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Wizard","\u002Fdocs\u002Fnodes\u002Fsurface-wizard","1.docs\u002F7.Nodes\u002Fsurface-wizard",{"title":531,"path":532,"stem":533},"Switch","\u002Fdocs\u002Fnodes\u002Fswitch","1.docs\u002F7.Nodes\u002Fswitch",{"title":535,"path":536,"stem":537},"Treeparameterize","\u002Fdocs\u002Fnodes\u002Ftreeparameterize","1.docs\u002F7.Nodes\u002Ftreeparameterize",{"title":93,"path":539,"stem":540},"\u002Fdocs\u002Fnodes\u002Ftrunk-decoration","1.docs\u002F7.Nodes\u002Ftrunk-decoration",{"title":542,"path":543,"stem":544},"Unreal Wizard (Deprecated)","\u002Fdocs\u002Fnodes\u002Funreal-wizard","1.docs\u002F7.Nodes\u002Funreal-wizard",{"title":546,"path":547,"stem":548},"Wind Config","\u002Fdocs\u002Fnodes\u002Fwind-config","1.docs\u002F7.Nodes\u002Fwind-config",{"title":550,"path":551,"stem":552},"Wind Previs","\u002Fdocs\u002Fnodes\u002Fwind-previs","1.docs\u002F7.Nodes\u002Fwind-previs",{"title":554,"path":555,"stem":556},"Wrangle","\u002Fdocs\u002Fnodes\u002Fwrangle","1.docs\u002F7.Nodes\u002Fwrangle",{"id":558,"title":36,"body":559,"description":1095,"extension":1096,"meta":1097,"navigation":1107,"path":37,"seo":1108,"stem":38,"__hash__":1109},"docs\u002F1.docs\u002F2.core-concepts\u002F08.shaping.md",{"type":560,"value":561,"toc":1080},"minimark",[562,582,595,604,613,618,628,632,638,670,673,679,683,689,693,704,708,730,734,739,743,758,764,768,774,800,806,809,824,827,859,865,872,923,929,932,947,961,975,989,998,1026,1030,1054,1057],[563,564,565,566,572,573,577,578,581],"p",{},"Shaping is the heart of working in Natsura: taking a structure that grows and bending it toward the form you have in mind. You do that through three levers that compose: ",[567,568,569],"strong",{},[570,571,57],"a",{"href":62}," to drive any parameter from an attribute, ",[567,574,575],{},[570,576,69],{"href":74}," to apply directional forces, and ",[567,579,580],{},"rig posing"," to deform placed foliage without breaking instancing. This page is about how those levers map to the things a tree actually does in nature, and how you reach in by hand when you want to.",[563,583,584,585,587,588,590,591,594],{},"Trees are shaped by the forces around and within them: they grow up against gravity, echo the rhythm of their own branching, avoid crowding themselves, and respond to the environment they're planted in. Natsura models these as effectors, per-point direction vectors that a ",[570,586,388],{"href":389}," (or an ",[570,589,97],{"href":274},") reads through a chosen ",[567,592,593],{},"response mode"," (attract, repel, flatten, align-up, level-up, orbit).",[596,597,598],"blockquote",{},[563,599,600],{},[601,602,603],"em",{},"Visual pending.",[563,605,606,607,609,610,612],{},"This page gives the artist-facing, advanced take on mapping and effectors. For the deeper technical reference on either, see the ",[570,608,57],{"href":62}," and ",[570,611,69],{"href":74}," feature pages.",[614,615,617],"h2",{"id":616},"mapping-is-the-master-control","Mapping is the master control",[563,619,620,621,624,625,627],{},"Before any specific force: ",[567,622,623],{},"mapping is the primary mechanism for driving anything in Natsura."," Pitch, roll, yaw, width, fork probability, step length, and the strength of every effector can all be driven by a ",[570,626,424],{"href":425}," chain reading an attribute. \"Make branches near the surface respond more to light\", \"make the trunk thicker lower down\", \"spread the branch angle from base to tip\": these are all mapping. Effectors supply the direction; mapping decides how much of it applies, and where. Keep this in mind through everything below: every force has a strength, and every strength can be a map.",[614,629,631],{"id":630},"gravity","Gravity",[563,633,634,635,637],{},"Gravity is the most important shaping force, used on both the grow and the assembly decoration. The ",[570,636,384],{"href":385}," writes a uniform up-vector across the whole tree; the response mode decides what the growth does with it:",[639,640,641,648,654,664],"ul",{},[642,643,644,647],"li",{},[567,645,646],{},"Repel"," pushes growth away from gravity, the typical case, producing upward-tending trunks and shoots.",[642,649,650,653],{},[567,651,652],{},"Attract"," pulls growth toward gravity, for hanging and weeping forms.",[642,655,656,659,660,663],{},[567,657,658],{},"Flatten"," holds growth at a plane to gravity, the right mode for ",[567,661,662],{},"lateral branches",", which sit out level rather than reaching up.",[642,665,666,669],{},[567,667,668],{},"Align (up)"," twists the local up vector toward gravity, influencing phyllotaxy.",[563,671,672],{},"A young upward-tending tree typically uses repel on the trunk and flatten on the lateral branches. Drive the strength with a map to vary it (stronger lower down, looser near the crown).",[596,674,675],{},[563,676,677],{},[601,678,603],{},[614,680,682],{"id":681},"ancestor-self-similar-rhythm","Ancestor, self-similar rhythm",[563,684,685,686,688],{},"One of the most expressive effectors, and worth reaching for early. The ",[570,687,270],{"href":271}," reads a direction from a point's ancestor (parent, grandparent, further back) rather than computing one from outside. A twig can echo the direction of its parent bough, which echoes the trunk: the visible coherence real trees have between scales. It can copy the parent's own shape, and also copy the influences that shaped the parent. Combine it with another effector on the parent for the inheritance to mean something.",[614,690,692],{"id":691},"magnets-the-artists-hand","Magnets, the artist's hand",[563,694,695,696,698,699,703],{},"The ",[570,697,420],{"href":421}," is a user-placed sphere of influence in the viewport: place spheres in the scene and branches within their radius are pulled or pushed to steer growth in a direction you choose. It's the most directly artist-controlled effector. Reach for it to pull a hero branch toward a window, push a branch out of a silhouette, or do local shaping the ambient field won't produce. See ",[570,700,702],{"href":701},"#interactive-tools","Interactive tools"," below for placing and editing magnets in the viewport.",[614,705,707],{"id":706},"awareness-of-the-trees-own-shape","Awareness of the tree's own shape",[563,709,695,710,712,713,716,717,720,721,725,726,729],{},[570,711,356],{"href":357}," makes branches aware of the ",[567,714,715],{},"tree's own shape"," so they avoid overcrowding: a crown that doesn't grow back through its own lower branches. It reacts to the tree's own geometry, not to the surrounding terrain or scene; response to the ",[601,718,719],{},"environment"," a tree grows in is handled separately (see ",[570,722,724],{"href":723},"#situation-and-environment","Situation and environment"," below). Use ",[567,727,728],{},"repel"," as the response mode.",[614,731,733],{"id":732},"noise","Noise",[563,735,695,736,738],{},[570,737,452],{"href":453}," is a spatially-varying vector field. Most directional effectors produce too-uniform results on their own; layering a low-amplitude noise effector on top gives the natural irregularity real trees have. Because it's coherent in space, neighbouring points drift in similar directions (organic), unlike per-point random mapping (jittery).",[614,740,742],{"id":741},"rig-posing-the-foliage","Rig posing the foliage",[563,744,745,746,748,749,752,753,757],{},"Shaping isn't only the skeleton. On the ",[570,747,97],{"href":274},", the same effectors apply as ",[567,750,751],{},"rigid rotations through each assembly's rig",": flattening leaf clusters to the sky, drooping branch ends, levelling tips up, without breaking instancing, because the deformation is posed on the rig rather than per-vertex. This is where a placed canopy gets its final shaping. Drive these with maps on the assembly's own ",[754,755,756],"code",{},"u"," to affect, say, only the leafy ends of each piece.",[596,759,760],{},[563,761,762],{},[601,763,603],{},[614,765,767],{"id":766},"combining-forces","Combining forces",[563,769,770,771,773],{},"Multiple effectors can be added to the same ",[570,772,388],{"href":389},"; they stack in the order added. A common combination:",[639,775,776,782,788,794],{},[642,777,778,781],{},[567,779,780],{},"Gravity (repel)"," for the dominant upward tendency.",[642,783,784,787],{},[567,785,786],{},"Ancestor"," for self-similar rhythm between scales.",[642,789,790,793],{},[567,791,792],{},"Noise (low amplitude)"," for organic irregularity.",[642,795,796,799],{},[567,797,798],{},"Magnet"," layered last for local, hand-placed shaping.",[563,801,802,803,805],{},"Give each one a ",[570,804,424],{"href":425},"-driven strength so its influence varies across the tree.",[614,807,724],{"id":808},"situation-and-environment",[563,810,811,812,816,817,820,821,823],{},"A tree is a form shaped by where it lives. An open-grown oak in parkland is a different tree from the same species packed into a closed forest; a windward pine on a ridge is different from a sheltered one. Usually in computer graphics we grow trees in isolation, and it stops the artist thinking about making something the world has clearly acted on. Because Natsura is a simulation, you set up a recipe in response to an environment and watch how it grows into that environment, rather than hand-tweaking the result. This is the other half of ",[570,813,815],{"href":814},"\u002Fdocs\u002Fcore-concepts\u002Fsimulation#endless-variation-from-one-graph","variation",": variation drives difference ",[601,818,819],{},"between"," trees from attributes you author; situation drives difference from the ",[601,822,719],{}," the tree is planted in.",[563,825,826],{},"Two mechanisms do the work:",[639,828,829,846],{},[642,830,831,837,838,841,842,845],{},[567,832,833,834,836],{},"The environment input on ",[570,835,512],{"href":513},"."," Plug in scene geometry and Natsura bakes it into an optimised format carrying ",[567,839,840],{},"occlusion and lighting"," information, and exposes a ",[567,843,844],{},"phototropism"," vector the plant can grow with respect to. This is how light-aware growth happens today; there is no separate light effector. The plant can grow toward light and around occluders because that information is baked into something the simulation reads cheaply.",[642,847,848,851,852,855,856,858],{},[567,849,850],{},"Mapping by proximity."," Drive parameters by how close a point is to scene objects, or whether it's in shade. For example: where there's a lot of geometry nearby, map the tree to grow ",[567,853,854],{},"taller"," (reaching for light); where it's open, let it spread. Proximity and shade become inputs to ",[570,857,57],{"href":62}," like any other attribute.",[596,860,861],{},[563,862,863],{},[601,864,603],{},[563,866,867,868,871],{},"The situations below are ",[601,869,870],{},"approaches",", not one-click presets. Natsura doesn't yet ship example scenes for each, and they're as much a guide for the kind of content we want to build as a recipe to follow. The underlying mechanism is always the same: per-point attributes and an environment encode the situation, mapping consumes them, the recipe responds.",[639,873,874,880,893,899,911,917],{},[642,875,876,879],{},[567,877,878],{},"Specimen (open-grown)."," Nothing to compete with: a wide, symmetric crown with low limbs retained. The default recipe (no environment) approximates this. Exaggerate it with more fork spread and by holding lower-branch retention through mapping.",[642,881,882,885,886,889,890,836],{},[567,883,884],{},"Forest (closed canopy)."," Neighbours on all sides drive the crown narrow and tall, lower limbs lost to shade. Reach this by plugging neighbour geometry into the environment so light competition is felt, mapping growth taller in crowded areas, and pruning lower-",[754,887,888],{},"generation"," branches by ",[754,891,892],{},"age",[642,894,895,898],{},[567,896,897],{},"Hedgerow."," Spreads sideways, asymmetric from one-sided competition. Encode the adjacent hedge in the environment so the lit side grows out; reduce gravity's hold so the tree leans further than it otherwise would.",[642,900,901,904,905,907,908,910],{},[567,902,903],{},"Windswept (exposed)."," A crown that streams downwind in a wedge. Approximate with a ",[570,906,364],{"href":365}," in the prevailing-wind direction plus mapping that biases the effect higher up the tree, and prune windward branches via a ",[570,909,554],{"href":555},"-written exposure attribute.",[642,912,913,916],{},[567,914,915],{},"Slope."," The trunk bows to find vertical; uphill and downhill sides differ. Carry slope direction and steepness as per-point attributes and consume them through mapping.",[642,918,919,922],{},[567,920,921],{},"Mixed."," Real scenes blend these. A glade in a forest has open-grown trees in the middle and closed-canopy trees at the edge. Because the situation is just per-point attributes plus an environment, mixed cases need no special handling: the same recipe responds to whatever each point encodes.",[596,924,925],{},[563,926,927],{},[601,928,603],{},[614,930,702],{"id":931},"interactive-tools",[563,933,934,935,938,939,942,943,946],{},"Most of Natsura is procedural: you author rules and the simulation runs them. But several nodes carry ",[567,936,937],{},"interactive viewport states",", real-time controls you step into to manipulate the result directly, with feedback no parameter could give you. They're the artist's hand inside the pipeline. The pattern is consistent: press ",[567,940,941],{},"Enter"," on the node (or click the state button on its parameter panel) to enter the state, ",[567,944,945],{},"Escape"," or click away to exit. Each state's parameter detail lives on its node page.",[948,949,950],"note",{},[563,951,952,953,956,957,960],{},"Anything stored in a state's per-node settings is part of the ",[601,954,955],{},"node",", not the ",[601,958,959],{},"recipe",". Cloning the node clones the state, but reading the recipe parameters alone won't reveal it. Reach for interactive states when a direct manipulation is faster than a parameter, or when the fix is per-instance rather than per-recipe.",[563,962,963,966,967,970,971,974],{},[567,964,965],{},"Stepping into the simulation (the grow state)."," The most powerful interactive state lives on the simulation itself. Natsura grows step by step, and the grow state lets you get ",[601,968,969],{},"in between"," the steps: pose the structure between step one and step two, then let the simulation carry on from your edit and take a different path. It turns a black-box solve into something you can reach into and direct, and the simulation can also respond to objects you place interactively in the scene. This is an area that will keep expanding. The ",[567,972,973],{},"Grow Drawer",", a tool for sketching branches by hand and letting the simulator fill in the rest, is coming soon.",[563,976,977,980,981,983,984,986,987,836],{},[567,978,979],{},"Classifying foliage (the classify gizmo)."," Press Enter on an ",[570,982,97],{"href":274}," while a tree is displayed to enter the classify state. The viewport shows the tree alongside a graph where each library assembly is a draggable point; drag an assembly along a trait axis and its placement on the tree redistributes in close to real time. Because decorations run in the post-process, these gizmos can be very fast, close to real time. The same gizmo is available as a standalone ",[570,985,337],{"href":338}," node. For the model behind it, see the ",[570,988,105],{"href":111},[563,990,991,994,995,997],{},[567,992,993],{},"Magnets."," The ",[570,996,420],{"href":421}," places a sphere of influence in the viewport: click to place, drag to position, set radius and strength, and branches inside the radius respond. It's one of several interactive controls, useful for local, hand-placed shaping the ambient effector field doesn't produce. Curve-based guides and other placeable controls are planned; studios who know what they're doing can already build their own with custom effectors.",[563,999,1000,1003,1004,1007,1008,1010,1011,1013,1014,1007,1017,1019,1020,1007,1023,1025],{},[567,1001,1002],{},"Assembly and import states."," The assembly workflow and the import tools carry their own interactive states: ",[567,1005,1006],{},"Edit Pivots"," (",[570,1009,285],{"href":286}," \u002F ",[570,1012,456],{"href":457},") to drag pivots to the base of branches or leaves when auto-rigging needs help; ",[567,1015,1016],{},"Edit Assembly",[570,1018,277],{"href":278},") to rotate, deform, and fix connectivity on the rigged result; and the ",[567,1021,1022],{},"Import Highpoly wizard",[570,1024,396],{"href":397},") for a guided walk through loading scanned geometry.",[614,1027,1029],{"id":1028},"related","Related",[639,1031,1032,1039,1044,1049],{},[642,1033,1034,609,1036,1038],{},[570,1035,69],{"href":74},[570,1037,57],{"href":62},", the technical reference behind the forces above.",[642,1040,1041,1043],{},[570,1042,32],{"href":33},", the engine these forces shape, and where variation comes from.",[642,1045,1046,1048],{},[570,1047,105],{"href":111},", the model behind the classify gizmo.",[642,1050,1051,1053],{},[570,1052,512],{"href":513},", where the environment input and per-point attributes enter.",[1055,1056],"hr",{},[948,1058,1059],{},[563,1060,1061,1064,1065,1068,1069,1072,1073,1076,1077,1079],{},[567,1062,1063],{},"Not yet shipped, for later."," A dedicated ",[567,1066,1067],{},"wind effector"," (with lifetime semantics for windward damage and flagged crowns), ",[567,1070,1071],{},"light \u002F occlusion \u002F dominant-light effectors",", and ",[567,1074,1075],{},"object-based effectors"," that react to arbitrary scene geometry are all on the roadmap. Today, light response comes from the environment input rather than a light effector, and prevailing-wind shaping is approximated with the ",[570,1078,364],{"href":365}," (an arbitrary constant bias) plus mapping. Worked example scenes for the hedgerow, forest, windswept, and slope situations are content we intend to build. Thigmomorphogenesis, the way real trees grow shorter and asymmetric under mechanical stress, is a roadmap target.",{"title":1081,"searchDepth":1082,"depth":1082,"links":1083},"",2,[1084,1085,1086,1087,1088,1089,1090,1091,1092,1093,1094],{"id":616,"depth":1082,"text":617},{"id":630,"depth":1082,"text":631},{"id":681,"depth":1082,"text":682},{"id":691,"depth":1082,"text":692},{"id":706,"depth":1082,"text":707},{"id":732,"depth":1082,"text":733},{"id":741,"depth":1082,"text":742},{"id":766,"depth":1082,"text":767},{"id":808,"depth":1082,"text":724},{"id":931,"depth":1082,"text":702},{"id":1028,"depth":1082,"text":1029},"How an artist controls the form of a tree in Natsura: mapping, effectors, and rig posing; the forces a tree responds to (gravity, its own history, neighbours, the environment); and the interactive tools for reaching in by hand.","md",{"tags":1098,"sidebar":1106},[1099,1100,1101,1102,1103,1104,1105],"natsura","shaping","effectors","mapping","situation","interactive","core-concept",{"label":36},true,{"title":36,"description":1095},"28AqVnG9hros8zBqdXshbKYb_Sg2C3942b8WDx1M1qM",[1111,1113],{"title":32,"path":33,"stem":34,"description":1112,"children":-1},"How Natsura grows a plant. The graph you build is a grammar of core verbs that generates an Apex graph; the simulation compiles and evaluates that graph to grow a skeleton, decorate it, and produce endless variation from one recipe.",{"title":40,"path":41,"stem":42,"description":1114,"children":-1},"How Natsura turns a grown skeleton into geometry. Decorations are the contact point between the simulation and the meshing; trunks and bark are skinned procedurally or brought in from scans and high-poly sculpts and extended.",1780555258190]