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Drawing the bump map for the door

Drawing the bump map for the door provides you with in-depth training on 3D + Animation. Taught by A… Show More

Game Prop Creation in 3ds Max

with Adam Crespi

Video: Drawing the bump map for the door

Drawing the bump map for the door provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in 3ds Max
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  1. 3m 41s
    1. Welcome
      1m 0s
    2. What you should know before watching this course
    3. Using the exercise files
      2m 22s
  2. 26m 8s
    1. Overview of modeling a large prop
    2. Laying out the overall form and planning for modular textures and models
      4m 49s
    3. Adding the framing components
      4m 56s
    4. Adding the side panels
      2m 33s
    5. Unwrapping the sides
      2m 10s
    6. Unwrapping one corner box
      2m 25s
    7. Unwrapping one of each frame member
      2m 48s
    8. Laying out the UV coordinates
      5m 35s
  3. 53m 2s
    1. Overview of the texturing process
      1m 9s
    2. Creating a bump map for the corrugated sides
      5m 20s
    3. Adding more details to the bump map
      3m 23s
    4. Drawing the bump map for the door
      3m 33s
    5. Adding details to the doors
      2m 55s
    6. Painting the diffuse texture: planning the layers
      1m 47s
    7. Painting the base coat and logo
      2m 3s
    8. Adding tracking labels and other markings
      3m 9s
    9. Adding soft rust
      3m 57s
    10. Adding rust bubbles
      3m 46s
    11. Setting up a library of shipping container textures
      4m 2s
    12. Painting dirt and rust variations
      4m 43s
    13. Transferring wear from the diffuse texture to the bump map
      2m 43s
    14. Converting bump maps to normal maps
      4m 37s
    15. Testing the maps
      5m 55s
  4. 1h 3m
    1. Overview of modeling small props
      1m 1s
    2. Modeling a sledgehammer
      2m 52s
    3. Adding detail and smoothing groups
      4m 42s
    4. Unwrapping as part of a texture sheet
      4m 56s
    5. Modeling a ladder
      5m 6s
    6. Adding detail and smoothing groups
      3m 10s
    7. Unwrapping for the ladder
      5m 47s
    8. Placing the clean texture
      5m 51s
    9. Laying out a texture sheet for multiple tools
      4m 51s
    10. Painting galvanized steel
      6m 59s
    11. Adding dirt and wear
      6m 48s
    12. Planning for optimal texture usage
      2m 48s
    13. Painting dirt and age variations
      8m 34s
  5. 1h 9m
    1. Modeling furniture using simple parts and reusable textures
      1m 18s
    2. Planning and analyzing the modeling of a chair
      1m 46s
    3. Blocking out the basic form
      5m 27s
    4. Adding detail and smoothing groups
      4m 58s
    5. Refining the silhouette
      3m 31s
    6. Unwrapping for the chair
      7m 53s
    7. Painting the fabric
      6m 26s
    8. Making a normal map for the fabric
      4m 43s
    9. Planning the modeling of a table
      2m 7s
    10. Blocking out the basic table form
      5m 34s
    11. Adding legs and skirt boards to the table
      7m 9s
    12. Breaking up the model for texturing
      6m 21s
    13. Laying out the wood texture
      5m 49s
    14. Reusing parts to make a round table
      6m 23s
  6. 28m 5s
    1. Understanding the importance of painting textures from scratch
      1m 23s
    2. Creating the initial grain lines
      1m 31s
    3. Adding value variation across the grain
      4m 16s
    4. Warping and curving the grain
      2m 32s
    5. Adding knots
      3m 2s
    6. Colorizing the grain and planning for stains
      5m 10s
    7. Cutting out boards for a UV layout
      4m 22s
    8. Adding patina and wear to a final texture
      5m 49s
  7. 37m 28s
    1. Understanding the importance of a low poly count
      1m 12s
    2. Overview of normal maps
      1m 45s
    3. Modeling a high-poly work for projection
      4m 8s
    4. Overview of the pipeline
      2m 41s
    5. Planning edge flow for elegant modeling
      4m 29s
    6. Smoothing groups
      2m 50s
    7. Adding details by beveling and extruding
      4m 28s
    8. Adding hinges
      5m 42s
    9. Using Push/Pull and Soft Selection to add dents
      3m 34s
    10. Baking the high-poly mesh onto the low-poly model to produce a normal map
      6m 39s
  8. 36m 4s
    1. Overview of Mudbox
    2. Preparing for a smooth export to Mudbox
      3m 16s
    3. Importing from Mudbox: choosing the right resolution
      4m 26s
    4. Using the sculpt tools in Mudbox
      4m 3s
    5. Painting in Mudbox
      5m 34s
    6. Exporting paint layers from Mudbox
      3m 1s
    7. Extracting and exporting a normal map from Mudbox
      5m 44s
    8. Projecting normal maps from a Mudbox model
      5m 53s
    9. Importing and assigning objects and maps in Unity
      3m 9s
  9. 25m 59s
    1. Overview of ambient occlusion and specularity
    2. Setting up ambient occlusion as a texture
      5m 14s
    3. Using ambient occlusion as a foundation for rust and dirt
      4m 36s
    4. Using ambient occlusion to add detail to textures
      4m 26s
    5. Painting a specular map
      6m 36s
    6. Streamlining the import process: placing maps in the right channels
      4m 27s
  10. 21m 7s
    1. Overview of importing into Unity
    2. Preparing and exporting large props to Unity
      3m 3s
    3. Creating a new project in Unity and importing textures
      5m 21s
    4. Cloning props in Unity with different looks
      3m 41s
    5. Adding lights to test smoothing and textures
      3m 52s
    6. Refining materials
      4m 37s
  11. 1m 0s
    1. Final thoughts
      1m 0s

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Drawing the bump map for the door
Video Duration: 3m 33s 6h 5m Intermediate


Drawing the bump map for the door provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in 3ds Max

View Course Description

Explore the world of modeling and texturing game props and assets in Autodesk 3ds Max. Author Adam Crespi demonstrates how to create both small and large props, from tools to shipping containers. The course begins with cloning and instancing objects for ease of modeling and unwrapping, and segues into multiple methods of unwrapping and painting texture by hand in Adobe Photoshop. Adam looks at various plug-ins that assist with normal map generation as well as sculpting in Mudbox, a digital sculpting application that can add realism and detail to your models. Finally, the course shows how to add lights to a scene and preview the objects in-game.

Note: A familiarity of basic modeling and unwrapping techniques in 3ds Max and a working knowledge of Photoshop will help you get the most out of this course.

Topics include:
  • Laying out the overall form
  • Planning for modular textures and models
  • Adding the framing components
  • Laying out the UV coordinates
  • Creating bump maps
  • Painting diffuse textures
  • Setting up a library of textures
  • Converting bump maps to normal maps
  • Testing maps
  • Laying out a texture sheet for multiple tools
  • Using a high poly to low poly workflow
  • Baking out normals and ambient occlusion for rusty and dirty surfaces
  • Modeling furniture
3D + Animation
3ds Max Unity 3D Mudbox

Drawing the bump map for the door

Now that I've got the corrugations in on the sides, and top, and one end of my shipping container, I'm going to add in the door panels. As we can see in the reference image here, we have a lot of variation in how the doors look. They almost all have some kind of locking mechanism and some kind of hinges visible on the side, but how they're corrugated varies widely between manufacturers. Some have closely space thinned corrugations, some have more corrugations and a pattern, some have just a couple that are fairly spaced out, and some look more solid.

I'm going to make some that are fairly recessed panels in here. I've zoomed in on my template and I'll first make a new layer. Remember the rule; if you think about it, make a new layer for it. What I'll do is fill this in my light gray, because that way I have latitude in the bump. I can use white for the locking mechanism so they protrude out of the surface and with the corrugations go darker. If it's not already in the foreground color, press I to eyedropper the bump color, that light gray. Then G takes you to the Paint Bucket. But how do you fill it evenly? Here's a trick.

I've got my template layer and I'm going to select it. I'll present W for Magic Wand. If you don't see the wand, click and hold and flyout the Quick Selection tool. In the Wand, I'll leave Contiguous on and anti-alias is off. When I click in the middle of the template, there is that selection. I'll expand this out, choosing Select > Modify > Expand and I push it out by three or four pixels. This way, in case there's any overlap in the polygons over the texture, I have an extra covering color there.

Now on this new layer, I'll press G and fill that selection in. I'll deselect by pressing Ctrl+D and I'm ready to start lining in the places where my corrugations will be. What I'll do is press M for Marquee. Make sure you switch your marquee back to a rectangular, as it may still be in the elliptical from earlier. I'll start out with my marquee going cleanly inside, roughly diagonally from the corner, and I'm going to get it as close as I can and do kind of a wide panel recessed door here. With a marquee, you can always use the arrow keys to nudge it over or move it before you actually fill in a color.

I'm going to put this temporarily on a new layer and fill this new layer in something, any other color. There is my filled square. I'll press Ctrl+D to deselect, V for move, and now I'm going to Alt+clone this so it looks right. There is 1, 2, and 3. These cloned out nicely. If they don't clone or if the spacing seems a little off, now is the time to adjust it. Here's how I'll make this work. I'll press Ctrl+E to merge down the layers.

So now Layer 2 has all of these deep gray recesses. I'll press Ctrl+T for Transform and I can scale this up and down as needed. I am going to pull mine in a little bit so that there is a little more solid steel at the top and bottom. I'll press Enter when I'm done and I'm almost ready to put the panels in. Now I'll use my marquee again, clicking and dragging as close to the middle as I can get and deleting a section. Looks like I need to move this down just a little bit and I'll press Delete.

There are my four-panel doors, ready for some additional work and gradients to make this look more stamped. I'll press Ctrl+D to deselect. Now I can leave this on one layer or merge it down. I'm going to leave it alone and I'm ready to start doing some beveling and gradients on the corners.

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