space engineers adding textures to lcd panel for sale

8) Now you need to finish text below (no brackets) : LCDTextureDefinition "Any name for your texture" Textures\Models\"Texture real name".dds

After many requests, we have decided to release our internal Replay Tool that we use to create our trailers. It allows you to record the movement and actions of multiple characters in the same world. You can use your video recording software of choice to capture these moments for cinematic purposes! It’s also super useful for epic screenshot creation. The tool allows you to be the director of your own Space Engineers film where you can carefully position and time different engineers with their own specific roles. We are extremely excited to see what the community will create with this!

Important: because it’s an internal tool, it has a very basic user interface and required advanced users to be used. We believe this is OK, because most video creators who would want to use it to create epic cinematic Space Engineers videos are advanced users.

There are now Steam trading cards to collect for Space Engineers! Collect a full set of cards to earn items that help you customize your Steam profile including backgrounds and badges.

There are fourteen new decorative blocks for people who want to buy them and support the development of Space Engineers, which are available on the Space Engineers Steam Store page. Within the package you will get following new blocks:

Beds can preserve characters’ inventory and toolbar while they"re offline and keeps them alive as long as there is oxygen available. Is considered to be the same as the Cryo Chamber Block, except oxygen is used from the environment. Space Engineers don’t work from nine to five, they work whenever they’re needed: day or night, during peace and war. But when it’s time to call it a day, every engineer looks forward to resting in these beds.

Standard and Corner Desks can be used as seats, which allow players to sit on the chair attached to it. Combine these blocks to produce various designs and sizes, creativity has no limitation. Whether designing new schematics or charting a fresh course to another world, desks are essential for any engineer looking to get some work done.

Kitchens are purely decorative. The kitchens in Space Engineers come well-equipped and include stunning visual details. Space Engineers overcome challenges everyday when they’re working on new planets or among the stars.

Planters are purely decorative, but they make outer space a bit warmer by housing life in a special glass container. Build your own garden on the space station. Planters not only help to liven up spaces, but the flora housed inside these capsules also remind many engineers of the homes they’ve left behind in order to explore the universe.

Couchescan be used as seats, so take your time to relax and take a break. You don’t need to always run, fly or work, you can enjoy your cozy room and enjoy the view. The last thing anyone would ever call a Space Engineer is ‘couch potato’, but who wouldn’t like to relax after a hard day’s work on this comfy furniture?

Armory and Armory Lockers can be used to decorate interiors and store weapons, ammunition, tools and bottles; both are small storages (400L), where you can keep your equipment. Space Engineers use lockers in order to ensure that keepsakes from home, toiletries and other items are kept safe.

Toiletscan be used as a seat. The latest and greatest interstellar lavatory technology has made many earth dwellers jealous of the facilities enjoyed by Space Engineers.

Toilet Seat that can be used as a seat and is fit for the creator of the legendary Red Ship; most engineers don’t want to get up after ‘taking care of business’.

Industrial Cockpits are used to control your ships. This industrial cockpit in both small and large grid versions will make your creations look much better. Offering unmatched visibility, the industrial cockpit enables engineers to experience stunning vistas while traversing landscapes and space.

Console blocks project blueprints for downscaled ships and stations, as well as display pictograms or customizable text. They are fantastic functional LCD panels where you can project your creations and show them to your friends. The sleek and crystal clear picture offered by this console allows Space Engineers to display designs and other important information.

*Note to modders: When modding the decorative blocks, copy the current settings and then do the change on top of that. The mod will also include the DLC tag:

Keen Software House needs to stay profitable in order to continue development and support of Space Engineers, and to take risks, to invest into experiments that may not pay off in the short term, and to develop innovative concepts.

Sometimes we have to invest in people, teams, or projects, without knowing if they will work out. You need to give them time. And if you want to have a high bar for innovation, expecting novel things, you need to take the risk.

Why are they high-risk? Because they are hard to do, and usually it takes many iterations until we figure out the right way to do it. It usually takes a few iterations to perfect it. This means that doing water can take a few weeks (if we get it right from the start) or a few years (if we need to experiment, iterate, throw away past experiments, look for specialists in this area, etc). Same for the engine rewrite and AI / living worlds for our games.

A:Actually, even this update isn’t paid. The major part of this update (LCD screens, Replay Tool, new music tracks, smaller improvements) is free for everyone. Only the smaller and not mandatory part is paid - Decorative Pack, which you can purchase here.

A: The way we designed this is that even people who don’t purchase the Decorative Pack can play on servers with people who own the Decorative Pack. Players who don’t own the Decorative Pack won’t be able to build with these new blocks, nor interact with them, but they will be able to view them in-game.

A: To support future development of Space Engineers and other leading-edge projects we plan to work on at Keen Software House. Players kept asking us for something they could buy to support the development of Space Engineers, and the Decorative Pack is a great option for them.

A: Right after Space Engineers left early access and all hot issues were resolved. Most of the work was done by the Art team, the rest of the developers is working on other long-term updates.

A: We want more people to play Space Engineers, which means we must lower the barrier of entry. When the Space Engineers community grows, everyone benefits from this - more content on Workshop, more mods, more new ideas, more people to play with. This means that all non-mandatory features should be optional, so only those who really want them can pay for them. That’s why we decreased the price of Space Engineers, and made the Decorative Pack an optional purchase.

A: Hehe, if you put it this way, it sounds kind of funny. But the reality is that decorative blocks are low-hanging fruit, not a bottleneck towards those other mentioned future features. Additionally, the decorative pack can bring added profit and make the mentioned things happen.

Looking at our upcoming plans, I can say that we are going to work on another package similar to this one. It’s not a secret that we want to bring you more things you asked for in the past, such as new skins, new weapons, new economy system etc.

If you want to let me know your feedback on our decision to release paid Decorative Pack, please get in touch via my personal email address marek.rosa@keenswh.com. I welcome every feedback and we will use it to learn and provide better service.

The various LCD Panel blocks are a great way to add a human touch to a ship or base by displaying useful images or text. For LCD configuration and usage, see LCD Surface Options.

Note: Some functional blocks, such as Cockpits, Programmable Blocks, Custom Turret Controllers, and Button Panels, have customizable LCD surfaces built in that work the same way as LCD Panel blocks, which are also discussed in detail under LCD Surface Options.

LCD Panels need to be built on a powered grid to work. Without power, they display an "Offline" text. While powered without having a text, image, or script set up, they display "Online".

LCD Panel blocks come in a variety of sizes from tiny to huge (see list below) and are available for large and small grid sizes. Note that LCD Panel blocks all have connections on their backs, and very few also on a second side.

All LCD Panels and LCD surfaces work with the same principle: They are capable of displaying dynamic scripts, or few inbuilt static images accompanied by editable text. Access the ship"s Control Panel Screen to configure LCD Panels or LCD surfaces; or face the LCD Panel block and press "K".

A Text Panel, despite its name, can also display images. On large grid, it is rectangular and does not fully cover the side of a 1x1x1 block. On small grid it is 1x1x1, the smallest possible LCD block in game.

On large grid, you choose the Text Panel when you need something that has rectangular dimensions that make it look like a wall-mounted TV or computer screen. If you want to display images, this one works best with the built-in posters whose names end in "H" or "V" (for horizontal or vertical rotation). On Small grid, you place these tiny display surfaces so you can see them well while seated in a cockpit or control seat, to create a custom display array of flight and status information around you.

Corner LCDs are much smaller display panels that typically hold a few lines of text. They don"t cover the block you place them on and are best suited as signage for doors, passages, or containers. They are less suitable for displaying images, even though it"s possible. If you enable the "Keep aspect ratio" option, the image will take up less than a third of the available space.

These huge Sci-Fi LCD Panels come in sizes of 5x5, 5x3, and 3x3 blocks, and can be built on large grids only. These panels are only available to build if you purchase the "Sparks of the Future" pack DLC.

They work the same as all other LCD Panels, the only difference is that they are very large. In the scenario that comes with the free "Sparks of the Future" update, they are used prominently as advertisement boards on an asteroid station.

This LCD panel can be built on large and small grids. The transparent LCD is basically a 1x1x1 framed window that displays images and text. It is part of the paid "Decorative Blocks Pack #2" DLC.

What is special about them is that if you set the background color to black, this panel becomes a transparent window with a built-in display. In contrast to other LCD Panels it has no solid backside, which makes it ideal to construct transparent cockpit HUDs, or simply as cosmetic decoration.

While configuring an LCD Panel, the GUI covers up the display in-world and you can"t see how the text or images comes out. In the UI Options, you can lower the UI Background opacity to be translucent, so you can watch what you are doing more easily.

How to make your own custom LCD image mod like Splitsie"s Impossible Images? To install such a custom mod, you will need admin access to the Space Engineers server, or use it in singleplayer locally only. You will need basic knowledge how to edit XML files (for example in NotePad++) and how to create images (in Paint.net).

Use Layers>Layer Properties to reduce the opacity a bit (e.g. 250 instead of 255) if the image does not look translucent on a transparent LCD in game.

Each LCDTextureDefinition adds one image, this example has two. In each definition, edit two attributes:Enter the name of the image in the element (that"s the name visible in game)

In this directory, go into the Data subdirectory and look at existing SBC files to learn how game rules, sounds, planets, images, models, etc. are defined.

You recognise the list of LCD images that are included in the game. To create a mod, you mirror the structure and create a copy along the same pattern, with new IDs and paths inserted (as described here). Of course it"s not always so simple -- sometimes you don"t know what values to enter, which ones are optional, and which ones mandatory, and so on... But after you have found a related file, you can at least start asking questions about it in Keen"s modding Discord.

Tip: To search keywords in XML files fast, open the Data directoy as workspace in NotePad++, right-click it, and use the Find in Files option to search the whole directory.

The first thing that we would recommend, if you are experiencing some technical or gameplay issues with the game, is to check our support portal. There is a good chance that the problem you are facing has been experienced before, so it is likely that players who have had similar issues have posted suggestions and solutions.

Note: Space Engineers currently does not support nVidia/AMD 3D vision and it should be disabled in the nVidia/AMD control panel, otherwise it can cause various issues.

Attach one or all save folders. You have to enable hidden files in order to see the Save folder. Save folders may contain MBs of data, be careful when sending them. Emails usually don’t like attachments larger than 10 MB):

What if you can’t find the AppData Folder? Run “Folder Options”, then go to the View tab and click the option that says “Show hidden files, folders, and drives” so you are able to see hidden folders, then you should be able to see it.

Many of the most common issues experienced while playing Space Engineers can be resolved without assistance. Choose any of the below categories according to the problem that you are experiencing. If you can’t find a solution in any of the suggested solutions, please report your problem at our dedicated support site by following the above guide.

Solution: Open %appdata%\SpaceEngineers\SpaceEngineers.cfg in a plain text editor like notepad. Find GraphicsRenderer – it is usually near the top. Change its value to DirectX 11.

You can try Windows 7 and Windows 8 modes to find which works better for you. This is usually a good workaround until there are updates for your drivers and for Windows 10 compatibility.

Cannot create log file: System.UnauthorizedAccessException: Access to the path ‘C:\Users\YourUserNameHere\AppData\Roaming\SpaceEngineers\SpaceEngineers.log’ is denied.

Solution: Some users are reporting this problem after switching to Windows 10. In some cases we have found that the users have copied files from their old operating system to the new one. In other cases it seems to be an issue created by the Windows 10 upgrade. This creates the problem where the old files have different ownership credentials from the new user account on Windows 10. This prevents Space Engineers from accessing them.

It has been reported that some 3rd party programs can cause in-game issues, game not starting or black screen. In this case, you will have to disable these programs in order to run the game. Below is the list of the 3rd party programs that have been reported so far.

Space Engineers is a voxel-based sandbox game, developed and published by Czech independent developer Keen Software House. In 2013, the initial developmental release of the game joined the Steam early access program. During the following years of active development, Space Engineers sold over one million units. In total as of 2019 the game has sold over 3.5 million copiessource code was officially available and maintained by KSH to assist the modding community.Beta and was later officially released on February 28, 2019.

A 2014 screenshot showing assorted functional blocks attached to a painted light armour baseplate.Unlike functional blocks, armour visually blends together as long as each armour block has the same colour as the one adjacent to it; each stripe on the baseplate is actually three blocks wide.

Gameplay of Space Engineers begins with the player selecting or joining a world with specific settings, such as the number of asteroids (an "empty world" can also be picked) and the available starting equipment. When creating or editing a world, several advanced options are available to change how the player will interact with the world, and how the worlds will appear. This includes changing the speed with which several tools and machines will work, the size of the player"s inventory, and whether procedural generation will be used (effectively making the world infinite). Upon confirming the world settings, a loading screen appears while the world is generated. This screen consists of a random in-game screenshot as a backdrop, the game"s logo, an animated loading icon, and a randomly selected message at the center. The message may be either a helpful gameplay hint, or one of many quotations concerning space, science, and/or engineering. Many of these quotes are from notable scientists such as Isaac Newton, Galileo Galilei, Albert Einstein, as well as authors such as Arthur C. Clarke.

Once in-game, the player is given control of a single astronaut (referred to as a "Space Engineer") and a set of tools comprising a drill, a welder, and a grinder (if spawn with tools is on). Construction begins by choosing any block from the Engineer"s inventory, and placing it anywhere in open space to create a new voxel grid. Additional blocks can then be added to this grid to create a structure.

aesthetic purpose. Armor blocks, the most basic and common of all blocks, can be realistically damaged and deformed through collisions or the use of weapons.keypads, which can be used to view and manipulate the status of other specific blocks attached to the structure. To be functionally connected however, and to transport materials, blocks called "conveyors" must be used to connect the desired machines. "Functional" blocks require power, which can be provided by solar panels or nuclear reactors attached to the same structure. While reactors must be supplied with uranium, and produce large amounts of power while active, solar panels will continually produce a low output of power when there is line-of-sight to the sun. Once being produced, power is automatically distributed throughout the entire structure and can also be stored in batteries.

Three types of structures are available: small ships, large ships, and stations. The player can toggle between placing small and large block sizes; placing a small variant of a block will create a small ship, while placing a large variant will create a large ship. If a large block is placed in such a way that it intersects terrain voxels (such as an asteroid or planetary surface), a station is created instead. Stations use the same blocks as large ships, and can be converted into large ships by disconnecting them from the terrain (though a world setting can be changed to permit unanchored stations). "Small" and "large" structures can be connected together using connectors creating sub-grids.

The size, resource requirements, and availability of blocks depends on the type of structure they are attached to. Blocks such as assemblers or refineries do not have "small" variants, whereas large ships and stations cannot use gatling guns, instead using AI-controlled gatling or missile turrets. Blocks attached to a small ship are considerably smaller, allowing a much greater level of detail, and require fewer resources than those attached to large ships or stations (for example, light armor requires 25 steel plates on a station, but only one on a small ship).

Ships can be deliberately moved and rotated by external forces and a player as long as they are powered and have at least one gyroscope, thruster, and cockpit. To be able to move in any direction and then be able to stop effectively via inertia dampeners, thrusters must be placed on the structure facing up, down, forward, backward, left, and right. More gyroscopes on a ship will increase the ship"s ability to rotate in space, but in order for the inertial dampeners to be more effective, more thrusters must be added in each direction in which dampening is required.

Astronauts floating in space are able to move forward, backward, upwards, downwards, left, or right without restriction by using a jetpack. They are also able to rotate clockwise or counterclockwise. Astronauts and structures can also enable or disable inertial dampeners, which automatically attempt to reduce speed to zero when force is not being applied, and the required thrusters are installed.

If the player disables their jetpack within a gravitational field (either on the surface of a planet or a structure/asteroid with a gravity generator), movement is restricted to a plane perpendicular to the direction of the net gravity field(s). Vertical viewing angle is also restricted between −90 and 90 degrees, as in most first-person shooters. Ships and structures are unaffected by gravity generators unless equipped with at least one Artificial Mass block. If the player falls off a structure while within a gravity field, they will fall into space until out of range of the gravity generator, at which point the player"s jetpack will automatically enable itself. However, if the player touches their feet to an asteroid or structure with no gravity present, their "mag-boots" will enable them to walk across its surface and even around edges; though jumping will disconnect the player from the surface, and they cannot traverse the 90-degree angle between a floor and wall.

Several types of cargo ships can spawn randomly and fly through the world, which can be hijacked by the player or harvested for components. Some of these cargo ships are booby trapped to explode when the player attempts to commandeer them, and are sometimes armed with hostile gatling or missile turrets.

All place-able objects can be colored prior to placement using a slider-based GUI. The player can manipulate the hue, saturation, and value of the color to produce a very large spectrum of colors. There are 14 slots where new colors can be saved for later use within the same world. Colors can also be changed after blocks have been placed by clicking the middle mouse button while hovering over a block on the "Color Picker" GUI.

Asteroids and planets consist of terrain voxels, which substantially differ from blocks, and although possible to destroy by the player, cannot be created by them unless in creative mode. Celestial objects are currently fixed in space and cannot move, however, rocks/minerals that have been mined are subject to gravity and will react accordingly. Asteroids also do not currently have gravity associated with them, and can come in several basic forms including spherical, torus, and rod-shapes, as well other variations or combinations of these.

In survival mode, players need to mine, collect, and refine various chemical elements from asteroids and planets in order to craft tools, weapons, and blocks as well as produce electricity. Resources can be mined manually using a hand drill, or by using ships with the necessary equipment. Components are produced by assembling them from raw materials; however, they can also be harvested by salvaging cargo ships. To avoid death, players must monitor their health, energy and oxygen levels. Damage can be inflicted on the player by collisions, weapons, contact with thrusters, meteor showers, or by running out of space suit energy. Collisions at higher speeds result in more damage. As the acceleration value of gravity generators stacks, damage from falling can be much more dangerous when multiple gravity generators are active. A player"s health and energy can be restored using a Medical Room block, or a Survival Kit block. Energy can also be replenished by sitting in the cockpit of any powered structure. The development of survival mode began at the end of summer of 2013.

In the survival mode of the game, all actions, including survival itself due to the power requirements of the space-suit"s life-support system, depend on the gathering and refining of certain minerals. These minerals can be found on asteroids or planets, plundered from randomly spawned ships, or recovered from unknown signals. Raw materials are mined from deposits of ore on asteroids, and are then placed (or sent using a conveyor system) into a basic refinery or refinery in order to refine them to be used in assemblers. The refined materials are formed into various components in the assembler which can then be used in the construction of ships or stations.

Inventories in Space Engineers are very flexible and work in a whole-ship manner rather than in an individual one. All inventories connected to a ship can be viewed from any access panel on the same ship, however inventories must be connected via conveyors and conveyor tubes in order for items to be transferred among them. Inventories of refineries and assemblers will automatically request items to refine from connected inventories when they get low, and will send items into an available inventory when it fills up. The conveyor sorter allows inventories to be automatically removed and sorted from and into certain inventories. Instead of a common slot system, Space Engineers uses a volumetric system, measured in litres, with every item having a certain amount of volume and every inventory a certain capacity that it cannot exceed.

Planets in Space Engineers were released on November 12, 2015, after being in development since February 2015. There are several types of planets, themed after Earth, the Moon, Mars, Titan, Europa, and an "alien" planet.NPCs, and the Earth-like planet features wolves, hostile dog-like NPCs.

Planets are somewhat resource-rich, though extraction of useful products from the surface can be difficult. Resources are spread out, and due to planetary gravity and the inefficiency of ion engines within the atmosphere, the player must build ground-based alternatives.

Atmospheric flight is possible even on worlds with oxygen-deprived atmospheres. In order to leave a planet, the player will need to use hydrogen engines with sufficient fuel or build a hybrid spacecraft with atmospheric engines (for liftoff) and ion engines (upper atmosphere to space).

Hybrid surface-to-orbit craft are considerably heavier than their space-only counterparts, but can be built compact enough to fit inside a standard hangar.

On August 17, 2017, "unknown signals" were added to survival mode. These signals spawn randomly within a certain range of the player, and indicate the position of a small probe via a GPS coordinate and a repeating tone. Each probe contains components and can be disassembled, preventing the player from encountering dead end situations in which they do not have the components needed to produce the basic machines which are essential for constructing components and other machines, effectively preventing a catch-22.

Each probe also possesses a button, which when pressed has a chance to reward the player with a collectible skin, similar to a loot box. The skin can be for the player character"s helmet, suit, boots, or tools, and can be traded or sold on the Steam Market. Each skin can be obtained for free in-game, with the exception of three sets: the Veteran Set, which was awarded to players who had owned the game before and played between August and September 2017; the Medieval Set, which is awarded to players who also own Medieval Engineers; and the Golden Set, which is awarded to players who purchase the Space Engineers Deluxe Edition.

Space Engineers was developed and published by the indie video game developer Keen Software House based in the Czech Republic. Implemented as a voxel-based sandbox game set in an asteroid field in space, built on their own game engine, VRAGE 2.

The pre-release alpha build was released on October 23, 2013 on Steam, featuring a single-player "creative" mode. On February 24, 2014, the company announced that Space Engineers had sold over 250,000 copies in four months.Space Engineers have been achieved: survival mode and multiplayer.

Following the release, Keen has continued to release various updates to the game. In most, if not all cases, Keen has divided each update into a mechanical and an aesthetic component; the mechanical component being released for free while the aesthetic component (new block models, texture overlays, engineer suits, and emotes) have been released as a purchasable DLC. This may be a compromise between the need for a semi-predictable revenue stream for continued support of the game, and the need to avoid creating a "pay-to-win" situation.

Adds Dispenser and jukebox blocks, a transparent LCD panel (useful for creating custom HUDs), various interior furnishings and window blocks, new catwalk blocks, railings, stairs and half stairs, a rotating warning light fixture, and a small collection of decorative metal crates.

Adds the Frostbite Scenario, the Antenna Dish, decorative engineer cadavers (skeletons in suits, for atmosphere), a 7.5m wide by 5m tall airtight door block, an offset door, a blizzard-themed block texture overlay, a pair of "I’m Cold" and "Checking suit vitals display" emotes, and some LCD posters.

Includes a set of decorative neon tubes, sci-fi versions of various blocks such as the "Ion" and "Atmospheric" thrusters, LCD panels, Interior walls, button panels, sliding doors, and various button panels.

Adds a set of wheels with airless tyres, an exhaust pipe block, a buggy-style cockpit, two automotive-style lighting blocks, an assortment of "barred" window blocks, two view port blocks, three flavours of Storage Shelves (with crafting recipes that correspond to the items shown on the shelves),three block texture overlays ("Concrete", "Dust", "Rust 2", and "Retro future"), a "Scavenger" engineer suit model, and two new character emotes.

Adds a Large (7.5m by 7.5m) Magnetic plate, a set of truss beam blocks and Industrial conveyor pipes, a decorative cylindrical column block, a vertical button panel, remodeled versions of the Large Hydrogen Tank; Large Cargo Container; Refinery; Assembler; and Hydrogen Thrusters. And a hazard pattern block texture overlay.

A model and texture overhaul of the nuclear reactors; battery blocks; airtight hangar doors; rocket pod and gatling gun; and couch block. It also contains a "searchlight" block (a spotlight-camera-turret combo), a heat vent block, a set of bridge windows, a light panel, a "helm" station, a new helmet, a reinforced sliding door, and two new emotes.

Rosa, Marek (May 14, 2015). "Space Engineers – full source code access, total modifications and 100,000 USD fund". marekrosa.org. Retrieved June 16, 2015. Today we have a very important announcement for our modders and our community. We decided to give you 100% complete access to Space Engineers" source code. This comes as a continuation of our decision to give more freedom to modders and community.

"EULA.txt". . Retrieved October 19, 2021. The source code and art assets must not to be mistaken for free software, an open source in a free-software activist understanding, copy-left or public domain software. All source code and art assets remain copyrighted and licensed by KEEN SWH LTD. and you are allowed to use them (modify, tweak, make a derivative work, distribute, etc.) only under following conditions. [...]use this source code only for developing mods for Space Engineers.

A Render Texture is a type of TextureAn image used when rendering a GameObject, Sprite, or UI element. Textures are often applied to the surface of a mesh to give it visual detail. More info that Unity creates and updates at run time. To use a Render Texture, create a new Render Texture using Assets > Create > Render Texture and assign it to Target Texture in your CameraA component which creates an image of a particular viewpoint in your scene. The output is either drawn to the screen or captured as a texture. More info component. Then you can use the Render Texture in a MaterialAn asset that defines how a surface should be rendered. More info just like a regular Texture.

The Render Texture inspectorA Unity window that displays information about the currently selected GameObject, asset or project settings, allowing you to inspect and edit the values. More info is similar to the Texture Inspector.

The Render Texture inspector displays the current contents of Render Texture in realtime and can be an invaluable debugging tool for effects that use render textures.

The format of the depth buffer. You can select No depth buffer, At least 16 bits depth (no stencil), or At least 24 bits depth (with stencil). The stencil buffer is a general purpose buffer that allows you to store an additional unsigned 8-bit integer (0–255) for each pixel drawn to the screen.

Check this box to automatically fill the generated mipmaps with relevant data. If you don’t enable this, you’ll have to use the GenerateMips function to fill those mipmaps manually. Alternatively, choose which mip to render into when you call the various SetRenderTarget functions. For more information about the SetRenderTarget functions, see Graphics.SetRenderTarget and Rendering.CommandBuffer.SetRenderTarget.

Check this box to let dynamic resolution scaling resize the render texture. If you don’t enable this, the render texture maintains the same size regardless of the Dynamic ResolutionA Camera setting that allows you to dynamically scale individual render targets, to reduce workload on the GPU. More info setting.

Stretches the edges of the texture. This is useful for preventing wrapping artifacts when you map an image onto an object and you don’t want the texture to tile.

Lets you set different wrap modes for the U axis and the V axis. The available options are also Repeat, Clamp, Mirror and Mirror Once. For example, when you use latitude-longitude environment maps for reflection probesA rendering component that captures a spherical view of its surroundings in all directions, rather like a camera. The captured image is then stored as a Cubemap that can be used by objects with reflective materials. More info, it is useful to have Clamp on the vertical coordinate (V axis), but Repeat on the horizontal coordinate (U axis).

Aniso LevelThe anisotropic filtering (AF) level of a texture. Allows you to increase texture quality when viewing a texture at a steep angle. Good for floor and ground textures. More info

Anisotropic filtering level of the texture. This increases texture quality when you view the texture at a steep angle. Good for floor, ground, or road textures.

I am making a platformer which I started developing with default java functions, but now am switching to OpenGL for everything. I have done everything like I always do with OpenGL, and what I did works fine in my other OpenGL projects. Now my problem is that LWJGL/OpenGL is scaling my textures in a very strange way.

I already had to flip the screen to make it the right way round, but as you can see the text is working fine, it"s just the textured rect, and it isn"t even straight on the bottom.

The LCD Panel is a thin panel that takes an entire block face and can display a variety of messages and textures that can be displayed constantly or triggered by the Programmable Block, Sensor, Timer Block, or any other block capable of triggering.

Choosing "Edit Text" allows inputting custom text such as the name of a room to use above doors. The text can then be scaled up to fit the screen dimensions or preferred size by using the "Font Size" slider.

The "Color" sliders allow setting the text colour using RGB slider and "Backgr." allows setting background fill colours (default black). If using a transparent LCD then the text will be against transparency unless fill colour is added.

"Loaded Textures" has a list of the available default and modded (where applicable) images available for display on the screen. Select the desired image and select "Add to selection". The selected image will then show in the second "Selected textures" panel.

When multiple images are applied they can be set to cycle between with the duration between images being set by the "Image change interval" slider. To remove an image from display select it in the second panel and select "Remove selected".

The "Preserve aspect ratio" checkbox can be used to prevent the image being stretched if it does not fit the screen properly such as when using a wide LCD.

To set the LCD to display a script, choose "Script" from the dropdown. Choosing Script allows the display of information such as weather, artificial horizon for vehicles, Energy and Hydrogen level etc.

The panel"s title and text can be made public, private, or a combination of both. Textures applied can be selected from a list or custom textures can be selected. Textures can be set to rotate on a timer, changing from one to the next. GPS coordinates shown in the GPS format in the text panel will appear in the GPS and can be activated (=shown on HUD).

Selected textures - Any textures that were added, will be displayed here. The order in which they are placed effects which image is displayed first (top of the list is displayed first).

The LCD Panel could be accessed with the programmable block as IMyTextPanel. It could work in ´Texture Mode´ in which the selected textures are shown or the ´Text Mode´ in which the text is shown. The following methods are available:

Adds an image/texture to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.

Adds the images/textures to the end of the list of selected textures. If no image/texture with the name id exists the texture ´Offline´ is added instead.

Figure 1. We can create re-programmable multi-color textures from a single material. (a) We mixed CMY pho-tochromic dyes together to create our multi-color ink. (b) After coating the object, we use (c) a UV light source and a projector to control each color channel on a pixel-by-pixel basis, resulting in high-resolution multi-color tex-tures that can be reapplied multiple times.

In this paper, we present a method to create re-programmable multi-color textures that are made from a single material only. The key idea builds on the use of pho-tochromic inks that can switch their appearance from transparent to colored when exposed to light of a certain wavelength. By mixing cyan, magenta, and yellow (CMY) photochromic dyes into a single solution and leveraging the different absorption spectra of each dye, we can control each color channel in the solution separately. Our approach can transform single-material fabrication techniques, such as coating, into high-resolution multi-color processes.

We discuss the material mixing procedure, modifications to the light source, and the algorithm to control each color channel. We then show the results from an experiment in which we evaluated the available color space and the reso-lution of our textures. Finally, we demonstrate our user in-terface that allows users to transfer virtual textures onto physical objects and show a range of application examples.

Programmable matter that has the ability to change its physical properties (color, shape, density) holds the promise of a future in which objects will re-configure themselves according to a user’s needs. One aspect of programma-ble matter is color, which would allow objects to change their appearance repeatedly. For instance, in clothing, ac-cessories could be altered to match the main outfit and textiles could be recolored for different events in the same day.

To update the appearance of objects, researchers started to use re-programmable materials, such as photochromic inks, that can switch from transparent to colored when exposed to light of a certain wavelength. Since the inks are bi-stable, the color remains even when the light source is removed. The process is fully reversible, therefore enabling users to recolor the object as many times as they desire.

A major limitation of using photochromic materials, however, is that they are single-color only, i.e. each material can only transition from transparent to one color and back to transparent (e.g. Photochromic Carpet). To bypass this limitation, researchers printed a voxel pattern with one photochromic color per voxel across the surface of an ob-ject and then selectively deactivated all voxels of the colors that were not part of the desired appearance (Color-Mod). However, this approach had several limitations: (1) it was low resolution (1mm x 1mm voxels) since each voxel had to be 3D printed, (2) it was limited to a few discrete colors only since each color had to be loaded as a separate 3D printing material, (3) it required a specialized 3D printer with 4+ print heads (one print head per color + infill).

Inspired by work from Hirayama et al., we present an approach that addresses all three problems. By mixing cy-an, magenta and yellow photochromic dyes into a single solution and leveraging the different absorption spectra of each dye, we can control each color channel in the solution separately, which results in a range of colors across the CMY color space. Since our approach uses only a single solution, we can transform single-material fabrication pro-cesses, such as coating, into high-resolution multi-color techniques (Figure 1).

The benefits of our approach are as follows: (1) since we no longer need to print individual voxels for each color, we can create high-resolution textures that are limited only by the precision of the projector; (2) since we can control each color channel and can determine to which extent it should be deactivated, we can create a range of intermediate col-ors in the CMY color spectrum and are no longer limited to a few discrete colors; (3) since we only need a single mate-rial for our approach, it eliminates the need for specialized 3D printing hardware and allows us to use simple fabrica-tion techniques, such as spraying or coating instead. Note that we do not claim to achieve the entire CMY color spectrum with our method due to partial deactivation across channels (see Figure 14 for the available color space).

We begin by summarizing the related work on photo-chromic systems and then introduce the main working principle of our approach. We then describe how we developed the CMY photochromic solution, how we modified the projector to output the correct wavelengths for deactivating the different photochromic dyes, and how we determined the achievable color gamut through our evaluation. Finally, we present a range of scenarios that demonstrate our system in practice.

Photochromic dyes can transform from a transparent to a colored state through the absorption of UV light (‘activation’), and transform back from colored to transparent through the absorption of visible light (‘deactivation’).

When cyan, magenta, and yellow photochromic colors are mixed together into a single solution and the solution is ac-tivated with UV light (i.e. all three color channels are fully saturated), the resulting color is black (Figure 2a). This is consistent with the CMY color chart shown in Figure 2b, i.e. the center of the chart, which shows the result of all three color channels in full saturation is black.

To achieve colors other than black, we need to deactivate one or more color channels. Deactivating the cyan color, for instance, would result in red since only yellow and magenta remain activated (Figure 2b). To deactivate each color channel individually, we can leverage the fact that the deactivation peak (i.e. absorption peak) of each photo-chromic color is at a different wavelength (Figure 3).

Figure 3. The absorption peak of each photochromic dye is at a different wavelength. To control each color chan-nel, we can use the RGB LEDs of a projector to supply the required deactivation wavelength.

Since all of the deactivation wavelengths are within the spectrum of visible light (390 nm to 790 nm), we can use a regular office projector’s red, green, and blue LEDs to supply one deactivation wavelength each. As can be seen in Figure 3, shining blue light from the projector will deactivate yellow, green light will deactivate magenta and red light will deactivate cyan. Thus, to deactivate a specific photochromic color channel, the projector only needs to project R, G, or B pixels to reduce the saturation of the channel, as shown in Figure 4.

Figure 5 shows the physical result of shining different combinations of RGB on the CMY ink mixture, which we ob-tained by following the deactivation chart in Figure 4. While Figure 5 demonstrates the results obtained by fully deactivating one or more channels, we can achieve intermediate colors of different saturation levels by only partially deactivating each channel. We will provide more information on this when we discuss the algorithm that times the projected deactivation wavelengths to accomplish this.

In the remainder of this paper, we will provide more detail on each of the steps, starting with (1) creating the photo-chromic CMY coating that can be applied to objects, (2) modifying the light output from the projector to ensure the wavelength of the light matches with the deactivation wavelength of the dyes, and (3) developing the algorithm to accomplish intermediate colors of different saturation levels. After this, we will (4) evaluate the color gamut that we can achieve with our method and determine how closely the physical color represents the virtual color. Finally, we will (5) discuss the implementation of our end-to-end system to transfer the texture onto an object.

1.DEVELOPING THE PHOTOCHROMIC COATINGTo make our method directly applicable to physical objects, we developed a re-programmable photochromic coating that can be airbrushed onto the surface of objects. To develop the coating, we dissolved cyan, magenta and yellow photochromic dyes directly into a transparent laquer.

Several factors were involved in selecting the dyes for the CMY solution: (1) The visual appearance of the dyes needs to be as close to cyan, magenta, and yellow as possible in order to achieve the largest color gamut; (2) to be able to control each color channel individually, the deactivation wavelengths for each photochromic dye need to have as little overlap as possible; (3) the color of the dyes needs to be stable (i.e. do not deactivate quickly under ambient light).

#1 Visual appearance: Figure 6 shows the available dyes from Yamada Chemical Co. which is the only compa-ny we found that reliably sells bi-stable (P-type) photo-chromic dyes. While we can see that a dye color exists for yellow (DAE-0068); for magenta, the nearest colors are red purple (DAE-0012), red (DAE-0004) and purple (DAE-0159), and for cyan: blue (DAE-0001) and blue purple (DAE-0018).

Figure 6. Bi-stable photochromic inks available from Yamada Chemical Co.: 0.1wt% die mixed in ethyl acetate.#2 Absorption Spectra: To be able to choose photochromic dyes that minimize overlap between different color channels, we determined the absorption spectrum for each photochromic dye. For this, we first mixed 0.1 wt% of each dye in ethyl acetate from Fisher Scientific using a magnetic stirrer for 1 hour at 500 RPM and then filled the solution into quartz cuvettes with a 1mL path length. We then radiated the solu-tion under UV light until the photochromic inks were fully activated and then placed the cuvettes in a spectropho-tometer (Varian Cary 5000 UV-Vis-NIR spectrophotometer) to determine their absorption spectra. The results are shown in Figure 7. We used yellow (DAE-0068) as a starting point for selection since it was the only available dye for this channel. For magenta, red purple (DAE-0012) and red (DAE-004) had the least overlap with yellow and cyan. For cyan, the least overlap with magenta was blue (DAE-0001) followed by blue purple (DAE-0018).

Figure 7. Absorption spectra of the photochromic dyes in the visible wavelength range.#3 Stable under ambient light: Both red (DAE-0004) and blue purple (DAE-0018) were not very stable as they deac-tivated in ambient light after a few minutes. Thus, based on our criteria, we decided to use for cyan: blue (DAE-0001), for magenta: red purple (DAE-0012), and for yellow: yel-low (DAE-0068). This combination minimized overlap of deactivation wavelengths while also being closest to the desired color channels and the greatest stability under ambient light. For the purpose of easier explanation, we will refer to the blue dye as cyan dye and the red purple dye as magenta dye for the remainder of the paper.

Before mixing the three photochromic dyes together, we first mixed each dye separately in laquer (Dupli-Color Paint Shop Finish Systems Matte-Finish Clear Coat (BSP307)). For the three separate mixtures, we used 0.05 wt% cyan, 0.05 wt% magenta and 0.3 wt% yellow respectively. These concentrations were chosen based on the deactivation times of each dye: Because yellow deac-tivates faster than the other two dyes, the concentration of the yellow dye was increased in order to extend the illumination time required for this dye to deactivate. We then mixed the resulting liquids by equal volumes (1:1:1) to achieve our multi-color coating.

Before applying the coating to an object, we primed the surface of the object with spray paint to avoid subsurface scattering of the projected light. We first sprayed each object with black paint (drying time: 30 min), and then subsequently sprayed a white paint layer (drying time: 24 hours).

Figure 8. (a) Applying the photochromic coating and (b) the resulting coated object after UV activation.After this, we sprayed our photochromic coating onto the surface of the object using an airbrush system (Iwata HP-CS). The saturation of the sprayed ink can be increased by applying a second layer of ink after letting the first layer dry for 20 minutes. The ink is then fully dried after ca. 24 hours.

By using an airbrush to apply the coating, we can coat the surface of an object evenly. While we sprayed the layers manually and found the consistency to be good enough for our applications, a CNC airbrush system may further improve the results. The coating can also be painted, however, this leads to an appearance that is less uniform.

We used laquer as the carrier material for the photochromic dyes. The laquer is recommended for use on metal (see example of model car exterior in Figure 25) and plastic (3D printed chameleon in Figure 8).

2. MODIFYING THE PROJECTORAs mentioned previously, to deactivate each photochromic color channel individually, we need three different light sources: one light source with the corresponding deactiva-tion wavelength for each photochromic dye. Since existing DLP projectors already contain three light sources (3 LEDs for R,G,B), we decided to modify an existing office projec-tor (model: AAXA M6, 1200 Lumens).

To determine the optical spectrum of each of the LEDs in the projector, we used a spectrometer (Thorlabs, CCS200) and found that the three LEDs overlap well with the select-ed photochromic dyes (Figure 9).

Figure 9. Optical spectrum of the projector output and absorption spectra of cyan, magenta and yellow dyes.The blue LED of the projector creates light output over a small wavelength range and matches well with the yellow deactivation wavelength, therefore, by shining blue light from the projector, we can deactivate the yellow photo-chromic. Similarly, the red LED of the projector creates a light output over a small wavelength range and matches well with the cyan deactivation wavelength, thus, by shining red light, we can deactivate the cyan photochromic color.

Unfortunately, while the green LED of the projector matches well with the magenta deactivation wavelength, the default green LED creates a light output over a broader wavelength range. As a result, while shining green light would deactivate the magenta dye, it would also deactivate large parts of the yellow and cyan dyes.

To limit the wavelength range to only deactivate magenta, we opened up the projector and added a filter in front of the green LED (Semrock Brightline® FF02-529/24-25). To ensure the highest energy output, we placed the filter between the green LED and the collimator (Figure 10). With this modification, we were able to otherwise use the projector as is.

3. ALGORITHM TO COMPUTE DEACTIVATION TIMESWith the modified projector at hand, we can now create a projection image to control the photochromic color chan-nels of each pixel on the physical object.

When starting our research, we had initially placed the photochromic mixture ink directly in front of the projector, i.e. only a few centimeters away from the lens, which produced the results shown in Figure 5. We found that once we placed the photochromics further away from the projector, i.e. at a projection distance of 30cm to allow the projected image to be in focus, the available color gamut reduced. Figure 11 shows the result acquired when projecting the same R,G,B sequence as in Figure 5 for comparison. Our assumption is that this difference is due to the change in light intensity, which we will explore in more detail in future work. By determining a relationship between projector distance and deactivation time, this could enable us to add ‘projector distance’ as a variable into our system to accommodate different placements of the objects to be re-colored.

In an ideal scenario each LED would deactivate only one color channel, however, as seen in Figure 9, shining light from one of the LEDs also partially deactivates the other two color channels. This has two implications: First, using the photochromic dyes commercially available today, we can achieve only part of the CMY color spectrum (Figure 14). For instance, it is not possible to achieve a fully saturated cyan as deactivating magenta also causes cyan to partially deactivate. Second, a naïve approach that as-sumes that each projected deactivation wavelength (R, G, B), only affects a single photochromic color channel (Figure 4) will not lead to the correct color on the object due to additional effects of the other color channels on the dye. We therefore developed an optimization algorithm that takes into account the effect of overlapping absorption spectra. Figure 11 shows (a) the desired color texture and the results from both (b) the naïve approach and (c) our approximation algorithm, the latter of which leads to a color representation closer to the desired.

Deriving the Parameters of the AlgorithmSince our algorithm takes into account the effect each projector LED has on each photochromic color channel (i.e. its target photochromic color channel and the side effects on the other two channels), we first had to determine saturation decrease over time for each combination of LED and dye.

Apparatus and Procedure: To capture the deactivation times of each dye when exposed to each of the wavelengths R, G, B from the projector, we airbrushed cyan, magenta, and yellow coatings onto seperate white cubes. We placed each cube in front of the projector and fully activated the photochromic dye by shining UV light on its surface for 30 s.

We then shone all three deactivation wavelengths red (R), green (G) and blue (B) onto each cube in order to quantify the effect of the projector’s LEDs on each dye.

The saturation level of each projected R, G, B color bar linearily increased from left to right over time until it reached the right edge of the cube (Figure 12). This proce-dure created a color gradient from fully saturated dye (left) to increasingly desaturated dye (right) and intermediate saturations in between. We then extracted the relative satu-ration level by capturing a photo of each cube under white light, converted the photo to the CMY color space, and plotted the saturation per color channel as the relative satu-ration decrease over time.

Figure 12. Effect of exposure time of R, G, B projector channels on C, M, Y coatings (left = 0s, with time increasing to the right).Result: Figure 13 shows the relative saturation levels over time for each dye and each of the projector’s color channels. While each of the projector’s R, G, B LEDs deactivated its primary photochromic color channel, the deactiva-tion times varied significantly from 32 seconds for the yel-low dye under blue light to 620 seconds for the magenta dye under green light and 800 seconds for the cyan dye under red light.

Figure 13. Deactivation times of the photochromic dye per light channel (R, G, B). We consider a dye to be deactivated when it drops below 5% saturation.Computing Deactivation Times: We used the data on relative saturation level over time as input into our approximation algorithm. To minimize the global error rate across all three channels, our algorithm proceeds as follows: Let t=(t_r,t_g,t_b ) be the illumination time of the projector’s color channels, then the estimated color of a coated surface C(t) can be written as:

Where X ∈C,M,Y are cyan, magenta, yellow at full saturation and a_j,b_j,c_j are linear factors on the saturation reduction in relation to the illumination time t per color channel. Let P be the target color, then we want to minimize the expression:

An example of the improvement of our optimization algorithm over the naïve approach was shown in Figure 11. Our greatest enhancement is in the yellow color, a result of our optimization algorithm, which prioritizes the red LED over a combination of the red and green LED (as predicted in Figure 4) to deactivate the cyan and magenta dyes (since the green LED also deactivates the yellow dye).

First, we were interested in the color gamut we could achieve with the photochromic dyes purchased from Yamada Chemicals. To determine this, we placed a white cube coated with the CMY solution and fully activated it with the UV light until the coating appeared black. To sample the available color gamut, we took 5 images at evenly spaced deactivation times across the maximum deactivation length, i.e. for red/green: 1800 s and blue: 45 s. This created 5x5x5 sample images. After each light exposure, we used a camera to capture an image of the resulting outcome. We then converted the image into the CMY color space and extracted the mean value of each color channel using an OpenCV script.

Figure 14 shows the captured texture colors of this experiment in the CIExy chromaticity diagram. As can be seen, our color gamut has its greatest impact in the area between the three primary photochromic colors.

Next, we quantified the texture resolution that can be achieved using the photochromic coating. We projected three black and white checkerboard patterns with varying checkerboard widths (5px, 2px, and 1px width), onto the surface of a coated cube and applied the texture on the cube for 12 minutes until the white checkerboard areas (white = all three R, G, B LEDs on) were fully deactivated. We measured the pixel size of the physical texture using an Olympus SZ61 microscope (Figure 15) and found the pixel measurements to be consistent at 129 um for a single pixel (5px = 647 um, 35px = 257 um, 1px = 129 um).

Figure 15. Resolution of checkerboard pattern.While Figure 15a/b (5px and 2px width) both show a clear checkerboard pattern, the squares start to become indistin-guishable in Figure 15c (1px width). To clarify if the blur at the edges of the individual pixels in Figure 15 stems from the projector being out-of-focus or from subsurface scattering, we ran an additional test: we attached a 1x1 cm square mask on a UV activated cube and projected white light on it, after which we removed the square mask. Examining under a microscope, the edges and corners of the pixels remained sharp indicating that the projector’s lens and focus is the main reason for blur. Thus, while with our current projector system, the maximum resolution we can achieve is 257 um (2px), a better projector could achieve higher texture resolutions.

The time for a texture to fade depends on the saturation level of the texture being applied to the object. A stronger saturation will take longer to deactivate fully than a lighter saturation. To evaluate the durability in normal lighting conditions, we activated three samples, coated with C, M, and Y colors, with a UV light and placed them under 150 lux illumination (average light intensity of a living room is 100–300 lux). We recorded the time each color took to disappear: the cyan and magenta colors disappeared after 26h and 19h respectively, while the yellow color disap-peared after 5h (Figure 16). Since outside light is stronger than indoor lighting, the dyes deactivate quicker and are therefore more suitable for indoor use. These deactivation times are a limitation in the materials currently commercially available.

5. END-TO-END SYSTEM TO TRANSFER A TEXTUREIn the last part of this paper, we describe the end-to-end system that allows users to transfer a texture onto a physical object. Figure 17 shows a summary of the system pipe-line.

We use a similar hardware setup and component layout as ColorMod: For activation, we use a UV light (Luminus Devices Inc. CBM-40-UV, ~365 nm, 4W) that we automatically turn on/off using a digital controller (PhatLight LED Develop Kits). For deactivation, we use our modified projector (LED DLP projector AAXA M6, 1920x1080 pixels, 1200 Lumens, with added green filter). For 360° projection on the object, we use a rotating platform that is controlled with a stepper motor. The rotating platform has a positioning screw to ensure central placement of the object when rotating. The setup with the above components is shown in Figure 18.

After placing the physical object onto the rotating platform, users load the corresponding 3D model into the 3D editor Blender (Figure 19a). Next, users apply a virtual texture to the digital model using Blender’s texture mapping tools (Figure 19b). Clicking on the ‘Preview’ button converts the texture to the closest match realizable with the available photochromic color space (Figure 19c). To compute this preview texture, we run our optimisation algorithm on the virtual texture and compute the deactivation times t for each pixel. We estimate the resulting physical color by calculating C(t) and then load the newly computed texture onto the 3D model. The user can toggle between the virtual and the preview texture, adjusting colors as required.

When users hit the ‘transfer texture’ button, our custom python plug-in for Blender handles the projection mapping. Our system first generates four ray traced projec