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When ratting a cornice to the building, once we have decided where our major shadow casting elements are, it's time to plan the modules on a cornice and really see how much of it can share a texture. This is an example of what looks like a very, very complex cornice. I'll zoom in to see better detail. We can see this cornice has a large throw or it sticks out from the building quite a considerable distance. Underneath we have several layers of detail, which are somewhat dirty and occluded, so it really needs stuff going on and underneath are these fairly ornate, fairly tall, fairly deep looking brackets.
However, the thing to look at in this, when we are talking about sharing a texture sheet with multiple elements sharing one texture and overlapping in the UV Editor, these brackets seem to be all the same, or rather they're close enough that reasonably if we had two or three of them in a line that were fairly dirty, but uniformly so, so it repeated without a noticeable pattern in the dirt, we could make all several hundred of them out of just a few. And because we can handle this in texture on a polygon, as it's all in its own shadow or self-shadowing, we can get away with a very, very limited number of well-done pieces and it looks like a whole cornice.
In other buildings, we may need other elements that help us make what looks like a very complex cornice. This building has a very simple piece of trim. The big deal in a cornice is often the corner piece. How does that corner work? For this, this is mostly geometry with a simple map. Other buildings may have a more elaborate corner for that cornice. As an example, we'll duck over to the original building. In this case we can see several distinct elements we need.
Again, we can see stuff going on. If we could get up to the seventh or eighth floor, we could actually see that detail, but really from street level, there is some kind of engraving. For this cornice, we need several pieces we can see fairly clearly. We need a section of this top molding with the egg-and-dart and other relief up here. These will simply just miter at the corner. I'll draw a line so we can cleanly see that mesh.
And just so we can see I'll bump up the Opacity. This cornice line will miter at the corner. These lines continuing over to meet up and the mesh will simply turn the corner there. The map will be a section that repeats evenly, as shown in the previous models with its own shadows painted in. However, this relief panel needs some separate textures. We need at least one straight panel, one corner element, and one tall panel. On this building we'll see the same tall panel repeated. That we happen to see the exact same one, versus absolute accuracy to the design where the panels may vary, is a trade-off we are going to make for a game.
We want to save texture space by repeating at the expense of maybe seeing the same carving over and over. We also need a corner condition right here on these ionic scrolls. In this case, the flat ones don't quite match up with the corners. So we need an extra piece there which will share one texture. The big deal then in a cornice is looking at the elements, because we have different conditions between a straight run or a module and a corner, and oftentimes this corner may be further accented with signage or additional detail, because the corner is important.
It's seen from two sides.
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