With the mouse 1 button depressed move the brush around the map to the position you desire. In the Z height Window. Next, click on the selected brush in the Z window. In the Camera Window. Select a brush in the camera window see select single component above.
Mouse button 1 click on the brush and drag it in the desired direction. You may need to adjust your camera view to make dragging easier. Think of this as stretching the brush.
In the map window, click next to the selected brush on the side you want to pull. With the mouse 1 button depressed pull in a direction away from the nearest edge. The brush will grow larger in that direction.
Use this to make the brush taller. In the Map or Camera window, select the brush. Next, click above or below the selected brush in the Z window. With the mouse 1 button depressed pull away from the select brush. The brush will grow in that direction. Mouse1 click near the edge of the selected brush.
In the Map Window: In the map window, select the brush. Click next to the selected brush on the side you want to pull. With the mouse 1 button depressed pull in a direction toward the nearest edge.
The brush will shrink in that direction. In the Z height Window: Use this to make the brush shorter. With the mouse button 1 depressed, push towards the select brush.
In the Camera Window: Select a brush in the camera window see select single component above. With the mouse 1 button depressed push in a direction towards the nearest edge. There are three separate actions here. They flip a brush along either X, Y, or Z-axes.
A menu command and toolbar button controls each. The six flip and rotate toolbar commands are the second grouping from the left on the toolbar. The rotate command for the same axis is always next to the flip command. Flipping will not change the facing on non-model entities.
Flip Y Menu: Selection Toolbar: left of center button. Flip Z Menu: Selection Toolbar: second button from the right. Both a menu command and toolbar button controls each action. The flip command for the same axis is always next to the rotate command for the same axis. The rotation will not change the facing on non-model entities. Rotates brush around the x-axis. Rotates brush around the y-axis. Rotates brush around the Z-axis. The Rotate commands accessed from the toolbar all rotate affected map components 90 degrees; no more, no less.
Enter a number value for each axis you want to rotate. Value can be positive or negative. After the values are entered, select OK. This rotates the object and closes the pop-up window. The selected map component s turns lavender. The purple square at the center is the center of the selection and the axis around which it will rotate. Left Mouse clicking on or near the selected component in the map or camera window and dragging will cause it to rotate.
Deselecting and reselecting the component returns the axis to its original center. Press again and the feature will toggle off. Pull on a handle to resize part of a brush. If Snap-to-Grid is active Menu: Grid , the handle will snap to the nearest grid coordinate as it is pulled.
Undo functions with this effect. If Snap-to-Grid is active Menu: Grid , the handle will usually snap to the nearest grid coordinate as it is pulled. Undo does NOT function with this effect.
Design Note: Drag Vertices is a balky tool at best. It works well if the user is manipulating a triangular brush face, raising or lowering corners of the triangle. Work with care, it is quite easy to pull a brush out of useable or recoverable shape. With Scale you can enlarge or reduce a brush, patch, or group of brushes and patches. You choose the axes to scale X, Y, or Z and the factor of the scale. The scaling factor can be different for each axis.
Selecting this option brings up a tool window. The size of the brush or group of brushes is multiplied by the numbers in the boxes adjacent to the X, Y, or Z axes. Leave the value as 1 and no change occurs. If the value is a decimal less than one, the size of that axis shrinks.
If the value is greater than 1, it grows. Hit OK to activate the scaling function with you chosen values. The two functions here, CSG Subtract and Make Hollow, calculate the removing of sections from that geometry and breaking solid brushes not curve patches into smaller pieces.
Although they are convenient to use for some operations, they often do things that the user may not care for. When you select this, the selected brush or brushes subtract its volume from all the geometry that contacts it. The cutting brush is not removed. Undo does not fix this action. Design Note: Region off together the brushes that will be cut and the brushes which will be used for cutting. This keeps other brushes in the map from being affected by the action. When the user selects this, the sides of the highlighted brush are turned into separate brushes.
The thickness of these brushes is equal to the grid size. Undo functions with this action. Design Note: This works best with rectangular brushes. The edges of the created brushes overlap each other. When the user selects this, the highlighted brushes are turned into a single, convex brush.
If you think of this tool as being near the same as the miter box that a carpenter uses to cut wood or moldings, then you are not far from the truth. The editor creates a line between the first point and the second point. In a two-point clip shown here , the cut occurs perpendicular at a 90 degree angle from the plane of the map view. Adding a third point, and adjusting its position in a different map view can change the angle of the cutting plane.
This will take practice to master. This toggles the Clipper function on and off. After completing a cut, the tool remains active and must be toggled off before another brush is selected. The brush is unselected. Undo currently returns the original brush and keeps the clipped off piece. The yellow and red hi-lights toggle so what was red is now yellow and what was yellow is now red.
In Quake 2, this was a surface flag. Detail makes a brush non-structural. This means that it cannot be used to seal the hull of the map world. But it can be used on things that jut out away from the walls as long as there is a structural brush behind it.
Detail brushes are less likely to cause additional cuts to occur in non-detail brushes that they touch This can help reduce frame rate. When the compiler does Vis, it breaks the world up into many small volumes.
Any break in the surface of the box that forms a room creates additional volumes that must be. Detail brushes don't create these breaks. Therefore, using them speeds up compiling. Structural is the Default State for brushes.
Textures that are not manipulated by shader scripts to be transparent or non-solid do not change this. Essentially, this is a change-it-back command for Make Detail. It removes the detail flag from the brush.
Select one and you select them all. This allows you to work on part of a multi-piece group without having to work on all pieces. Find brush allows you to locate a brush in the map by its identifying number. As the map is built, the editor assigns identification numbers to each map component. For brushes and patches these include an Entity number and a brush number. When the compiler outputs error messages in the console and junk. Be prepared for them. Even when you do things right, you will get error messages.
Selecting Find brush pops up a dialogue window with two fields. The first field is the entity number. For most brushes, this will be zero. The command allows you to perform multiple step operations that manipulate a single brush. Currently, only two of the list scripts function. BuildSpiral This walks you through the steps of building a spiral staircase. Select a brush, then click on the map to locate the spiral origin.
Click again to bring up a dialogue window that prompts you to enter the number of steps, the angle of rotation, and the height of each step. The Brush menu lets the mapmaker convert a selected brush into a brush of a different shape. Most of the commands change the number of sides that the brush possesses. It will also change the brush to a single color.
There are individual commands for three through nine sides. The brush will be given the number of sides indicated by the command Plus top and bottom. The sides are always at right angles to the view facing. This command opens a dialogue window. You can enter a number of sides in the field from 3 to Select OK to execute the command. This opens a pop-up dialogue window that lets you enter an arbitrary number of sides.
The height of the cone is equal to the Z height of the brush. The cone is always made with its axis along the Z-axis. At first, the radius of the base of the cone appears to be unrelated, or at least unevenly related to the XY dimensions of the brush from which it is transformed.
Starting the same size brush as you used for the four-side cone, an eight-sided cone fits neatly within the volume of the four-sided cone, four of its sides congruent with the side planes of the four-sided cone. Do the same for a 16 sided cone, and the same again for both a 32 sided cone. However, the number of sides seems to max out at The maximum number of sides, which the editor seems willing to handle is The diameter of the sphere, is roughly equal to the length of the longest XY side of the brush from which it is transformed.
Attempts to create spheres with more faces than 32 may result in the brush disappearing and becoming infinitely tall. Use Undo to back up from this or hit backspace to discard the brush. Each press moves the selected map component down along the Z-axis by one grid position at current grid setting. Not affected by current 2D-map view. Each press moves the selected map component up along the Z-axis by one grid position at current grid setting.
These keys move the brush around the map in discrete map grid increments. The movement is in terms of the selected window, not in terms of XYZ coordinates. The movement is relative to the selected map view, not XYZ coordinates. If you are using the map grid to keep brushes in alignment, this is a great tool. Rotated brushes and brushes that have had their vertices tweaked can have vertices that no longer lie on map grid intersections.
This snaps the vertices to align with the grid. Developed from a Quake 3 World online posting by Astrocreep. Compiling a map is a necessary evil.
It takes time, it ties up your processor, and in the early phases of map construction, comes up with construction errors as often as not. Nothing you can do about that … except the time thing. It is possible, through more careful construction or perhaps reconstruction to significantly reduce both map and bot compile times, and reduce map and. The following is based on reports written by Astrocreep that documents his extensive work to streamline the compile on one of the id sample maps.
It cannot be overstressed. If you want shorter compile times and small file sizes, efficient brush construction is "critical" in building your map. There is one rule that stands above all:.
No matter what you have to do to build your map, do not overlap brushes. Overlapping means that all or parts of two or more brushes share the same physical space. If brushes overlap, you can expect to add time to your compiling, and add size to your.
Efficient map construction means that all brushes butt up against each other, but never intersect. The sample map to be reworked on had 1, brushes in it. Learn how to do more with a single brush than with multiple brushes. Evaluate your map after you complete initial construction phases on all or part of it. Pick a part of the map, look at the layout and ask yourself if you could do that with fewer brushes. In all likelihood, nine times out of 10, the answer will be yes. If you make a structure out of three brushes or whatever and have the same floor height and ceiling height in some cases heights can be different , look at it in the "top view".
Can you draw a line from each vertex and not cross out side of those three brushes? If you can, then that grouping of three can become one brush instead of three. Using 3 square brushes, you have 18 faces with a texture mapped on each side to be calculated. Even if two-thirds of those faces are not being drawn, they are still being calculated by both the compile process and the bot navigation compile process.
Using one brush filling the same area , you have only 6 faces to be calculated. Here, you are compiling only a third of the total geometry. It should go faster. When seen in the editor, this texture is a bright garish pink. In the game, it does not draw at all.
Astrocreep compiled the test level nearly times, many of those times were when he moved just a single brush, just to see what would change. Caulking seems to help the -light phase of compiling the most.
Lights: You can further improve compile times by careful use of lights. Entity lights, especially LOTS of entity lights can reduce compile time. If you need to reduce compiling time even more look to this.
Clip brushes: Clip brushes that have more than two sides not touching another brush appear to increase compile times. Hint brushes: Use these only if you need to resolve a vis problem. Using them can significantly add to compile times. The next set of commands comes from the Curve Menu. Some are duplicated on the Patch Tool Bar. This creates the simplest cylinder. Cylinders are always drawn with their open ends facing up and down.
It does not matter which map view is open when the cylinder is created. This is a cylinder with a set of extra rows. It allows a degree bend into a half donut half torus. This is a cylinder with two extra sets of rows. This allows a bend into a full donut torus. This is a cylinder whose columns have been adjusted so that a square, with flat sides, is formed. A cone is a cylinder with control points drawn together and welded at one end to form a point. Design Note: A curve patch sphere can be constructed from a cone.
Start with a cubic brush. Convert into a cone. Go into edit vertexes mode and grab the control point at the peak of the cone.
Pull it downward to half the height of the cone. Clone the resulting piece and flip it upside down. The patch mesh is the basic building block use to create all curves. All the curve primitives are deformations of this item. For this to work, you must first create a brush of the dimension desired for the patch.
Selecting this opens a Patch dialogue window. This lets you select the vertical rows and horizontal columns complexity of the patch. The more complexity means being able to perform more deformations on the patch. It also means adding a greater number of triangles that must be rendered. Adding control points increases the complexity of a mesh. This action does not increase the physical size of a mesh. Additions are usually done before manipulating the patch mesh.
This adds two columns of control points to the left edge of a patch. Add 2 Columns. This adds two columns of control points to the right edge of a patch. Insert 2 Rows. This adds two rows of control points to the lower edge of a patch. Add 2 Rows. This adds two rows of control points to the upper edge of a patch.
Deleting control points reduces the complexity of a patch mesh. Be warned that the features created by the removed points are also removed. It does not make the mesh a less complex version of the former design. Deletions also change the dimensions of the mesh, removing the area created by the deleted control points. A mesh cannot be reduced smaller than a 3 column by 3 row complexity.
First 2 Columns. This removes two columns of control points from the left edge of a patch. Last 2 Columns. This removes two columns of control points from the right edge of a patch. First 2 Rows. This removes two rows of control points from the lower edge of a patch. Last 2 Rows. This removes two rows of control points from the upper edge of a patch. This has nothing to do with Neo and Trinity. This command inverts the normals of the patch mesh. The normals control the direction of facing for the texture skin and the clipping surfaces.
This is used on a selected patch. When rows or columns are inserted or added to a patch, the dimensions of the patch are not changed. The distances between the new additions and the old points are not the same. This command averages out the distance between the points.
It does not change the size of the patch. Otherwise, you may lose your work on it. With some patches, selecting this command will destroy the patch itself. A Patch Tool Bar button duplicates this command. The type of cap depends on the selected patch:.
Cylinder The ends of the cylinder are sealed with circular patches. Square Cylinder The ends of the cylinder are sealed with square patches. Cone Both ends are capped open and point. You will want to discard the cap on the point end. Bevel If you select to cap a bevel, a dialogue window pops up.
A normal bevel cap covers the space between the curve and the center. Inverted Bevel An inverted bevel covers the space between the curve and the outer corner. Endcap If you select to cap an endcap, the same dialogue window pops up. Results will vary depending on the manipulations done to the mesh. Square Bevel Capped in the same manner as a cylinder.
Square End Cap Capped in the same manner as a cylinder. Overlay turns the grid of control points on for the selected patches and leaves them on until the Clear command is selected.
By having the control points on a curve patch be visible, it is easier for the designer to align the vertices of adjacent solid geometry brushes. Shortcut: Y. This is the command to turn on the control points in a selected patch. This is the command to turn off all control points in all patches. If you think about it conceptually, Thicken transforms a curve patch into a three-dimensional object.
The distance between original and copy is selected in a pop-up dialogue window. The duplicated curve appears on the opposite side of the textured face. The resulting object depends on the nature of the curve primitive being thickened. The following are some examples:. Cylinder A pipe is created. Bevel A matching bevel is created. Endcap A matching endcap is created. Patch Mesh A mesh that echoes the shape of the selected patch is created, but with XY dimensions smaller or larger by the measure of the thickness smaller if the normals are on the concave side; larger if on the convex side.
Bending a square cylinder will produce better results. The patch tool par is turned on in the Preferences. Each of these buttons enables or disables a curve editing feature, or initiates a process on a selected curve patch.
This button toggles the ability to select or not select curve patches in the map. If turned on depressed , the user will not be able to individually select curve patches. Group selections will still include any curve patches within their boundaries. This button toggles the display of the bounding box that defines the limits of the patch. On button depressed shows the bounding box. This button toggles the display of patches between a fully textured mesh off and a wireframe-only mode on.
The wireframe mode makes it easier to see the deformations of the mesh and allows the user to see some control points that may be hidden by the texture when it is mapped on the mesh. It can also be a performance-enhancer for the editor by setting the view to wireframe until you need to see the brush textured.
Design Tip: When manipulating the control points on a patch mesh, using wire frame allows you to best see both the control points and the deformations. If a curve patch is selected, this button initiates a multi-step bending procedure. There are tutorials available on several sites that address the fine points of bending a patch, whether it is a cylinder or a simple flat mesh.
The ESC key will exit the procedure at any point. The following are just the steps:. This brings up an instruction window that says:. This highlights turns pink a row or column of patch control points. One of these control points will likely be the axis for your bend. This will LOCK around that point. You may also. This highlights the specific control point around which the patch will bend.
The click need not be within the bounds of the patch. ENTER when the desired one is highlighted. This highlights the side or end of the patch relative to the bend point around which the patch will bend. It uses the. Clicking and holding the Left mouse button on the map window and dragging it around will cause the patch to bend.
When rows or columns are inserted or added to a patch, the dimensions of the whole patch are not automatically adjusted. With some patches, the patch itself will be destroyed. Design Notes:. Make a pair of opposing bevel caps that match the arch of the endcap. Patch Control Bar only This feature, when selected button pressed in causes control points to weld together if they are moved to the same coordinates. Undo will undo the move and the weld. When this is toggled on depressed , clicking on a control point in a 2D Map view selects all the control points in the row or column beneath it.
These keys move the curve patch around the map in discrete map grid increments. If you are using the map grid to keep curve patches in alignment, this is a great tool. Rotated curve patches and curve patches that have had their vertices tweaked can have vertices that no longer lie on map grid intersections. There are three skill and knowledge components to working with textures as they regard Quake III Arena.
Only the third, Texture Application, is absolutely necessary for making maps. You need not master all three. With the release of version , the Q3Radiant editor takes a new direction in the way textures are mapped to the surfaces of brushes.
The texturing format will roughly be the same as the way textures are handled on curve patches. While there are no changes to the user interface within the editor, you should see a change in the way textures behave on brushes during transformation operations like move and rotate.
Because textures are mapped to the S and T coordinates of a brush as they are with curve patches , locked textures will now maintain their positions on brushes when they are moved or located. Even complex rotations should now be possible without the textures going askew.
Checking the Brush Primitives checkbox turns on this feature. Once you change a map to Brush Primitives, you cannot go back to the earlier method of texture mapping with that map. The prudent mapper makes backups before making major changes to projects. Technically, each texture already has a default shader that passes it through the pipeline to appear much as it does in the graphic program that made it.
A shader is a short script, separate from the texture file, that the game engine uses to make further adjustments to the texture's appearance or function. The shader is to Q3A what the surface properties flags were to Q2 , only ever so much more powerful. If you plan on creating your own textures, you should get to know and understand how shaders work.
The Q3A Shader Manual contains the information you need. Drawn from an original essay by Small Pile of Gibs. Shaders give the mapper control over special graphics effects that require multiple redrawing passes before they are finally displayed on the game screen. To understand how multitexture works, you need to understand how the Quake III Arena graphic engine renders a scene. It takes time to draw each triangle. If a single transparent triangle takes up the whole screen, for example, a glass window — The whole area of the screen has to be redrawn.
The simplest form of multitexture is a Lightmap. In most cases, the Q3A engine first draws the lightmap precalculated light and shadow information. Then, on top of that, it adds in the information from the texture art specified for that triangle using a special effect blendfunc filter — which blends the lightmap with the texture to make areas of the texture look light or dark.
Every extra stage in a shader is an extra triangle drawn over and blended with the first triangle in a special way. Like the lightmap example above, each additional stage requires an extra triangle to be drawn for each frame.
On certain 3D accelerator cards like the TNT - TwiN Texture , the multitexture effect cancels out the real cost of the first pass of blending.
The blending for the first additional stage is done before the triangle is drawn. If set very high it will look blocky. Entities Show Light Radii - Enables rendering of light-radii around light entities. This does require memory so do not set it too high if you do not have alot of memory. Paths Engine Path - Set the path to the engine for the game being edited.
Camera Movement Speed - This will increase or decrease the movement of forward, back, and strafing speed in the 3d view. Rotation Speed - This will increase or decrease the turning speed in the 3D View. Invert Mouse Vertical Axis - This will reverse the mouse controls in freelook mode. Discrete Movement - If checked, this causes the view in the 3d view to move one step at a time.
If unchecked the movement is smoother. Enable Far-Clip Plane - sets the far-clip plane to be close to the camera. Improves rendering speed by reducing the amount of objects to be drawn. Orthographic Solid Selection Boxes - This will make anything selected draw with solid lines rather then the old style of dashed boxes.
This can speed up rendering on Nvidia TNT cards. Display Size Info - If this is checked on, it will display the size information of any object selected. Chase Mouse During Drags - Turning this on causes the view to chase the mouse if you drag something off the edge.
Update Views On Camera Move - When interacting with the camera which you will do a lot , turning this off will NOT update the camera icon location in the Map windows automatically. This can help with speed but prevents you from seeing exactly where the camera icon is positioned.
Clipper Clipper Tool Uses Caulk - When using the clipper tool, the faces that are created from the clip will add a caulk texture to the brush. Run Engine After Compile - This will cause the game to launch after the compile process is complete. GtkRadiant will go into sleep mode when you load the engine after a compile. The drivers just will not sustain two demanding OpenGL applications simultaneously. This feature is best left turned off.
Texture Browser Texture Subsets - This provides a texture edit window within the texture window. It is still buggy as of build It puts a text field at the top of the Texture window.
Type in the first few letters of a texture name and the window will only display the textures beginning with that letter or letters. Texture Scrollbar - If checked, this will add a scroll bar to the texture window. This cycles the cap texturing type on the currently selected patch.
This cycles the cap texturing axis on the currently selected patch. Makes the texture natural on the patch mesh sometimes the textures are stretched to fit the patch, this will make the texture fit normal instead of streching it.
Removes 3 rows from currently selected patch assuming patch currently has more than 3 rows. Adds 3 columns to currently selected patch. Removes 3 columns from currently selected patch assuming patch currently has more than 3 columns. Evenly re-disperses all the columns of the currently selected patch. Evenly re-disperses all the rows of the currently selected patch. This inverts the patch mesh's matrix.
Inverts the X value of the texture on the matrix. Inverts the Y value of the texture on the matrix. Swaps the rows and columns on a patch. Turns on display of the currently selected patches control points. Turns off display of the currently displayed patches control points previously turned on by Make Overlay Patch. Creates a copy of current patch and spaces it by X amount of units as per value entered in dialog box then caps off the mesh. Moves the location of the Z Checker box icon in the 2D view to where you click.
Dragging the mouse makes it follow around. Moves the location of the Camera eye icon in the 2D view to where you click. Also works in the Z view. Points the Camera eye icon in the 2D view to where you click. This will create a new brush if no object is currently selected.
If one or more brushes are selected, this will: 1. Resize the brush when click-dragging outside. Move the brush when click-dragging inside. If one or more point entities are currently selected, this will just move them.
Also works in the Z view but for brushes, only move and vertical resize are possible. In the 3D view, only move and resize work.
Entities have priority over brushes. This also works in the Z and 3D views. Cycle selects all brushes or entities under cursor in order of depth. Drags the face of the currently selected brush. The face nearest to the cursor is dragged. Brushes can also be sheared by using this. This also works in the 3D view. Brings up the entity pop-up menu. You can then select the entity to create. For solid entities doors, buttons, triggers, etc. Selects brush face under cursor.
Only one face at a time can be selected. Will automatically deselect any currently selected objects. Selects brush faces under cursor. Any number of faces at a time can be selected.
This feature only works in Q3Radiant. Any currently selected face or brushes will automatically be assigned the grabbed values. Shifts the texture's vertical and horizontal alignment on the currently selected face or brushes. Rotates the texture on the currently selected face or brushes.
Texture window mouse functions. All currently selected brushes or face will automatically be assigned the selected texture. Same as above but also automatically brings up the Surf Inspector window. Same as above but will scroll much faster.
Useful for browsing through very large texture folders. Shader window function. Shift-click on a shader opens the proper shader file in EditPad and automatically places the cursor at the beginning of the shader.
Automatically applies and scales the texture under the cursor on currently selected angled faces so it will fit on those faces by exactly one texture tile. Entity dialog mouse functions. Double-clicking on an entity name in the dialog's list will create an entity at the location of the currently selected brush mandatory.
If a point entity is chosen from the list, it will automatically replace the selected brush es.
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