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© 2004 by Premier Press, a division of Course Technology. All rights reserved. No part of this book may be repro- SVP, Course Professional,
duced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, Trade, Reference Group:
or by any information storage or retrieval system without written permission from Course PTR, except for the Andy Shafran
inclusion of brief quotations in a review.
Publisher:
The Premier Press logo and related trade dress are trademarks of Premier Press and may not be used without writ- Stacy L. Hiquet
ten permission.
Senior Marketing Manager:
Alias and Alias SketchBook Pro are trademarks or registered trademarks of Alias Systems, a division of Silicon Sarah O’Donnell
Graphics Limited, in the United States and/or other countries worldwide. Maya is a registered trademark of Sili-
Marketing Manager:
con Graphics, Inc., in the United States and/or other countries worldwide, exclusively used by Alias Systems, a divi-
Heather Hurley
sion of Silicon Graphics Limited. Corel, CorelDRAW, CorelPHOTO-PAINT, and Corel Painter are trademarks or
registered trademarks of Corel Corporation or Corel Corporation Limited. All other trademarks are the property Manager of Editorial
of their respective owners. Services:
Important: Course PTR cannot provide software support. Please contact the appropriate software manufacturer’s Heather Talbot
technical support line or Web site for assistance. Acquisitions Editor:
Course PTR and the author have attempted throughout this book to distinguish proprietary trademarks from Mitzi Foster Koontz
descriptive terms by following the capitalization style used by the manufacturer. Associate Marketing
Information contained in this book has been obtained by Course PTR from sources believed to be reliable. How- Manager:
ever, because of the possibility of human or mechanical error by our sources, Course PTR, or others, the Publisher Kristin Eisenzopf
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errors or omissions or the results obtained from use of such information. Readers should be particularly aware of Cathleen D. Snyder
the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press.
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Educational facilities, companies, and organizations interested in multiple copies or licensing of this book should Daniel Whittington
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This book is dedicated to all the young artists.
Keep the dream alive.
Without art, much of beauty would be lost.
You are needed.
Acknowledgments

T his book is the culmination of

the work of many individuals.
Some, such as Mitzi Koontz,
Cathleen Snyder, Dan Whittington,
and Jacob Nobbe, have worked on the
book directly. Others, such as Carl
Lundgren, Dave Wolverton, and Don
Seegmiller, have helped by teaching
me their craft. My biggest thanks go to
my wife and family, who have put up
with my countless hours away from
them to write this book, and to my
parents, who have always believed in
me. To all who had a role in helping
me to write this book, I express my
deepest appreciation and gratitude.
About the Author

He currently serves as President of

I n 1987, Les Pardew started his

career by creating the animation
for Magic Johnson Fast Break
Basketball on the Commodore 64. He
soon found that he loved working on
Alpine Studios, which he founded
with Ross Wolfley in the fall of 2000.
Alpine Studios is a game development
company focusing on family-friendly
games. Alpine Studios’ products
games and has been in the industry
include Kublox, Combat Medic,
ever since. His work encompasses
Motocross Mania 2, and Ford Truck
more than 100 video game titles,
Mania.
including some major titles such as
Super Star Wars, NCAA Basketball,
Starcraft: Brood War, James Bond 007,
Robin Hood: Prince of Thieves, and
CyberTiger.
Contents at a Glance

Introduction...............................................................................................................xi

Chapter 1
Getting Started in Game Art.....................................................................................1

Chapter 2
2D Artwork in Games ..............................................................................................23

Chapter 3
2D Animation ...........................................................................................................55

Chapter 4
Introduction to 3D ...................................................................................................67

Chapter 5
Building Game Interiors ..........................................................................................95

Chapter 6
Lighting and Reflections .......................................................................................123

Chapter 7
Building Environments in NURBS..........................................................................145
 Contents at a Glance vii

Chapter 8
Building Game Objects ..........................................................................................169

Chapter 9
Building Characters Part 1: The Head...................................................................191

Chapter 10
Building Characters Part 2: The Body ...................................................................213

Chapter 11
3D Animation .........................................................................................................241

Chapter 12
Specialized Geometry and Special Effects............................................................263

Index .......................................................................................................................281
Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi Chapter 2

2D Artwork in Games . . . . . . . . . . . . . . . . . . . .23
Learning about Textures . . . . . . . . . . . . . . . . . . . . . . . .23
Chapter 1 Color in Textures . . . . . . . . . . . . . . . . . . . . . . . . . .24
Getting Started in Game Art . . . . . . . . . . . . . . . .1 Roughness in Textures . . . . . . . . . . . . . . . . . . . . . .26
How Art Is Displayed . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Translucency in Textures . . . . . . . . . . . . . . . . . . . .27
Working with Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Reflectivity in Textures . . . . . . . . . . . . . . . . . . . . .27
Using Painting Programs . . . . . . . . . . . . . . . . . . . . . . . . .3 Surface Luminance in Textures . . . . . . . . . . . . . . .27
Using Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Creating Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Photo Paint Programs . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Painting Textures . . . . . . . . . . . . . . . . . . . . . . . . .28
Finishing the Character Sketch . . . . . . . . . . . . . . . .6 Using Photographs for Textures . . . . . . . . . . . . . .32
Creating a Door Texture . . . . . . . . . . . . . . . . . . . . .7 Tiling Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Working with Vector-Drawing Programs . . . . . . . . . . .10 Creating Game Interfaces . . . . . . . . . . . . . . . . . . . . . . .41
Working with 3D Modeling Programs . . . . . . . . . . . . . .13 Creating Concept Art for Games . . . . . . . . . . . . . . . . . .47
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
 Contents ix

Chapter 3 Chapter 6
2D Animation . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Lighting and Reflections . . . . . . . . . . . . . . . . .123
How Does Animation Work? . . . . . . . . . . . . . . . . . . . . .55 Real-Time Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Creating a Simple 2D Animation . . . . . . . . . . . . . . . . . .56 Point Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Creating Character Animation . . . . . . . . . . . . . . . . . . . .61 Directional Light . . . . . . . . . . . . . . . . . . . . . . . . .124
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 Ambient Light . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Colored Light . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Preset Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Chapter 4 Real-Time Reflections . . . . . . . . . . . . . . . . . . . . . . . . . .139
Introduction to 3D . . . . . . . . . . . . . . . . . . . . . . .67 Specularity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
The 3D Art Program . . . . . . . . . . . . . . . . . . . . . . . . . . .67 Environment Maps . . . . . . . . . . . . . . . . . . . . . . .140
Building 3D Worlds . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 Rendered Reflections . . . . . . . . . . . . . . . . . . . . .141
Building a 3D Castle . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Building the Walls . . . . . . . . . . . . . . . . . . . . . . . . .78
Texturing the Castle . . . . . . . . . . . . . . . . . . . . . . .88
Finishing the Castle . . . . . . . . . . . . . . . . . . . . . . . .92 Chapter 7
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 Building Environments in NURBS . . . . . . . . . .145
What Are NURBS? . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Creating a Racecourse . . . . . . . . . . . . . . . . . . . . . . . . .145
Chapter 5 Adding Scenery Elements to the Racecourse . . . . . . . .158
Building Game Interiors . . . . . . . . . . . . . . . . . . .95 Level of Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Building the Interior . . . . . . . . . . . . . . . . . . . . . . . . . . .95 Prelighting the Racecourse . . . . . . . . . . . . . . . . . . . . .165
Building the Columns . . . . . . . . . . . . . . . . . . . . . . . . .104 Building Skyboxes . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
x Contents

Chapter 8 Chapter 11
Building Game Objects . . . . . . . . . . . . . . . . . .169 3D Animation . . . . . . . . . . . . . . . . . . . . . . . . . .241
Types of Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169 How 3D Animation Works in Games . . . . . . . . . . . . . .241
Naming Conventions . . . . . . . . . . . . . . . . . . . . . . . . . .170 Character Animation . . . . . . . . . . . . . . . . . . . . . . . . . .246
Building a Game Object . . . . . . . . . . . . . . . . . . . . . . . .170 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
Moving Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190
Chapter 12
Specialized Geometry and Special Effects . . . .263
Chapter 9 Creating Specialized Geometry . . . . . . . . . . . . . . . . . .263
Building Characters Part 1: The Head . . . . . . .191 Collision Maps . . . . . . . . . . . . . . . . . . . . . . . . . . .263
The Human Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191 Triggers and Other Invisible Objects . . . . . . . . . .270
Building the Head . . . . . . . . . . . . . . . . . . . . . . . . . . . .192 Creating Special Effects . . . . . . . . . . . . . . . . . . . . . . . .271
Facial Animation Elements . . . . . . . . . . . . . . . . . . . . .206 Particle Effects . . . . . . . . . . . . . . . . . . . . . . . . . . .271
Finishing the Head . . . . . . . . . . . . . . . . . . . . . . . . . . . .210 Creating Particles . . . . . . . . . . . . . . . . . . . . . . . .278
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211 Animated Billboards . . . . . . . . . . . . . . . . . . . . . .278
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279

Chapter 10
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
Building Characters Part 2: The Body . . . . . . .213
Building Hands and Feet . . . . . . . . . . . . . . . . . . . . . . .225
Adding the Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230
UV Mapping a Character . . . . . . . . . . . . . . . . . . . . . . .233
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240
Introduction

To best understand and learn from

I remember growing up in a small

town in southern Idaho. Our
high school didn’t have an art
teacher. The only place that I could
gain any instruction in art was from
this book, you should complete each
project as shown in the step-by-step
instructions. From there, you should
practice the concepts on your own to
broaden your knowledge of the tools
books. I loved reading about artists
and master the techniques.
and I loved the step-by-step instruc-
tion books. Now, after years of success The CD contains tools and links to all
in commercial art, I felt it was time to the resources you will need to com-
help the young students who are plete the projects. The tools are trial
looking for guidance with their dream versions or learning versions of pro-
of becoming game artists. fessional software.
This book is designed to give real- I hope you enjoy reading this book
world instruction with solid examples and doing the projects. I wish you
of game art creation. The chapters are success and fulfillment as an artist in
full of step-by-step projects that show this dynamic and exciting field. If you
you in detail how game art is created. need help or just want to talk, you can
The examples are taken from projects e-mail me at les@[Link].
that could be right out of any game.
This page intentionally left blank
 chapter 1

Getting Started
in Game Art

reading this book, I will assume that tools by reading the instructions that

C reating art for games is fun

and exciting. This book is
your gateway to the fascinat-
ing world of game art development.
In the following chapters, you will
you have some skill in art. I will not go
into the basics of drawing and paint-
ing. There are many great books
about those subjects, but in this book
come with the art software. Once you
are comfortable with the basic features
of the art software, following the step-
by-step instructions will be easier.
I only want to deal with the exciting
learn how art is made and used in
field of creating art for games.
games. You will also have a chance to How Art Is Displayed
create art yourself by following the The book contains step-by-step The best way to begin any discussion
many projects in each chapter. As you instructions on a number of topics. I on game art is to clarify how art is dis-
read each chapter and try out each have worked hard to be as detailed as played in a game. Most people play
project, you will gain a good under- possible so you can follow along with games on a computer, handheld
standing of game art development. me; however, no book can provide device, or console game system. The
every single step to every process in pictures we see in games on these sys-
In this book I only want to deal with
something as complex as game art tems are made up of small, colored
game art. Completing each project
development. The best way to use this square dots of light called pixels. More
will require some level of artistic tal-
book is to become familiar with the precisely, a pixel could be defined as
ent. Because you are interested in
1
2 Chapter 1 ■ Getting Started in Game Art

the smallest controllable segment of a screen resolutions will increase and light in the room. On the other hand,
display. Back when computer games individual pixels will be harder to when a person looks at the same
first came out, the resolution of detect. painting displayed on a color monitor
video-game pixels were very low and or TV he is looking at direct light, not
Pixels are small dots of colored light
appeared as big blocks of color. As reflected light (see Figure 1.3).
that make up pictures on a computer
technology has advanced, the size of
screen. This is very important. In tra- Reflected light is not as bright and
pixels has shrunk to the point that in
ditional art, artists work mostly with vibrant as direct light; however, we
some game systems it is difficult to see
the reflected light of a painted surface. live in a world of reflected light. When
a single pixel.
For games, artists work with pure you are creating game art, it is impor-
Figure 1.1 shows a character typical of light as it is displayed on a screen tant to remember that the art will
those used in early PC games. The instead of painting on a canvas. This look unrealistic or cartoon-like if you
character is 32 pixels high. Notice that fundamental difference takes a little don’t take care to reduce the intensity
the pixels are very easy to see. getting use to, particularly in the area of the color to match how things look
of color. in real life.
Figure 1.2 shows a scene from a
PlayStation 2 game. Notice that the A game artist uses colored light to cre-
pixels are so small that they are very ate images. Most other forms of art Working with Pixels
difficult to distinguish as small blocks use reflected light. For example, when Artists use a variety of computer pro-
of light. As new game platforms con- a person looks at an oil painting, he grams to work with pixels on the
tinue to become more powerful, sees colors that are reflected from screen. These programs fit into two

Figure 1.1 This game

character for an old PC
game is 32 pixels high. Figure 1.2 This scene is from a Figure 1.3 Reflected light and direct light
The pixels are blocky PlayStation 2 game system.
and easy to see.
 Using Painting Programs 3

basic categories—two-dimensional In later chapters I will get into sever-

(or 2D) programs and three-dimen- al specific exercises that deal directly
sional (or 3D) programs. 2D pro- with these programs. They are all
grams are the easiest to understand programs that I use regularly in my
because computer screens and video own work, and each one is a true pro-
game screens are basically flat. A 2D fessional program. In this chapter, I
art program directly manipulates pix- will give you a brief overview of these
els on screen. Many of these programs programs.
are very sophisticated, and some even Figure 1.4 A typical digitizing tablet
simulate natural media such as air-
brush, oil paint, or even watercolor.
Using Painting
be held like a pen over the tablet.
3D programs create virtual 3D objects Programs When you move the pen over the
used in the creation of 3D characters Game artists use painting programs tablet, the cursor on the computer
and worlds in games. to create 2D art for games. 2D art is screen moves. Like clicking with a
Included on the CD for this book are often created by the artist from mouse button, you can select or exe-
links to trial versions of several 2D scratch instead of through manipula- cute commands on the screen by
programs and one 3D program: tion of other art or photographs. Both touching the tip of the stylus to the
Corel Painter and Alias SketchBook tablet. Unlike the mouse, however, the
■ Corel Painter Pro are great programs for creating stylus has a pressure-sensitive tip,
■ CorelDRAW suite art. They both have very powerful fea- which paint programs use to simulate
■ Alias SketchBook Pro tures that allow you to use tools that the pressure the artist uses in drawing.
simulate natural drawing and paint-
■ Alias Maya Personal Learning If you are serious about doing art for
ing tools.
Edition games, I highly recommend getting a
To use a painting program properly, digitizing tablet because it helps make
Hint you need to have a digitizing tablet—a the drawing and painting process on
Take some time to explore and become flat tablet with a special pressure- the computer more natural. Don’t
familiar with the art programs avail- sensitive stylus used to input direction worry if you don’t have one, though.
able through the accompanying CD- to the computer, similar to a mouse You can still complete the projects in
ROM. Each program is a professional (see Figure 1.4). The advantage of the the book because all of the art pro-
tool. The better you understand these
digitizing tablet is that you can use the grams used in the projects work fine
programs, the more you will gain from
the projects in this book.
stylus like a pen, pencil, or paintbrush. with a mouse.
The stylus is built like a pen and can
4 Chapter 1 ■ Getting Started in Game Art

Hint example, an artist might start a pic- When the drawing is complete, the
The purpose of this initial chapter is not ture by sketching in a rough outline next step is to clean up all the excess
to train you in all aspects of the tools with a pencil brush. lines. Painter has an Eraser tool,
that will be used in this book; rather, I which works much the same as a
The following example uses Corel
want to give you a quick example of brush except instead of adding lines
how the programs will be used. Greater Painter. Painter is a great program
or color, it removes the lines and
detail on each art program will be pro- with a very powerful set of drawing
returns the image to its original color.
vided later in the book. and painting tools.
Figure 1.6 shows a finished line draw-
Figure 1.5 shows a sketch of a young
ing of the character. Now you need to
boy for a sports game. Notice the
add color to complete the drawing.
Using Brushes sketchy outlines. In this example, the
Save the line sketch to a file for later
boy is first drawn lightly with mini-
Painting programs simulate natural use.
mal pressure put on the stylus. Once
drawing and painting with a set of the general shape is defined by these Painter also has a Magic Wand selec-
tools called brushes. Imagine a fully loose outlines, the darker lines are tion tool, which will select all
equipped artist studio with all the lat- added to the drawing.
est tools and media. In the studio you
might see things like watercolor Some artists prefer to
brushes, oil paint brushes, pastel draw their initial
chalks, airbrushes, and any number of sketches on paper
other artist tools. Now imagine all and then scan them
those tools and media in a painting into the computer;
program. That is exactly what a paint- other artists work
ing program is meant to simulate. directly on the com-
puter. I like to sketch
In a painting program, the brush by working directly
defines not only the type of instru- on the computer
ment the painting program is trying because it saves me
to simulate, but also the media. several steps in pro-
Painting programs allow for a wide duction.
range of flexibility in the brushes. For
Figure 1.5 Character sketch of a young boy
 Using Brushes 5

instances of a color in By selecting each area, you can add

a picture. You can use color to the character. Notice, howev-
the tool to mask out er, that the coloring process has
an area of the draw- obscured most of the original lines of
ing, making only that the drawing (see Figure 1.8).
area available to
Usually at this stage it makes sense to
paint. This makes
switch to a different program. Save
coloring the charac-
the colored image to a file for use
ter very easy.
later.
In Figure 1.7, the
character’s arm has Hint
been selected and Often when I am working on a project,
painted using the I will have a paint program, a photo
Airbrush tool. paint program, and a 3D program all
Figure 1.6 The cleaned drawing running on my computer at the same
time. I often switch between programs.

Figure 1.7 The selected area is painted using the Airbrush tool. Figure 1.8 The color has obscured the lines of the drawing.
6 Chapter 1 ■ Getting Started in Game Art

Photo Paint Programs Finishing the Character putting the two together or by layer-
A photo paint program is designed
Sketch ing one on top of the other, you can
Because Photo Paint has some very create a finished colored character
for photo manipulation and retouch-
powerful tools for color adjustments, sketch. The first step will be to copy
ing. Some artists use them for creat-
it is an excellent choice to finish the and paste the colored sketch over the
ing art, but I find painting programs
character sketch you started in the line drawing.
work better for the former purposes.
The CD for this book includes a link painting program. Load the two Next you use the Transparency tool to
to the CorelDRAW suite; one of the images of the character into the pro- make the desired color appear trans-
programs in the suite is Corel Photo gram. parent so the line drawing shows
Paint. This is an excellent program Figure 1.9 shows the two images I cre- through it (see Figure 1.10). As you
for working with photographs or ated earlier. The one on the left is the might have guessed, the Transparency
drawings. original line drawing; the one on the tool is used to make an image trans-
right is the colored drawing. By parent.

Figure 1.9 Load the two images of the character into Photo Figure 1.10 The line drawing shows through the transparent
Paint. color.
 Photo Paint Programs 7

Now adjust color and brightness to isolate the door from

bring the sketch to a finished state the rest of the picture.
(see Figure 1.11). Drag a mask around
the door to select it
Creating a Door Texture (see Figure 1.13). A
mask is a selected area
This section will provide an example
of a picture. You can-
of how you might use a photo paint
not manipulate areas
program to create a door texture for a
outside the selected
game. First you load the digital pho-
area; you can manip-
tograph into the program. Figure 1.12
ulate areas inside the
shows a nice picture of a door I took a
mask.
few years ago.
The first step to converting the photo
of the door into a usable texture is to Figure 1.12 A picture of a door loaded into Photo Paint

Figure 1.11 The finished character sketch Figure 1.13 Select the door from the picture.
8 Chapter 1 ■ Getting Started in Game Art

Notice that the door is not square of the door is dark

with the camera. A photo is seldom and uneven. There
perfectly flat with the viewer. Textures are also some hints of
need to be flat, so you should copy the stone on the bottom
selection and then paste it over the and some black areas
original picture (see Figure 1.14). You near the lower-left
can then distort and rotate the pasted side of the door.
image to fit a flat rectangular shape.
You need to fix the
Once the door is fit into a flat rectan- lighting of the door.
gle, you can copy and paste it into a The first step is to
new image without the rock wall that adjust the brightness
surrounds the door in the original and contrast of the
picture (see Figure 1.15). At that point door, as shown in
you could use the door for a texture, Figure 1.16.
but it really needs more work to be a Figure 1.15 Paste the door into a new image without the
doorframe.
good texture. Notice that the lighting

Figure 1.14 Distort the door to fit a flat rectangle. Figure 1.16 Adjust brightness and contrast to lighten the door.
 Photo Paint Programs 9

The door looks better now that it is when the lower door is brightened, top. I also don’t want to simply copy
brighter, but the lighting is still the lighter parts of the door toward the bottom of the door into the old
uneven. The top of the door is lighter the top become too bright, and you image because it will cause a notice-
than the bottom. In fact, the bottom lose much of the door’s detail. able line between the old and new art.
of the door is obscured in shadows.
The next step is to give the new, Using the Linear Transparency tool in
You can even out the lighting of the
brighter top image a linear trans- Photo Paint, you can make the top of
door by making a new image that is
parency. In a linear transparency, an the new door transparent and the
lighter and merging the two images.
image is completely transparent on bottom opaque. The transition from
You make the new image by copying one side and completely opaque on the opaque to the transparent is grad-
the door and pasting it over the old the other. The transparency is graded ual, so when you place the new image
image. Now there are two images of evenly from the transparent side to over the old image it appears to be
the door—one directly over the other. the opaque side. In this example, the one image. The lighting of the bottom
You then brighten the top image so top of the new picture is washed out of the door is now even with the top
the shadowy lower door is as light as because I brightened it to make the (see Figure 1.18).
the rest of the door in the original pic- bottom of the door less dark. I want
ture (see Figure 1.17). Notice that the bottom of the door but not the

Figure 1.17 Brighten the new image to match the rest of the door. Figure 1.18 You can merge the two images to even the lighting.
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