The most computationally efficient (and easiest) way to make ripples or waves in Blender is to use the Wave Modifier.
This feature was in Blender long before fluid simulations, dynamic paint, displacement textures or even modifiers. (It was called an "Effect" back then, but other than that, it has not changed much.)
I just tested it on Blender 1.60 from ...
The simplest way would be to create a blend/gradient texture with a displacement modifier (or simply for a bump map if it's in the distance) and animate the offset by right clicking the property and inserting keys. This won't really work (I think) if the ripples are spherical originating from a single point since I don't know of a way to offset the ripples ...
Quality is butchered by gif format
You will need 3 Dynamic Paint objects
Highly subdivided Plane with this settings:
Most important thing here is to set Timescale to 0.10 and Speed to 5. I don't know why but this way whole simulation is more stable.
This is just a Brush with Waves > Type > Reflect Only
There are various ways to accomplish this. I will share two methods that I've found work well.
1. The Transmission Mask Method (for stills)
This method involves modeling a simple foot object that will pass in front of surfaces that are to appear wet or imprinted upon. The wood material in this case uses the Light Paths node to mask between wet and dry ...
the problem is the settings you are using ( the clear one is the smoothness which is killing all the ripples leaving only a sharp tail ) you have to adjust the settings according to the object speed and size to get the desired results :
using the following settings on the canvas (default plane with no subdivisions ) :
I get the following results :
When a brush with a Color and a Wetness moves through a canvas, it lays paint.
As a result, the canvas gets
a color, represented by the (RGBA) Paintmap, and affected, for instance, by the Dissolve effect
(no dissolve in this example)
some wetness, represented by the (greyscale) Wetmap, and affected, for instance, by the Dry effect.
Once the paint dries ...
There is more than likely a better way to go about this… but for the time being, it seems this can occur for several reasons, such as how dense your canvas is and the size of the part of the 'brush' touching the canvas etc.
Using the default canvas and brush settings for the most part, you can get around this easily enough by cranking up the number ...
After messing with settings.
To achieve 'ink drop on paper' effect we will be using Fluid System and Dynamic Paint. Fluid gives us nice control over drop shape. Blender units are used in this answer.
Plane with dimensions 8x8 - this is our 'paper' - it must be subdivided number of times (higher is better) I'm using 2 Subsfurf modifiers, ...
You may do it using the Attribute node with a paintmap information as a factor for mixing two materials. Here's the finished render:
First press Free Bake button in the Dynamic Paint Cache panel. Delete the blendcache folder from your computer.
Now select your sphere/ball and change the dynamic paint color to pure white. We'll be using the paint's color as ...
To get direct node access to the output of the Dynamic Paint you need to use the Paint Surface Type in the Dynamic Paint Advanced properties (in your example you appear to be using Weight). For 'Paint' surfaces the Dynamic Paint Output can be set to output to a Color Map Paintmap layer and this can then be accessed in the material nodes via an Attribute node ...
Instead of using paint I propose a modified mesh with textures.
Prepare your glyph art as white on a black field then use compositor to create an internal gradient for the shape (edge to center)
Import this new "image as a plane" with emission settings (we won't be shading the result), unplug the image texture. Then apply simple subdivision and displace ...
Dynamic paint is basically an automated painting system, you define a canvas and brush and together they generate an image (unless saved into vertex data such as vertex colour or group). This image can be used just like any other image within blender.
As shown in Miika's documentation you can use the generated image to adjust various texture settings within ...
It turns out I was making a silly mistake, but I'll run through the steps in case it helps.
I'll assume we're starting with the default cube and the plane scaled up.
1) UV map the plane
Select the plane, hit TAB to get into Edit Mode, then press U. This will bring up a menu. Select Unwrap. Hit TAB to get back to Object Mode.
2) Give the cube some ...
Another solution is the Ocean Simulator. It is built into Blender as a texture, which you can use to either displace a mesh, or use as a normal map.
Ocean texture is slower than a normal texture, but can provide great result if that's the kind of ripple you are looking for.
There are a few methods that you could use to achieve this, some simpler, some more flexible. The one that follows can give you results similar to what's shown in the video.
First create a curve object that roughly follows your desired path, bevel its corners so you get less distortion on tight curves. In this example I use the great Curve Fillet Tool addon ...
The question is tagged 'dynamic paint' and there is already a very good answer about that by cgslav.
This solution uses a shader node tree.
Slits are located by two empties. One is moving to vary the effect (but this is not mandatory of course) and value node is keyed with frame number in order to produce the wave effect.
The overall node setting is the ...
Geometry Input - Pointiness
You might want to experiment with the Geometry Input and try out Pointiness to mix the whitecaps with the water.
The order of the Shader inputs is important. If white becomes the dominant color, the inputs on the Mix Shader need to be swapped.
The black value in the color ramp should start at 0.5 or above. We want to ...
In order to have the particles act as a brush, you need to set the emitter to be a brush. Then change the type to a particle system.
This tells the dynamic paint to use the particles as the brushes, not the actual object.
The particles will then paint the canvas as expected.
Dynamic Paint isn't necessary for this to be done.
Gleb Alexandrov recently posted a video showing how to use a cloth simulation to achieve damage on an object which matches the shape of the object that is colliding with it as shown here in his video Blender Tutorial: 9 Ways to Destroy Things https://www.youtube.com/watch?v=wJFE2pb0Ri4
Fist step: add a ...
You have two options:
With the canvas object selected, set the format to image, then set the UV map and output path/format:
Bake the image sequence, then load it into your material with an image node:
You can also bake to vertex colors and use a node setup like this, using an attribute node to get the vertex color:
One way you can do that is adding another texture over the wooden one... You can add several textures, and mix them with several algorithms (see the color > mixrgb node) to achieve different effects...
this is a simple setup but there could be many others, more sophisticated:
basically, you add two textures to your material, and setup the "footprint" so ...
Under the Dynamic Paint rollout of the Physics panel (on the canvas object) there is a Display surface preview in 3D views eye-button next to each DP surface slot. This does exactly what you are looking for.
You can use an image texture that you paint on as a stencil between shaders, and this acts like a layer mask in Photoshop. You can also set up an attribute node and use vertex paint, but the effect there is limited to your geometry.
You should be able to use an attribute node with the value of dp_paintmap(if you are using the default) and connect that to the factor input of a mix node.
Your painted material will be on the bottom while the other material will be on the top. Be sure that you hit the plus next to Paintmap under Dynamic Paint Output in the Physics tab.
dynamic = bpy.context.selected_objects[:]
for i in dynamic:
i.select = True
bpy.context.scene.objects.active = i
i.select = False
The [:] bit at the end of line 2 creates a copy of the list instead of using a reference to the bpy....
To animate the puddle jumper coming through the stargate you could use a boolean modifier to hide it behind the event horizon.
Create a cylinder big enough to enclose the puddle jumper and place it behind the stargate.
Add a boolean modifier to the puddle jumper and select the previous cylinder as the object and set the operation to difference.
Disable the ...
On the surface you want the drop to stick, enable physics collision. Then increase the stickiness value to keep it on the surface, a value of 1.0 will stop it bouncing off the surface as it hits.
You may also want to increase the friction factor to slow down the particle as it slides along the surface.
i did it! just add a second canvas with vertex format and paint surface type, disable dry and add dissolve if to the same time fade has on weight paint (if needed) then you have to use the attribute node with dp_wetmap and use the output as fac for anything you want. with that you could recreate the colors weight paint has in obj mode.
works like a charm