.3.8 Princesse De Broglie Jean-Auguste-Dominique Ingres (1853) (p. 139)
• 4.3.9 Nicolaes Ruts Rembrandt Harmensz Van Rijn (1631) (p. 141)
• 4.3.10 Bouquet of Garden Flowers in a Pitcher Johann Wilhelm Preyer (1831) (p. 143)
• 4.3.11 Blond Girl, Night Portrait, Lucian Freud (1980/85) (p. 145)
• 4.4 Study and Question (p. 146)
• 4.5 Exercises (p. 146)
• 5 Making Decisions (p. 148)
• 5.1 Ask the Right Questions (p. 149)
• 5.1.1 The Questions (p. 151)
• 5.1.2 The Project (p. 151)
• 5.2 What Pre-Production Materials Are Available? (p. 152)
• 5.2.1 Bibles (p. 152)
• 5.2.2 Pre-Vis Movies (p. 153)
• 5.2.3 Storyboards and What to Ask from Them (p. 153)
• 5.2.4 What Pre-Pro Materials Do I Have to Work With? (p. 166)
• 5.3 Which Style Is Appropriate? (p. 166)
• 5.3.1 Realistic (p. 167)
• 5.3.2 Hyper-Real (p. 169)
• 5.3.3 Stylized (p. 171)
• 5.3.4 Simplified (p. 173)
• 5.3.5 Graphic (p. 174)
• 5.3.6 Fantastic (p. 176)
• 5.3.7 Get the Client's Impressions (p. 178)
• 5.4 Who Is the Target Audience? (p. 178)
• 5.5 What Is the Intended Medium? (p. 180)
• 5.5.1 TV (p. 180)
• 5.5.2 Film (p. 184)
• 5.5.3 Web (p. 185)
• 5.5.4 Print (p. 190)
• 5.5.5 CD-ROM Games (p. 193)
• 5.6 Do You Have All the Information You Need? (p. 196)
• 6 The Project: Technical Preparation (p. 198)
• 6.1 Texture Mapping Concepts (p. 201)
• 6.1.1 Color (p. 201)
• 6.1.2 Transparency (p. 202)
• 6.1.3 Specularity (p. 202)
• 6.1.4 Luminance (p. 203)
• 6.1.5 Reflectivity (p. 204)
• 6.1.6 Bump (p. 204)
• 6.1.7 Displacement (p. 205)
• 6.1.8 That's Not All Folks (p. 206)
• 6.2 General Concepts (p. 206)
• 7 The Bandana: A Simple Tile and Scanned Texture (p. 212)
• Applying the Texture to the Geometry (p. 216)
• Rendering and Shading (p. 218)
• 8 Steel Braided Hoses: A Small Tileable Texture (p. 220)
• Making the Pattern (p. 223)
• Texturing the Tile (p. 225)
• Creating the Bump (p. 229)
• Shader and Final Texture Maps (p. 230)
• 9 The Tire: Adding Detail with Displacement Maps (p. 232)
• Pre-Production (p. 234)
• Making the Displacement Map (p. 235)
• Creating the Tile (p. 237)
• Color Map (p. 240)
• Bump Map (p. 241)
• Shader Stuff (p. 242)
• 10 Axle's Face: Texturing Polygons (p. 244)
• Preparing Polygons for Texturing in 3D (p. 245)
• Pre-Production (p. 245)
• Creating the Bump Pattern (p. 250)
• Creating the Color Map (p. 252)
• Final Maps (p. 254)
• Shader Stuff (p. 255)
• 11 The Goggles: Procedural Textures (p. 256)
• The Strap (p. 260)
• Shader Stuff (p. 262)
• The Casing for the Lenses (p. 263)
• Adding a Dirt Layer Using a Layered Shader (p. 265)
• The Mask (p. 267)
• Creating Color Variation (p. 268)
• Creating Dust Using Snow (p. 269)
• The Lenses (p. 271)
• Adding a Dirt Layer Using a Layered Texture (p. 272)
• Adding Iridescence (p. 274)
• Shader Stuff (p. 276)
• 12 The Car Body: Complexity of Texture (p. 278)
• Pre-Production (p. 280)
• Color Map (p. 282)
• Making the Decal (p. 286)
• Making the Panels (p. 288)
• Final Maps (p. 290)
• Shader Stuff (p. 291)
• 13 The Fin: Texturing Uneven Surfaces (p. 292)
• Pre-Production and Design (p. 294)
• Placement of Axle's Logo (p. 295)
• Placement of Side Graphic (p. 298)
• Final Maps (p. 300)
• Final Render (p. 302)
• Shader Stuff (p. 303)
• 14 Axle's Chest: Sculpting, Painting, and Projections (p. 304)
• Pre-Production (p. 305)
• Creating the Sculpey Texture (p. 306)
• Painting the Sculpey Imprint (p. 307)
• Shader Stuff (p. 313)
• Projections Across Many Surfaces (p. 314)
• Lugz Commercial Power Station: Projection on Multiple Surfaces (p. 314)
• Preparing the Texture (p. 314)
• Applying the Projection to All the Surfaces (p. 316)
• 15 Wrap-Up: Some Things to Think About (p. 318)
• 15.1 Now That the Project Is Done (p. 319)
• 15.2 Your Place in the Pipeline (p. 321)
• 15.3 Modeling (p. 321)
• 15.4 Effects (p. 322)
• 15.5 Animation (p. 322)
• 15.6 Lighting (p. 322)
• 15.7 Rendering (p. 323)
• 15.8 Compositing (p. 323)
• 15.9 Final Thoughts (p. 323)
• Reading List (p. 324)
• Index (p. 327)