Painter Of The Wind Download [VERIFIED]

Painter of the Wind (Korean: ; Hanja: ; RR: Baram-ui Hwawon) is a 2008 South Korean historical television series starring Moon Geun-young and Park Shin-yang. Based on the bestselling historical fiction novel by Lee Jung-myung that took artistic license with the premise that perhaps the Joseon painter Shin Yun-bok had really been a woman,[1][2][3] it centers on Yun-bok, a talented young painter who disguises herself as a boy to search for her father's murderer. She meets Kim Hong-do, a master painter who guides her into becoming a great artist, and they develop a strong friendship of mentor and disciple.[4][5][6]

In 1766, Kang Su-hang, a painter and senior member of Dohwaseo, the Academy of Painting, was found killed after being secretly commissioned by the son of the crown prince who would later become King Jeongjo (1752-1800, the 22nd King of the Joseon Dynasty). The commission was to paint a portrait of the crown prince.

Painter Of The Wind Download

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Kim Hong-do and Shin Yun-bok serve as the eyes of the king, depicting the true reality of the common people. However, powerful palace officials conspire to get rid of the two painters, and soon afterwards, they are kicked out of Dohwaseo. Then, the king secretly orders the pair to find the portrait of his father, which was painted by Kang Su-hang ten years prior.

The events described by the twenty episodes are dated 1777 (=now) with flashbacks from 1766 (=ten years before). This crosscutting style between two time periods required some artistic license, with the meager historical facts known about the painters involved. Among the distortions are:

More than forty paintings were featured in the series, providing a possible context for each of them. For the paintings from the Hyewon pungsokdo, this exercise was all the more striking since the present-day titles were not given by the painter himself, but were attributed more than a century later.

Shin Yoon Bok is a talented painter who disguises herself as a boy to search for her father's murderer and meets a master painter who guides her into being a great painter. Kim Hong Do is the man who teaches Yoon Bok how to paint, and they develop a strong friendship of mentor and disciple. Edit Translation

The performances were excellent throughout the cast. Moon Geun-young had earned the Daesang for the SBS Awards and Best Actress for Baeksang Arts Awards, and while I perhaps need to look at the other candidates for those awards, she earned it with her leading role as the man-dressed female painter. Her counterpart, Park Shin-yang, had more comedic elements than serious ones in his character, the famed artist, Kim Hong-Do. She had to contend with the dramatic love-stories, the tragic past aspects of her character and the light cheerful nature that her character possessed, making it all come off like a complex singular person rather than a mix-match of emotions. She and Moon Chae-won, a ginseng, had magnificent chemistry on screen, more than plenty of male/women pairings have, enough to win Best Couple. A magnificent achievement. It made Moon Chae-won a rising star in the Korean television world which led to breakout roles in the next several years. And of course, the reliable Bae Soo-bin was great as the King who brought honour to his discarded father.

The pivot painter script was actually very easy to use, but the documentation online is very difficult to follow. I may actually write a bit more about how to use it in the future, because its simple one you know what you are doing. It has a huge amount of features. one particularly cool one is the ability to extract leaves that touch a specific brand and align their pivot to the correct position. I ended up placing all mine manually as I found it produced better results in this case, but I can see the automated process being much more useful on much fuller trees.

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I added some simple global wind to my trees and it works fine on the static mesh but on the foliage painted ones, they become severely warp and moved around from their position. Why is this happening? Here is the tutorial I followed to do this:

A landscape seen through sheer lace curtains that billow in toward us from an open window nearly fills this horizontal painting. The window is angled slightly downward as it extends off the right side of the composition, so it does not line up with the edges of the rectangular painting. The narrow strip of dove-gray wall to the left of the window casement is cracked near the simple, deep gray molding that surrounds the window. Slivers of light peek through rips in the dark shade that covers upper third of the window. The right curtain panel surges toward us as the left panel flutters lightly off to our side. The inner edges are trimmed with subtle lace birds and flowers. The window looks down onto an expanse of olive-green grass and dark green trees line the far edge of the field. Tire tracks cross the field from near the lower left corner of the painting to our left, and into the distance to meet a sliver of white, perhaps a body of water.

Wind from the Sea, painted a year before Christina's World, captures a moment on a hot summer day when Wyeth opened the seldom used window in an attic room. The picture is eerily alive with movement as the wind blows the curtains into the room. The tattered, transparent fabric is light and airy, with small embroidered birds along the edges that seem ready to dart into the house. In contrast, the sun-bleached wooden window sill looks sturdy and solid. The interior of the room is dim, while the landscape beyond the open window is stark and bright. The tree-lined view includes no figures, but as in so many other works by Wyeth, a strong sense of their presence is evident. Two well-worn tire tracks running across the dirt lead the viewer's eye toward the sea in the distance. The close vantage point and the tightly cropped window frame at the edge of the painting create the illusion that the viewer is actually looking out a window.

Wind from the Sea is an iconic example of Wyeth's landscapes, as well as one of the earliest examples of his use of windows and his often unique choice of vantage point. Three preparatory studies for the painting accompanied the gift. All four works were bequeathed to the Gallery by Charles H. Morgan. Wind from the Sea is the second painting by Wyeth to enter the National Gallery's collection; Snow Flurries, a 1953 tempera painting, was given in 1977.

All of the textures rendered from Pivot Painter provide us with the tools to create simple mathematical representations of our trees' sub-object (branches and leaves). With that information, we can then start to approximate each sub-asset's reaction to a wind source enabling us to create very detailed elemental hierarchies to produce naturalistic motion.

This should enable you to produce fairly nice foliage animations. If they aren't tailored to your liking, you can create a new wind turbulence and gust magnitude texture. To do this, the RGB values of a vector are used to offset the wind vector and the alpha is then used to control the strength of the wind. These two channel sets are each sampled separately in the shader.

It is helpful to understand how the material works when attempting to optimize the results. The PivotPainter2FoliageShader Material Function has been designed in a generic fashion. It executes the same wind reaction code 4 times. Each time another set of settings is used it is done so on a hierarchy level that is one step deeper. You can see how this works by opening the PivotPainter2FoliageShader Material Function.

When all the shader features are enabled you can produce a fairly expensive Material. The shader can be optimized by disabling the Wind Settings groups (or hierarchy levels of a tree) that do not need to animate. For instance, you could simply enable Wind Setting 4 to animate the model's leaves on their own. Grouping wind reaction settings by hierarchy depth mean that the model's elements should be grouped in the same fashion. All leaves should be "X" number of steps away from the root object. All branches that behave similarly should be grouped together as well. For this reason, it is recommended to set up a "parent" or "master" Material Instance for assets like trees, where you can easily have multiple hierarchies.

The base Material is instanced to create your "master" Material Instance, which is used to define all of your wind settings all in one place. Then use additional Material Instances to define the pixel shader components of your hierarchy, like the base color textures for trunk, branches, and leaves. This way, you can also disable and optimize any properties not needed for that hierarchy depth.

Some mesh warping appears due to optimizations are done within the shader. To properly calculate wind's effect on a branch, we would need to calculate the wind's effect on each leaf's pivot and its vector before executing each mesh rotation. Every rotation and offset operation is expensive, so we perform the mesh rotation for each element within its local space (before the other rotations are factored in). The resulting mesh offset from the rotation is then added to the other transformations. The result is less accurate but far cheaper. Sometimes the reduced accuracy will cause the foliage scale to alter a little based on the combination of offsets. So if this occurs you can try the following:

Although Renaissance and later painters largely accepted that it was preferable to depict wind in figurative form, as Jan van Kessel the Elder did in his spectacular Allegory of Air (1661), as landscape painting became established as a genre, its exponents tried to do better. 2351a5e196