Create Iso By Froggy Download
Lindsey Cynthia
And that is it! You now have a cute amigurumi froggy friend of your very own! I hope you enjoyed this pattern! If you have any questions, please feel free to contact me and I will do my best to reply as soon as I can.
Hello! Thank you so much for your comment! I do not have a pattern for a bigger size of these frogs using the same weight 4 yarn. However, if you use a thicker yarn than what I list in the materials section and a larger hook size, you can use this same frog pattern and your frog will turn out larger! I have a separate blog post here where I list 3 different yarn and hook sizes that you can use to create a larger frog and still use this same pattern. I hope that helps! ??
This guide shows you how to manually create an XML Sitemap, including setting up and running a crawl, exporting the XML Sitemap and then uploading to the server. However, this process can be automated for efficiency.
Boil the Frog lets you create a playlist of tracks that gradually takes you from one music style to another. It's like the proverbial frog in the pot of water. If you heat up the pot slowly enough, the frog will never notice that he's being made into a stew and jump out of the pot. With a Boil the frog playlist you can do the same, but with music. You can generate a playlist that will take the listener from one style of music to the other, without the listener ever noticing that they are being made into a stew.
To create a Boil the Frog playlist, just type in the names of two artists and a playlist will be generated that takes you gradually, step by step, from the first artist to the second artist. You can click on any track to hear the track. Click on the first track to hear the whole playlist. If you don't like a particular artist you can route around that particular artist by clicking the 'bypass' button. The 'New Track' button will select a different track for an artist.
To create this app, Spotify artist similarity info is used to build an artist similarity graph of about 100,000 of the most popular artists. Each artist in the graph is connected to it's most similar neighbors according to the Spotify's artist similarity algorithm.
When a playlist between two artists is created, the graph is used to find the path between the two artists. The path isn't necessarily the shortest path through the graph. Instead, priority is given to paths that travel through artists of similar popularity. If you start and end with a popular artist, you are more likely to find a path that takes you though other popular artists, and if you start with a long-tail artist you will likely find a path through other long-tail artists. Once the path of artists is found, we need to select the best tracks for the playlist. To do this, we pick a well-known track for each artist that minimizes the difference in energy between this track, the previous track and the next track. Once we have selected the best tracks, we build a playlist using Spotify's nifty web api. Who made this? This app was built by Paul Lamere. If you like this sort of thing you may be interested in my blog at Music Machinery.
Hello!
My name is Darko Vucenik and I am a 3D artist and illustrator from Croatia. This is a project overview for my image "Mister Froggy". I created this image purely for fun.
Mister Froggy started, as most of my ideas do, with a few simple sketches (Fig.01). At first Froggy wasn`t a frog; I don`t know exactly what he was. Some sort of bug, perhaps. These sketches were very little; they were sort of thumbnails that I did very quickly, just to put the rough ideas from my head on paper. At first I imagined a cartoony bug hanging on to a small plant. With a second sketch I focused a bit more on the character and with a third I added an old tree stump as the focus of his environment.
After I finished modeling the character, I created a simple bones rig (Fig.03). Since this character was not intended for animation, I didn`t spent much time on skinning. Instead, I adjusted any errors in the mesh that occurred after posing, with standard modeling tools.
Next, I modeled the tree stump. Again, I kept the geometry simple as I knew I would be adding detail later in ZBrush. I adjusted the pose of the character to better follow the curvature of the tree. To populate the ground around the tree, I modeled several types of plants (Fig.04). The grass patch (marked with letter A in Fig.04) was scattered around using a particle system. The same was done with the small plant (marked with B) to create moss growing on the tree stump. Using Particle Flow to grow foliage is a fast and easy to control method. The rest of the plants were instanced and placed by hand.
The tree was the fastest to texture. I created a mix of two bark maps for the stump ("photo_bark13" from TTV10:R2 - Trees & Plants and "vegetation08" from TTV14:R2 - Fantasy) and a mix of gray and brown ground maps for the base ("ground19" from TTV01:R2 - General Textures and "stone03" from TTV06:R2). I loosely stamped these mixes over the object in ZBrush. Since the alpha of the stamp had very feathered edges, the map that was produced was somewhat blurry. To make it sharper I overlaid it with a cavity map and displacement map. A layer of green on the top for moss and the texture was done (Fig.09).
The rest of the plants in the scene used just the diffuse map (Fig.10). To create some variation in the color of the grass blades without using multiple maps, I laid out their UV coordinates in a line. I filled the texture with a base color and overlaid some dirty looking maps for variation ("green11" from TTV03:R2 - Bases & Layers and "tile02heavy06" from TTV05:R2).On the top I put a layer with some yellow patches for even more variation. Making textures for other plants came down to just fitting the base maps that I chosen ("photo_leaf09" and "photo_leaf10" from TTV10:R2) to UV layout. Very simple color correction and a little editing were fast to do.
To create trees in the background I used a close up photo of a decorative pine cone (Fig.11). By cutting and assembling various pieces of the photo I created four big pines. I color corrected the trees to a darker color that suited the mood of the image. Next, I placed a gradient overlay to match the direction of the light to the rest of the scene. I finalized the trees with some hand painted highlights. Trees were then placed in the scene simply as images on the planes. I assembled the sky from various photos on top of witch I airbrushed the lighting I wanted. I don`t know why I painted the sky map in detail since I intended to have defocused background from the start.
Lighting was done at the same time as the materials, adjusting one to work well with the other. I used an old but fast and functional method (Fig.12).
First I created an array of 16 pale blue lights with a very low intensity (multiplier at 0.2). That array acted as an ambient sky light (marked in a picture with B). Using a bunch of spotlights like this makes renders much faster than using an actual skylight.
To simulate the sun I used two pale yellow lights with high intensity (multiplier at 3, marked with C & D). Higher light acts as a direct sun and the lower light simulates rays bouncing off the ground.
Finally I added another pale yellowish light as a fill light (multiplier at 0.5, marked with A).
As I was tweaking the lights I also tweaked the materials. All materials were very simple. For foliage I used the standard 3ds Max translucent shader with the same map in diffuse and bump slots. For clothing I used a falloff map set to Fresnel with my diffuse texture as a sub map in both slots. The map around the edges was lighter faking a very scattered reflection. Again, I used the same map in the bump slot. For the skin I mixed two materials through a falloff map set to shadow/light. One was a standard phong material and the other was a translucent shader with a purple version of the diffuse map (marked with sss in Fig.07). This faked some sub surface scattering. Other materials in the scene were just simple variations. In many of them I used a HDRI map for reflections again through a Fresnel falloff map (I just love those handy falloff maps!)
The extraordinary tolerance and forgiveness of Stroke & Coat allows it to be used as follows:Firing Temperature - can be fired from cone 06 to cone 10.Kiln Atmosphere - reduction or oxidation firing.Surface - can be applied to greenware of bisque.Body - can be applied to earthenware, stoneware or porcelain.Application Thickness - translucent and water-color effects can be achieved with thin applications; full opacity is achieved with thicker applications - if layered it can create dimensional effects.Intermixable - Stroke & Coat glazes can be blended to create new colors.Design Integrity - can be used to created intricate, detailed designs. Colors butted against one another will not blend. Used in Majolica techniques the glaze will not move, nor will it blend into the base glaze beneath itLight over Dark - light colors will remain opaque when layered on top of darker colors (3 coat coverage recommended).Liquid-to-Fired Color Consistency - the colors in their liquid state accurately represent the fired color.Glossy Finish - Stroke & Coat will fire to a gloss finish when three or more coats are applied - clear glaze is not required.Wide Palette of Colors - Stroke & Coat glazes are available in over 70 vibrant bright and pastel shades.Non-Toxic, Food Safe.
I am so glad and thankful to all the incredible people who use their exceptional creative talents to develop an idea into a game. Whether you like action, adventure, strategy, puzzles or first person shooter games, on whichever platform you use, these people create a place for us to escape when we need to.
Parents/Guardians will have 6 time slots from which to choose. Each child will have 45 minutes to create their very own frog, meet and takes pictures with Froggy, listen to a story, participate in a froggy parade, and enjoy a snack.
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