Game Prop Creation in Maya
Illustration by Mark Todd

Adding details to the bump map


From:

Game Prop Creation in Maya

with Adam Crespi

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Video: Adding details to the bump map

I've added on more vents on my gas pump and smoothed them out a little bit so they do look like they are popped out of the surface correctly. I'm going to remember to select this and break the connection of the Transparency that it wants to put in automatically. We could set a preference for this also if we need, or we can just break it. As we're not taking the final PSD across the Unity, I'm fine just remembering to break it. Now I'm going to add some more detail on the sides. I need some rivets and side panels, as well as the holder for the nozzle. I've got my PSD up, and right now I've turned on my Specular and Color so that they come across into Maya.
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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Watch the Online Video Course Game Prop Creation in Maya
9h 33m Intermediate Aug 20, 2012

Viewers: in countries Watching now:

Explore the world of modeling and texturing 3D game props and assets in Autodesk Maya. Author Adam Crespi provides strong technical modeling techniques, from blocking basic forms and leveraging simple parts and reusable textures, to simulating real-world detail like dirt, wear, and grain with UV maps and ambient occlusion. The course includes workflow and integration considerations such as planning UV space for projection, and also steps into Mudbox and Unity for further refinement.

Topics include:
  • Planning for modular textures and models
  • Blocking out the overall form of a prop
  • Moving and sewing UVs
  • Laying out UV coordinates
  • Texturing with bump maps
  • Converting bump maps to normal maps
  • Unwrapping and cloning objects
  • Breaking up a model for texturing
  • Painting textures from scratch
  • Adding detail with beveling and extruding
  • Baking high poly model onto a low poly model
  • Painting in Mudbox
  • Importing and assigning objects and maps in Unity
  • Adding lights in Unity
Subject:
3D + Animation
Software:
Maya Unity 3D
Author:
Adam Crespi

Adding details to the bump map

I've added on more vents on my gas pump and smoothed them out a little bit so they do look like they are popped out of the surface correctly. I'm going to remember to select this and break the connection of the Transparency that it wants to put in automatically. We could set a preference for this also if we need, or we can just break it. As we're not taking the final PSD across the Unity, I'm fine just remembering to break it. Now I'm going to add some more detail on the sides. I need some rivets and side panels, as well as the holder for the nozzle. I've got my PSD up, and right now I've turned on my Specular and Color so that they come across into Maya.

I'm going to turn them off and work again in my bump group. I'm going to add in a new layer for the rivets, and I'll see what I need to make. I've a got a layer for ridges and one for the vents. When I zoom in on this side, I can see that there are four rivets here in the middle. I also need this round hole here on the side; it's going to be a separate layer. I'll start out on the rivets, as they're pretty easy to make. I'm going to make a new layer, and I'll rename this one to rivets. I'll zoom in.

The trick when you're making rivets is not to make them at the actual size. If we press M for Marquee or fly it out and pick the Elliptical Marquee and make a marquee the size of the rivets--how about like that?-- it seems to look okay, but when we zoom in, it's actually a very pixelated piece of the circle. What I'll do is make these quite big and then reduce them down in size, pressing Ctrl+D to deselect, zooming out a little bit, and M for Marquee. I'm going to make a giant rivet. I'll hit this with a gradient, and then I'm going to shrink it down.

What I'll do is eyedropper my background color and just bring up the Brightness little bit, maybe 2 points. That way the rivets start out sticking out from the surface. Then I'll pick that background color and go fairly bright with it. Press G for gradient, which is under the paint bucket. It's the same hot key. In the Gradient I'm going to switch over here to Radial, and I'll click and drag from the center, holding Shift and dragging out. Occasionally, I miss in the gradient direction. There are a couple ways to handle this. I'll Undo by pressing Ctrl+Z. In the Gradients you've got a Reverse checkbox.

We could use that, and now the gradient is flipped. I'll click and drag, and there is the rivet in the right direction. The other one I'll do--because again, going up to the top of the UI for me feels like it slows me down--is I'll hit X to swap foreground and background colors. Because the gradient is set from foreground to background, swapping those colors here swaps the gradient. Again, I can turn off Reverse, swap the colors, and run the gradient in. Now want I'll do is deselect by pressing Ctrl+D and Ctrl+T for transform.

There are handles outside here and I can click and drag on them so I can see them better. I'll hit Escape and turn off that bump base layer in gray. Now when I press Ctrl+T. There is my handles. I'll click and drag and hold Shift. This keeps the scale proportionate, and I can put my rivet down to the right size, hitting Enter when I'm ready. When I turn back on this bump base, there is a rivet, and I can place it on my gas pump. I'll zoom out and then zoom back in. What it looks like I need is just about halfway up, a rivet.

I'll take this rivet and snap it right onto that line, or close to. I'll hold Alt and clone, while holding Shift and snapping it to the other place. I can also nudge it. What it's doing is exactly snapping onto the vents, which is okay. I'll move it over and then press Ctrl+E to merge down the rivets copy layer. Now I've got two rivets on one layer. I'll hold Alt and clone them down again, holding Shift to constrain the direction. It makes me a new layer, copying the old one.

I'll press Ctrl+E to smash those down again. There are the rivets on the side. I'll go back and check that reference one more time. And it looks like I could space them out a little bit and maybe move them down a touch, but they're in the right place I think. I'll look at it against where the opening is on the top. I'll zoom in and select them with a marquee. I'm going to pick one side and hit V for Move, and I'll nudge these over, counting the number of times I tap the arrows. There is 10 nudges to the left.

I'll press Ctrl+D to deselect, M for marquee, and zoom in and grab the others, V for Move, and nudge them 10 to the right. I'll deselect by pressing Ctrl+D. Now I've could use the Offset Filter as well. It's really up to you how you want to do this. I often nudge things around as I need to, kind of move them over incrementally, maybe a finer degree of movement that I can do with the mouse or the Wacom. I'll zoom out and there are the rivets, and they will be on both sides. Now I'm going to look at the gas pump holder. Again, I'm going to zoom in and I'm going to make some radial gradients.

I'll make a new layer, and I'll rename this holder. To start, I'll put in my circular marquee pressing M for marquee, clicking and dragging, and using the mesh lines as a rough measure. I think it's about that big. I'll hit G for gradient, and I'm going to switch around my gradient. If we look at the reference, it actually starts out with a little bit of an edge, goes flat, and then comes up in the middle. I'm going to draw this all at once. I'll click on my gradient, which is right now set from foreground to background.

I can swap these around, dragging these stops around as I need, even flopping them over each other to put them in the right place. I'm going to bring the gray to the left and then finally, this middle one, the new one I've just added in, will get slightly darker. Instead of being a Brightness of 89, I'll bring it down in the 85 or 82 range; somewhere in there is good. I'll add in another stop based on that one. This is almost in the middle, and now I'll put in one more and make this one brighter.

This is going to get me a two-step gradient. I'll snug this in a little closer so it's got a sharper edge. There is the big flat area which is raised up, and then here's the middle that raises up even further. I can repeat this on the other side, or I can stretch out this gradient and see how it looks repeating across. I'll try the latter method, taking this stop and deleting it by dragging it off and picking these two and pulling them over. I'll see if this works and is in the right shape. I'll click OK, and onto my marquee, I'll try it from the center.

It's good, but it's backwards. I'll undo, check Reverse, and try it again. There is that extra detail, pressing Ctrl+D to deselect. I can go in and finesse the gradients if needed, but what I'm really after here is that it's a plate that sticks out from the surface, with a low little bit of a gradient out of the edge. I think I'm going to adjust the gradient, as it seems like it sticks out a little too much. It's very easy to get in and edit these. I'll click on this first stop and pull that color back a bit, maybe trying 75.

I'll pick the next key over and set its key as well. Here it is, at 75. And finally, I'll take this key, the uppermost part, and bring it back from 95, let's say to 85. I'll also pull this over just a little bit to see if I can get them in the right place. I'll redraw my gradient, starting in the center, holding Shift, and clicking and dragging out to the side. That's a little better. It looks like when I zoom out I've got that hole where the gas pump could go. I'll actually put the darkness in as part of the color.

That way it looks like there is a recess there, because trying to do with the bump in the gradient is going to look awkward. We can keep adding on details, looking for other places that are fixtures of the construction. We want to start out when we are making a bump and putting in the clean parts first. In later videos, we'll add in rust and add in the bumps and then add the wear and tear on.

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