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Interested in game making? Start in Unity—a game engine for mobile and desktop games and real-time simulations. Author Adam Crespi shows techniques used in game development with Unity and introduces the basics of scripting and game functionality. First, learn how to import models and textures, organize your project and hierarchies, and add terrain, water, and foliage. Next, Adam explores how to use lighting to bring the game to life, and add rendering, particles, and interactivity. The end result is a sample game with a lush environment, fully animated characters, and some basic interactive gameplay.
Textures, as we know, are a major component of materials. And we can really get a lot of mileage out of them. And we also have a lot of control over how they're applied. And what they do in game and especially on each platform. I'm going to tile this wood flooring texture twice within its UV space. I want smaller boards in there. Because right now these are a little bit big and I think it would look better with smaller strip flooring. I'll select the podium object and there's its material, wood flooring. And in that wood flooring, in the texture I can choose Tiling and Offset.
I'll zoom in to get a closer look. Here's our wood flooring and those planks are just a little bit big. I'll change the tiling up to two by two. What this does it repeats that texture twice within whatever the UV mapping size is. In this case it was mapped at 144 square or 12 feet. It looks better. The planks are smaller and although I see more of the repetition. I think it'll go away when I have more walls, art and more light in the scene. Beyond simply changing how big a texture is when it's applied.
We have control within each texture over mip mapping. And how it filters depending on where we're looking at it. I'll select that wood flooring texture. And take a look at the texture in the inspector on it's own. In my Assets folder, I'll go into Textures. And in Textures, I'll go into building. And here in building, I'll pick Wood FlooringCS. Here's my wood flooring. I can see here's the color. And switching over to look at the Alpha, shows me the Alpha Channel. Right now this is simply tagged as a texture and the Filter mode is Bilinear, the Wrap mode is Repeat and the Alternate here is Clamp.
Changing from Repeat to Clamp clamps that texture. We can see where it was originally mapped once over there and then smears from there out. I'm going to leave it at repeat, that way I get the wood floor across the entire gallery. In the text or type, tagging it as a textor is just fine, it's a main color of the material. So, I don't need to mark it as a normal map or GUI text or something similar. Finally, I made an alpha for this texture in Photoshop. And, saved it as part of that file. So, I don't want to generate an alpha from a gray-scale necessarily, although we can, if you'd like, to save space.
We can do that if the texture will work. I'd like to leave it alone because I went through a bit of length to craft that shine. Now look at the Filter mode. Where this really comes into play, is when you're up close, what happens? Point filters tend to go fairly blocky. Bilinear tends to go blurry when you're up close to a texture. And Trilinear differentiates between the mip map levels. The levels of detail in the texture depending on the size we're seeing it. I'm going to leave it at Bilinear and that does a pretty good job all around with this texture.
The Aniso level, for us, is an important one, especially for things like floors. What it does is it takes a texture that we may see in a flat view like this. Where we're looking straight out and the texture is spreading away from us. And makes it sharper as we need. I'll crank up the aniso level. And we can really see that texture get sharp all the way out. I'll pull this back just a little bit so there's a little bit of blur and distance. But now the floor planks aren't unnaturally blurring as they spread away from us. Leaving the aniso level all the way down really blurs that out.
And in somewhere the texture is a lot softer looking that blur may be okay. But I'm going to pull that back up, because I want those planks to really read as part of that floor. That we can really see the distinct color variation across it. I'll click Apply. And for all of the textures, we can always look in our defaults and change for another platform. So if you're running in iPhone for example, or ios, you can override and play with the compression quality. And also play with the format and even spec a Mac size.
What this means, is you can say, well gee for a phone this texture will down res to 256 from 1024. So that way its not swamping the phone trying to display a wood floor. I'll turn that off and go back to my standalone. If we like to get deeper into texture we can also change the type over from Texture to Advanced. In Advanced, we have a lot more control over things like mip maps and import types. Some of the properties are the same, Alpha from grey scale and transparency.
But we also have the ability in here to say, let's make a cube map out of this to fake a reflection for example. It generates mip maps automatically. And what this lets me do is decide, as this is reducing in scale, how does it look. What kind of blur am I using to filter or blur those mip maps together? And what kind of color space are we working in? Most of the time, you can stay within the standard inspector for the texture. When we deal in Advanced, we need to get in and really fix something that's looking odd in distance or odd in different sizes.
We may also want to get in and change things around. Like for a skybox for example, where we'll change over from Repeat to Clamp. And really let that texture, well,clamp once and be totally bright, so our sky looks correct. For now, though, I'll leave this texture back at Texture and hit Apply. And I'm ready to adjust any other textures in the scene.
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