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1.	Game Mechanics: How to Design an Internal Economy for Your Game By Joris Dormans, Ernest Adams Aug 15, 2012 Internal economy is one kind of mechanic you might find in a game. Designing a game's economy is the core of the game designer’s trade: You craft mechanics to create a game system that is fun and challenging to interact with. Ernest Adams and Joris Dormans, authors of Game Mechanics: Advanced Game Design, explain how to do it.
2.	Flashy Flash On the Go: Creating Animations For Cell Phones By Mike McHugh Jul 20, 2007 Adobe Ambassador Mike McHugh shows how to use Illustrator CS3—combined with Adobe’s Device Central CS3 and Flash CS3—to create animations that can be played on a cell phone. The best part? No ActionScript required.
3.	How to Create Realistic 3D Shadows By Jeremy Birn Aug 18, 2006 Setting up shadows takes just as much time and attention as setting up lights. You can think of all of your illumination as one half of your lighting design, and shadows as the other, equally important half. Shadows can add richness to the tones and shading of your image, tie elements together, and improve your composition. Besides their artistic importance, rendering shadows is a key technical area to master. This chapter will explore both the visual and the technical sides of shadows and occlusion in 3D graphics.
4.	Time-Saving Tricks for Working Smarter and Faster in 3ds Max 8 By Ted Boardman Aug 18, 2006 You may be familiar with the general layout of 3ds Max 8's user interface, but a few of version 8's interface features aren't readily apparent to new users. They are, however, critical if you want to navigate quickly in 3D space. The goal of this chapter isn't to show you the nuts and bolts of the interface, but rather to introduce you to a few of these fundamental features that will enhance your productivity.
5.	How to Properly Rig Your Characters for Animation By George Maestri Aug 11, 2006 Once your character is modeled, you’ll need to get it ready for animation. This process is called rigging. The goal of rigging is to add a skeleton and controls to your model so that an animator can manipulate and animate the character. This chapter will help you learn to properly rig your character so that animating it is easy and natural.
6.	Creating Flash Animations with Swift 3D By James Gonzalez Apr 28, 2006 Create 3D vector and raster animations for your Flash projects at an affordable price with Electric Rain's 3D animation application: Swift 3D. Swift 3D is the only 3D application that integrates directly with Flash and is also one of the easiest 3D packages around. James Gonzalez shows why its price, power, and easy integration with Flash give Swift 3D such a devoted following.
7.	Lighting Effects in 3D Max 6 By Michele Matossian May 7, 2004 The best lighting effects are achieved by artists who make themselves students of nature. Artists who study scene painting, drawing, photography, and cinematography develop sensitivity, awareness, and a practiced eye. This chapter outlines the light sources available in 3ds max and how to control them.
8.	Making Your 3ds max Projects Beautiful By Jon A. Bell Apr 16, 2004 No Editor
9.	[digital] Directing - Types of Shots By Dan Ablan Feb 28, 2003 Directing in the digital environment involves significant camera work. Dan Ablan explains what types of shots to use in different situations.
10.	Particle Effects in 3ds max 4 By Kim Lee Apr 19, 2002 Kim Lee explains particle classes and parameters common to each particle system, and then puts those concepts into practice with a sample project.
11.	Fun with Maya 4's Paint Effects By Jim Lammers Apr 12, 2002 Learn how to use Maya's Paint Effects feature to add visually impressive effects to your 3D art.
12.	Choosing a 3D Authoring Tool By Epic Software Group, Inc. Mar 29, 2002 epic software group, inc. explains why you shouldn't be afraid to author 3D graphics, and they offer you advice from some of the leading experts in the industry.
13.	Deformations and Movement in LightWave 7 By Dan Ablan Jan 18, 2002 Dan Ablan, author of Inside LightWave, discusses the ins and outs of creating a selection set that works for various applications, including techniques for lip syncing 3D characters.
14.	Real World Case Study 1: The Millennium By John Chismar Jan 11, 2002 This sample chapter from 3ds max 4 Media Animation examines the real-life exploits of author John Chismar as he creates animation for MSBNC's coverage of the millennium celebration.
15.	Reference Materials, Textures, and Practical Stuff for 3D Animation By Owen Demers Jan 4, 2002 This sample chapter from Digital Texturing and Painting prepares you to begin collecting reference materials for your 3D artwork in your mind and in your office.
16.	Taking the Surprises out of Importing an Adobe Illustrator File into 3ds max 4 By John Chismar Oct 19, 2001 When you're importing Adobe Illustrator files into 3ds max 4, the files may look fine in the viewports but be really small or have incorrectly applied B麩er vertex handles. This article tells you how to make sure that your Illustrator file imports correctly ...
17.	Digital Acting By George Maestri Oct 12, 2001 Bringing your character to life means being able to think and breathe like your character – essentially, understanding the techniques of acting. In this article, George Maestri teaches a crash course in acting for the animator.
18.	Digital Storytelling By George Maestri Oct 12, 2001 At its roots, character animation is about storytelling. A good story gives characters motivation, conflict, and a path of action. George Maestri explores the art of animated storytelling in this article.
19.	Nonlinear Animation By George Maestri Oct 12, 2001 One of the biggest recent advances in animation is nonlinear animation (NLA), which allows animators to think and create above the level of the keyframe. George Maestri looks at the nuances of NLA in this article.
20.	Animating Dialogue By George Maestri Oct 5, 2001 During normal speech, dozens of different mouth shapes are made. Animators usually boil these down to a handful of standard shapes. George Maestri covers the eight basic mouth positions necessary for effective dialogue animation.

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